Marketing communication mix Assignment Example | Topics and Well Written Essays - 2750 words

Promoting correspondence blend - Assignment Example The current examination would concentrate on coordinated showcasing correspondence as an arrangement of promoting which interfaces the correspondence work with the segments of advertising and it targets illuminating and convincing likely clients to purchase merchandise and enterprises. Notwithstanding the advancement components of showcasing, the coordinated advertising correspondence blend may utilize online apparatuses in the building up an unmistakable message and passing it to the shoppers with the goal that they can be convinced to buy and utilize a particular item or administration. Finne and Gronroos state that the item inside the showcasing blend is the products or administrations that an organization gives. In showcasing correspondence, organizations target making attention to the buyers of the items on their accessibility and characteristics. The cost speaks to the expense of the items and this incorporates explicit highlights of the cost, for example, limits. The cost of a n item impacts the eagerness of the clients to buy and expend a decent or administration. Inside the showcasing blend, the spot speaks to where the shoppers can acquire the item to fulfill their necessities while advancement is the way toward informing purchasers regarding the item utilizing different techniques to persuade the customer to perchance and utilize the great or administration. Hence advertising correspondence blend is the promoting of a company’s administrations and products to the customers with due contemplations of the Ps in showcasing in light of the fact that they are firmly related in deciding the accomplishment of the showcasing technique when all is said in done. Hughes and Fill (2007, p. 55), affirm that mix of advertising correspondence blend implies that the viewpoints and parts of the showcasing blend are consolidated or joined with the goal that the promoting correspondence transfers a solitary message to the purchasers. Lee and Park (2007, p. 222), clarifies that advertising correspondence blend is vital in light of the fact that when various messages are imparted to clients, they become confounding and as results the notoriety of the brand of an organization is harmed. Reconciliation in the advertising correspondence blend can be delineated by an organization which utilizes a similar logo, messages and pictures in al correspondence media, for example, papers, TV and retail location. This in this manner shows the significant job of showcasing correspondence blend in building the brand of an organization inside the objective market through the reconciliation of the messages conveyed to the shoppers. With the coming of present day innovation and its wide application in showcasing different merchandise and ventures, it must be coordinated to make it corresponding to the more extensive advancement blend. Keller (2001, p. 829) says that the requirement for joining of the promoting correspondence blend is required by the intelligenc e capacities of showcasing media which is a quality of correspondence by means of the web by means of the online life. This exhibits there is a need to fit the customary advertising approaches with the new media. Besides, joining of advertising endeavors empowers an organization t arrange different correspondence prescription

Hindu Custom of Marriage :: Exploratory Essays Research Papers

Hindu Custom of Marriage Hinduism started in Ancient India a large number of years prior. Hindu traditions vary incredibly from the ones we practice in the western world. This paper examines the Hindu custom of marriage and the desires for those to be marry. Men are relied upon to wed so as to carry on the family ancestry. Ladies are urged to wed to help mitigate their budgetary weight from their folks (Sullivan 135). A wedding happens after a man has completed his examinations, achieved the consent of his instructor, washed, and played out the custom for homecoming. The dad of the young lady dresses and enhances his girl, and gets 2-4 dairy animals and bulls (O'Flaherty 101). The man and his better half to be stroll around a fire multiple times while they certify their marriage promises to the went with stanzas from the Veda (Sullivan 135). The Lawbook of Manu contains a rundown of qualities a spouse ought not have. She ought not originate from a family that has relinquished the ceremonies, a family without any young men, one that doesn't recite the Veda. Some more attributes that are not satisfactory are ladies with shaggy bodies, who have utilization, feeble assimilation, awful recollections, and furthermore uncleanliness. Ladies that are redheads, have additional appendages, are wiped out, uncovered, go on and on, are ashen, excessively fat or excessively slim, excessively tall or excessively diminutive, over the hill, or coming up short on an appendage or partial to quarreling are likewise not worthy for marriage. A hostile name can decide a lady's worth. Awful names incorporate ones that have to do with a star grouping, tree, or stream, low standing names, names of mountains, and feathered creatures or snakes. Slave names and fearsome names are likewise to be kept away from. Ladies with these kinds of names are not to be hitched by the attributes that must be met for a lady to be worthy for marriage. A lady fit for marriage ought to have total appendages, a wonderful name, should walk like a swan or elephant, have fine hair on her body and on her head, fragile appendages, and ought not have large teeth. A man should take a spouse of a similar class (O'Flaherty 101-102), however in the event that a marriage takes place across station limits, at that point it is quite often the lady wedding into a higher rank (Fuller 14).â Marriages are frequently orchestrated while the young lady is just a youngster. The Manava Dharma Sastra and other legitimate writings imagine that a man of thirty wed a young lady of twelve (Sullivan 135).

Unlike any other.

Unlike any other. One of the things I love about the Boston area is that being a college student gets you all sorts of discounts at cultural institutions. By attending MIT, you can even get into events for free. Last weekend, I took advantage of a new opportunity that allows MIT students to visit the Isabella Stewart Gardner museum for free (you can also do the same at the nearby Museum of Fine Arts). On the outside it seems like its a normal, historic home in Boston. Only the signs really give it away as being a museum. The inside is magnificent, and the history is quite interesting. All of the objects and paintings in the museum are exactly as Ms. Gardner left them as stipulated in her will. This rule is followed to the extent that the empty frames of artwork that was stolen in a heist during the 1990s are still hanging. What I love the most is that stepping into the Gardner museum is like stepping back in time because nothing has changed. Also I really like that the Gardner is personal. It felt as if I was walking through someones home rather than walking inside of a museum. The rooms are decorated for experiencing and living, not simply for viewing under bright florescent lighting and against white walls. Furniture and adornments, along with juxtaposing sketches and painting, also give the rooms character. The first painting I approached was El Jaleo, by John Singer Sargent. Its impressive size and energy is captivating and irresistible. I had to resist taking photos though, because it is strictly against the rules of the museum. (Hence some of these photos are from websites, and not me ? ) El Jaleo by John Singer Sargent. (Photo Credit: Wikipedia) What this photo lacks is how the painting is displayed on the first floor of The Gardner. Its almost framed off from the rest of the room in an alcove that is ornately carved in stone. Its isolation makes it the focal point of the museums entrance. Next is the impossible-to-avoid the courtyard. Its fabulous, and glass enclosed; meaning flowers can bloom all year long. Photo Credit: Gardnermuseum.com Not only is the courtyard art in that all of the plants are as meticulously placed, but also because of the rare and ancient objects that fill it. In the center is a large Roman tile mosaic from around 115 AD of Medusa. I wish I could have actually stepped into the courtyard, but it is roped off from the public. Also, like the rest of the museum, absolutely no photography is allowed either. But, I can understand why photography is prohibited. If I had a mosaic from 115 AD I would want it preserved as much as possible! There is so much I could write about (I didnt even mention two other floors in the museum!) but I would rather make this post short and cut out some of the details. I strongly believe that art is an experience, and we should all go and experience it ourselves. Instead of gleaning details from my writing, go and check out Isabella Stewart Gardners final vision of her collection.

Women During The Revolutionary War - 1839 Words

Through the deaths and the injuries, through the explosions and gunfire, through the heartache and brokenness, women have been serving in the military one way or another. Since the beginning of time, women have been fighting for their rights. They fought for their right to work, they fought for their right to vote, and they fought for their right to be in the military. Beginning in the Revolutionary War, women were allowed to join the military as nurses and support staff. Since then, they have gradually been able to do more tasks and jobs that the men do. Today, the conflict is whether or not women should be allowed to fight in military combat. The argument is controversial, and will more than likely be a never-ending debate. In 2013, the ground policy rule was â€Å"scrapped† under orders of the congress. This regulation stated that no woman could occupy any assignment to a unit blow brigade level which has the primary mission of engaging in direct ground contact, which accor ding to the Alliance for National Defense is â€Å"†¦engaging the enemy on the ground with individual or crew served weapons, while being exposed to hostile fire and to a high probability of direct and physical contact with the hostile force’s personnel. It takes place well forward on the battlefield while locating and closing with the enemy to defeat them by fire, maneuver, or shock effect.† The ground combat exclusion rule gave the Army and Marine Corps the power to preserve their already existing policies thatShow MoreRelatedWomen During The Revolutionary War1197 Words   |  5 PagesWomen serving in the military is a topic that most people have very strong convictions on. Rather you are for or against women serving, you can find strong opinions that support both sides in this contentious dispute. Women have struggled to fit into the military life for years. Even though woman have fought alongside men in each key battle from the start of the American Revoluti on, they still find it hard to shake the stereo types about woman who serve. Woman have always had to cloak themselvesRead MoreWomen During The Revolutionary War1369 Words   |  6 PagesIntroduction Women have served the military in one fashion or another since the Revolutionary War, in recent years the status of women serving in the military has changed dramatically. Traditionally women have always served in administrative or medical roles. With the advancement of views and the sheer determination of many women, we are seeing women serving in combat and fighting alongside their male counterparts. Training schools such as the Army Ranger school, Marine Infantry training, and pilotRead MoreHistory Of Women During The Revolutionary War2229 Words   |  9 Pages Maribel Rosales Professor Warner HIS 201 22 April 2015 History of Women in US Military From Continental Army Soldier Deborah Samson to Army Sergeant Leigh Ann Hester, American ladies have been serving in the U.S. Military for several years. Women have been a piece of the war exertion since the Revolutionary War, yet in the beginning of our country they needed to mask themselves to serve alongside men. When they were acknowledged into the military,Read MoreAnalysis Of Revolutionary Mothers1693 Words   |  7 Pages Revolutionary Mothers Revolutionary Mothers: Women in the Struggle for America’s Independence. By Carol Berkin. 2005. P. 194. As we study the Revolutionary War we tend to think of the men that revolted, fought, and petitioned, but have we ever thought about what the women did during the war? In Revolutionary Mothers: Women in the Struggle for America’s Independence, we get a chance to see the women’s side of the war and what they did during this troubling time. Carol Berkin shows us what each raceRead MoreThe War Of Independence And The American Revolutionary War943 Words   |  4 Pagesalso known as the U.S War of Independence and the American Revolutionary War took place during 1775 to 1783. The Revolution was a conflict arose from the residents of Great Britain’s 13 colonies and the colonial government. The Revolution brought drastic changes to the lives of women. While the men were away at war, women would stay home, and take over the jobs men had before the war. As time flew by, women started taking roles in the Revolutionary War, examples of roles women took place in were: laborR ead MoreRevolutionary Mothers : Women During The Struggle For America s Independence By Carol Berkin1612 Words   |  7 Pagesof the book Revolutionary Mothers: Women in the struggle for America’s independence by Carol Berkin. This comprised of details on women who had been involved in struggling to fulfill the independence of America. Women played their role at facing or creating impact towards the war. This outlines on myriad of women,s lives as well as getting to know the obstacles that they encountered during the war. This aids in bringing out the idea that not only men who played vital roles during the war, but alsoRead More`` Revolutionary Mothers `` By Carol Berkin1194 Words   |  5 Pagesâ€Å"Revolutionary Mothers† is a book written by Carol Berkin in 2005. The book mainly focuses women roles throughout the American Upheaval period. The purpose of writing this book was to help the reader to not only understand these roles but also apprehend the social/cultu ral norms throughout the struggle of America’s Independence period (Berkin 11). Berkin begins with a brief analysis of the cultural and social norms of women during the American Revolution era. Berkin then examines the way this eraRead MoreThe Name Of The Author Of This Book Is Carol Ruth Berkin.939 Words   |  4 Pagesnumerous books about history and some of her famous books are first generations (1996), civil war wives (2009), and revolutionary mothers. Revolutionary Mothers talk about the problems faced by the women during the revolutionary war and in what ways it affected them. The first chapter of the book is named as â€Å"the easy task of obeying†. This chapter talks about the respect and place that was given to the women in colonial society. The chapter opens up with a story told of John Winthrop to Edward HopkinsRead MoreThe Fight Of The American Revolution For Independence1262 Words   |  6 Pagesaccount the stories of the wives of these men and other women who were caught up in the struggle for Americas sovereignty. Throughout the eighteen century, while the revolution war was taking place. These women had to play a vital role in order to be successful in captivating the fight of the American revolution for independence. Distanced from the role men were required to play. Women who were wives, mothers, and daughters. â€Å"Revolutionary Mothers† written by author Carol Berkin. Copyrighted in 2005Read MoreRevolutionary Mothers : Women s Struggle For American Independence985 Words   |  4 PagesRevolutionary Mothers: Women in the struggle for American Independence. By Carol Berkin (New York: Knopf Publishing Group, 2005). 194 pp. Reviewed by Edidiong Mbong, September 20, 2014. Carol Berkin is a professor of American History at Baruch College and the Graduate center of the City University of New York. She is knowledgeable and experience on the matters of women s history in colonial American. She has delivered important fact on the subject in numerous accounts, including First Generations

First, I Will Be Explaining My Management Style. Even After

First, I will be explaining my management style. Even after discussing management styles, I am still not sure where I fall. I took several quizzes, but would get a different answer each time. Personally, I believe I usually settle between the authoritative and pacesetting management styles. I have high standards, but I am open to letting others find better way to complete a task. If they fail, I will take over and do the task myself, or let someone I find more knowledgable do it. I usually work by persuasion, and always provide feedback when I feel something could improve or if there is an easier way to complete a task. Second, I will be discussing interviews. Interviews are stressful, nerve-wracking and brutal. Not always, but as an†¦show more content†¦I also think I would strive in a business environment. My creativity and organizational skills would be useful for events, conventions and expos. I would even love to work on a cruise or resort for a few years. Even so, I am not planning on stage managing my entire life. Eventually, I want to move up and work more on an upper management level. I would love to work in executive management. Hopefully, over the years I will develop the skills needed for that type of position. Next, I will cover arts advocacy and the government. It was extremely exciting to be part of such a powerful organization that advocates for the arts. New Jersey has one of the strongest arts advocacy organizations out of all the states. ArtPride NJ is super involved with policy, education, and leadership. It is especially important for them to exist in our current political climate. The National Endowment for the Arts is in trouble right now of being completely depleted of all its funding and power. In summary, the National Endowment for the Arts (NEA) was enacted by Lyndon B. Johnson and congress as an independent federal agency. It supports and funds equal access to the arts in the United States. The National Endowment for the Arts was created in 1965 as a way for The United States to invest in culture. It is important to me to be part of the discussion of public arts funding and advocacy. It is extremely clear, that public support of the artsShow MoreRelatedEssay about Thomas Green Case1081 Words   |  5 PagesGael Cleophat MNGT 502 Dr. Premeaux Case Analysis Thomas Green: Power, Office Politics, and a Career in Crisis 1) What are the work styles and personalities of Thomas Green and Frank Davis? Thomas Green and Frank Davis use different working styles, and their personalities are also very different. When dealing with clients, Frank uses memos, proposals and also uses data to back up his proposals and give the client a better idea on what they are investing in. Thomas is more ofRead MoreDifference Between Management And Leadership1738 Words   |  7 PagesTask 1 This part of the assignment will be explaining the difference between management and leadership. 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Personal Challenge Essay Free Essays

There’s plenty Of things I’ll have to do in order to get through high school and have the grades to get into college. Participating in class and asking questions will help me to bet term understand what we’re learning. Also, studying for exams and quizzes will lead to better g reads, which will look good to colleges. We will write a custom essay sample on Personal Challenge Essay or any similar topic only for you Order Now Doing all work and getting it all turned in on time will h elf to improve my grades. A high school diploma is a must have for getting accepted into a good college. No college, no job in the future. Basically have to go to college in order to AC hive my Laos of being an athletic trainer. Finding the right college is going to take some e time and research. A college I would really like to go to is Duquesne University. Would I eke to go there because that’s where my sister went. I would first want to see if this specific c allege would provide the education need to be an athletic trainer. I would also want to fin d out what the guidelines and requirements are for getting into that school. I could research the school and see what I can find, or I could talk to the guidance counselor here at Keystone. I co old also talk to y sister about the layout of the school and where certain classes and places are. Playing basketball in college would also motivate me to stick with it. Playing basketball I could also get me a scholarship for college, so then my tuition wont be quite so much for m I’ve played basketball all my life and been around many athletes. I’ve seen ho w and why many injuries happen, and have had many injuries myself that required physic cal therapy with an athletic trainer. Being around this environment so much has really gotten me interested in being an athletic trainer. Eave always thought that it seemed like a fun career to ha eve. I’m going to have to work very hard to achieve this goal of mine. Its not goanna be easy beck cause there’s a lot of things to learns, but I know I can do it. Everyone has something they would love to accomplish in their life. My goal I s to take up a career of being an athletic trainer. In order to achieve this I will have to work hard at everything do at school. I’ll also have to get through both high school and cool leg with good grades. With that being said, achieving my goal of being an athletic trainer is g Anna be hard, but I can definitely do it. How to cite Personal Challenge Essay, Essays

Scene or section Essay Example For Students

Scene or section Essay From a production you have seen recently chose a scene or section which made a strong impact on you. Discuss what this impact was and how it was achieved.  Noel Cowards A Brief Encounter was adapted from the original film by Emma Rue; it was staged on a small proscenium arch stage at the Cinema Haymarket. It was set in England in the 1940s and was performed in a naturalistic style. The play was a tragic romance with elements of comedy, the themes and issues explored in the play were love, fidelity and social etiquette. The play concerned the story of Laura and Alec who meet at a train station caf and then see each other every Thursday from then on. They fall in love; however they are both already married to different people. This creates conflicting emotions in the characters, especially in Laura who feels very guilty about the affair. At the end of the play Alec, who is a doctor, decides to move to Africa with his family and open a hospital there, leaving Laura behind in England. The section I am going to write about is towards the end of the play. It is set in the train station where Laura and Alec first met and where they went their separate ways after each of their Thursday meetings. Alec and Laura have said their final goodbyes, and Alec has just left leaving Laura only with a friend who had interrupted their last meeting meaning that they had not had a proper chance to say goodbye. Laura, knowing the express train is coming, walks out onto the bridge ( see diagram), the train rushes past and it is unclear whether Laura is going to kill herself, however in the end she does not.  The impact this scene had on me was one of tension and panic was Laura going to kill herself or not?, and feelings of sadness, pity and empathy for Laura after it was revealed that she had not killed herself and was left alone on the bridge of the station. An air of tension and panic was created very effectively in the section. Laura played by Naomi Frederick was standing on the bridge scaffolding that could be raised and lowered and represented the railway bridge in the station during this section of the play. As the bridge was very high up and looked unstable it added to the air of panic as it made it look dangerous and drew my attention to the situation Laura was in. The bridge was also a very large section of scaffolding and it made Laura look very small and alone when she was standing on it. The bridge was the main feature of the setting for this section and it was able to create a mood of tension well. Naomi Frederick was standing on the bridge leaning slightly forward, with her feet wide apart and her arms out straight near her sides, this was effective at showing how tense, upset and panicked the character of Laura was during this part of the section. Her eyes were very wide open showing very effectively Lauras fear, panic and sadness. As Frederick was leaning forwards it was very difficult to tell if she was going to jump or not, which contributed well to the impact of panic and tension. Whilst Laura was standing on the bridge the lighting was mainly focused on the bridge and Laura, with a spot light on Laura and the bridge and the rest of the stage almost not lit at all. This was very effective at drawing attention to Laura adding to the mood of panic, and the bright lights shining on her made her look very small and created feelings of pity and sadness for her and her situation. .ue353c99dcede248fa7c93b08b8a9a581 , .ue353c99dcede248fa7c93b08b8a9a581 .postImageUrl , .ue353c99dcede248fa7c93b08b8a9a581 .centered-text-area { min-height: 80px; position: relative; } .ue353c99dcede248fa7c93b08b8a9a581 , .ue353c99dcede248fa7c93b08b8a9a581:hover , .ue353c99dcede248fa7c93b08b8a9a581:visited , .ue353c99dcede248fa7c93b08b8a9a581:active { border:0!important; } .ue353c99dcede248fa7c93b08b8a9a581 .clearfix:after { content: ""; display: table; clear: both; } .ue353c99dcede248fa7c93b08b8a9a581 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .ue353c99dcede248fa7c93b08b8a9a581:active , .ue353c99dcede248fa7c93b08b8a9a581:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .ue353c99dcede248fa7c93b08b8a9a581 .centered-text-area { width: 100%; position: relative ; } .ue353c99dcede248fa7c93b08b8a9a581 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .ue353c99dcede248fa7c93b08b8a9a581 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .ue353c99dcede248fa7c93b08b8a9a581 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .ue353c99dcede248fa7c93b08b8a9a581:hover .ctaButton { background-color: #34495E!important; } .ue353c99dcede248fa7c93b08b8a9a581 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .ue353c99dcede248fa7c93b08b8a9a581 .ue353c99dcede248fa7c93b08b8a9a581-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .ue353c99dcede248fa7c93b08b8a9a581:after { content: ""; display: block; clear: both; } READ: How does Mary Shelly create sympathy for the creature? EssayThen a screen was dragged across the stage (see diagram) with an image of a fast-moving train projected onto it which represented the express train. This was an interesting way of depicting the train, which meant that my attention was especially drawn to it, and meant that it seemed more poignant. The screen was pulled across the stage at the same speed as the projected image of the train was moving which made the train seem more realistic and made the train appear to be moving very quickly indeed and all this added very effectively to the mood of tension and panic. A sound effect of a train rushing through a stat ion was played very loudly and the sudden noise of the train surprised me and added to the mood of tension and panic. The volume of the sound effect of the train decreased as it left the station which made Laura seem even more alone and pitiable after the train had left and this caused me to feel sympathy for the character. The lighting during the section in which the train moved across the stage was also effective in creating tension and panic, there was a sudden lighting change from simple white and yellow light on Laura, to a stark spotlight on Laura and blue lighting around the area the train was passing through. This change in lighting made the trains passing more dramatic and added to the feeling of tension and panic. After the train passed there was a quick and sudden blackout, this was effective in adding to the feeling of panic, as I was not sure whether Laura had killed herself or not. The acting in this part of the section was also effective but at creating sympathy and empathy for the character of Laura, after the screen had been dragged across the stage Naomi Frederick relaxed her arms and dropped her shoulders, and bowed her head to show how deflated, upset and defeated Laura was. After the loudness of the train passing the silence in this part of the section was very effective at creating sympathy for Laura as it made her seem very small and alone as she stood in the silent, empty station. Overall the section was very effective in creating a mood of tension and panic, and then feelings of intense sympathy and pity for Laura as she stood alone high up on the empty bridge. All the different elements of the section, especially the acting, lighting and sound worked together very well to create the impact the section had on me and it was very effective and moving section of the play.

One Of The Earliest Inventions Of The Ancient World, The Candle Is Sti

One of the earliest inventions of the ancient world, the candle is still favored for the beautiful light cast by its flame. In its most basic form the candle consists of a cylinder of wax, tallow, or similar material surrounding and saturating a fibrous wick. Ancient Egyptian tombs at Thebes bear relief carvings of cone-shaped candles on dish-like holders, or candlesticks. The oldest known candle fragment was found at Vaison, near Avignon, in France and dates from the 1st century AD. During the Middle Ages in Europe, the usual source of light for poor peasants was the rushlight, consisting of a reed stripped to its pith and dipped in oil. Both tallow and beeswax candles were commonly known, but beeswax candles were so costly that only the wealthy could afford them. Tallow candles were called dips. Tallow is processed suet, or hard fat, from cattle and sheep. Formerly, wicks were simply flax or cotton yarn. Modern wicks are of woven cotton treated with mineral salts so that they curl back into the flame as they burn and thus do not collect unburned carbon. For most of the Middle Ages, families who wanted candles had to make them. It was not until the growth of medieval town life that candlemaking became a specialized craft. As early as the 13th century, members of guilds of chandlers, or candlemakers, went from house to house in London and Paris making candles. Candlemaking as a domestic art was never entirely lost. In some localities throughout the medieval period and on into much more modern times, candles were still made in the home kitchen. As it was done then, dipped candles are made by cutting the wicks to the right length and hanging them from a frame over a tub of melted wax. The wicks are dipped repeatedly at intervals into the wax until the coating reaches the right thickness. Then they are moved to a table where they are smoothed and finished. Beeswax candles continue to be made by dripping the melted wax over a suspended wick. Most beeswax candles are used in religious ceremonies. In the 19th century chemists discovered that candles could be made harder and would burn longer if stearic acid, an ingredient of animal fat, was added to the candle wax. In addition to stearic acid, other important candle stocks were introduced. Spermaceti, derived from the oil in the head cavity of the sperm whale, made a candle that would burn very brightly. Beeswax was usually added to make the spermaceti candle less brittle. In the 1850s paraffin wax was isolated from the residue of crude oil distillation. The problem of its low melting point is overcome by adding small amounts of stearic acid or other materials. Machinery for mass-producing candles was developed in the 19th century. This consists of rows of cylindrical molds in a metal tank equipped for alternate heating and cooling. The molds of modern machines are made of high-grade tin and are finely finished inside to produce a smooth finish on the candles. The molds make candles upside down. Wicks may be placed in the mold before wax is added or may be inserted later. Molten wax that has been colored and scented as desired is poured into the molds, and cold water is circulated around the outside of the molds to harden the wax quickly. Large machines of this type can produce as many as 1,500 candles per hour. A later method of candlemaking is by extrusion. Liquid wax is fed into a machine that produces long, wax cylinders, which are cut into desired lengths. Holes are pierced through the cylinders, and wicks are run through the holes. Drawn candles, or tapers, begin with the wick wound on and stretched between two large drums. The drums rotate back and forth, drawing the wick through a shallow pan of melted wax and causing layers of wax to build up on the wick. The wick is passed through larger and larger holes in a die, smoothing the layers as the candle grows to the desired thickness. It is then removed and cut into short lengths and shaped. Long thin church candles and tiny birthday cake candles are made by

PHP Troubleshooting When Page Loads All White

PHP Troubleshooting When Page Loads All White You upload your PHP web page and go to view it. Instead of seeing what you expected, you see nothing. A blank screen (often white), no data, no error, no title, nothing. You view the source ... its blank. What happened? Missing Code The most common reason for a blank page  is that the script is missing a character. If you left out a   or } or ; somewhere, your PHP wont work. You dont get an error; you just get a blank screen. There is nothing more frustrating than looking through thousands of lines of code for the one missing semicolon that is messing the whole thing up. What can be done to correct and prevent this from happening? Turn on PHP Error Reporting. You can learn a lot about what is going wrong from the error messages PHP gives you. If you arent currently getting error messages, you should  turn on PHP error reporting.Test your code often. If you  test each piece as you add it, then when you encounter a problem, you know the specific section to troubleshoot. Itll be in whatever you just added or changed.Try a color-coded editor. A lot of PHP editors- even free ones- color code your PHP as you enter it. This helps you pick out lines that dont end  because youll have large chunks of code in the same color. Its non-intrusive for programmers who prefer to code with no bells and whistles but helpful when troubleshooting.Comment it out. One way to isolate the problem is to comment out large chunks of your code. Start at the top  and comment out all but the first couple of lines in a large block. Then echo () a test message for the section. If it echoes fine, the problem is in a section further dow n in the code. Move the start of your comment and your test echo downward as you work through your document, until you find the problem. If Your Site Uses Loops If you use loops in your code,  it could be that your page is stuck in a loop that never stops loading. You may have forgotten  to add  Ã‚  to the counter at the end of a loop, so the loop continues to run forever. You may have added it to the counter but then accidentally overwritten it at the start of the next loop, so you never gain any ground. One way to help you spot this is to  echo() the current counter number or other useful information at the beginning of each cycle. This way you might get a better idea of where the loop is tripping up. If Your Site Doesnt Use Loops Check that any HTML or Java you use on your page isnt causing a problem  and that any  included pages  are without error.

Integrated Marketing Communications Essay Example | Topics and Well Written Essays - 2750 words

Integrated Marketing Communications - Essay Example The increased demand supply dynamics has also helped in increasing the prices of the products which has boosted the bottom line profitability of the participants of the timber industry. This also represents a challenge as higher price of products may lead to instances where the customers would switch over to the alternate products. The benchmark index of the timber industry namely the Softwood Wood Fiber Price Index (SFPI) and the Hardwood Fiber Price Index (HFPI) showing increase of 16.5 percent and 17.7 percent respectively in the year 2010. The increase in prices was uniform across all the regions of the world with the exception being Southern United States. USA, Sweden, Brazil and Spain were among the regions where the margins or price rise were the highest. The financial crisis had its negative impact on the products and profitability of the timber industry. ... Certain formidable challenges for the timber industry include repositioning of the image of the industry. In addition to these certain other issues include handling issues of climate change and carbon footprint. The nature of the industry makes it prone to criticisms with regards to environmental issues. Deforestation and greenhouse effect which are directly linked to deforestation lead to severe challenges for the participants of the industry with regards to compliance with the environmental laws and other legislations (Urtubey, n.d.). A report by the United Nations states that approximately 13 million hectares of the land in forests were being deforested and used for other purposes (Food and Agricultural Organization of the United Nations, 2011). The challenge for market players emerges as to devise strategies that would help in convincing the suppliers as to maintain compliance with legislations and to generate profitability and sustainability. Another formidable and important iss ue is the threat from substitute products. The advent of electronic communication and internet has eroded the attractiveness and the usefulness of the participants of the timber industry. Moreover with widespread campaigning against use of paper has again emerged as a formidable challenge to the market players. It remains a challenge for the market players to ensure product modifications and formulation of strategies that would help in projecting the image of the product as an eco friendly and un-substituted product. Diversifying into areas like packaging can help the organizations gain new market opportunities and generation of long term

MGM600-0803B-02 Applied Managerial Decision-Making - Phase 4 Essay - 1

MGM600-0803B-02 Applied Managerial Decision-Making - Phase 4 Discussion Board - Essay Example The equation for a regression analysis analyzes the relationship between one dependent variable and one or more independent variables (Curvefit 2008). In the regression equation, the dependent variable is modeled such that it is a function of the independent variables, constant, and an error term which is an estimation of the variations in the independent variable. A simple regression equation is one which tries to explain the dependent variable with a single explanatory for variable. For example, we know that the level of income of an individual can be explained by education, position, race, gender, and even age. When we would like to isolate the effects or relationship of income with race alone, this is called simple regression. However, when we take two or independent variables such as education, age, and race, then it is called multiple regressions (Curvefit 2008). Regression analysis has been a very useful tool in economists who are closely watching the relationship between variables. Regression analysis is used to forecast the GDP growth of the country by looking at the historic GDP data (Regression Analysis 2008). It is also used to determine the relationship between foreign exchange rate and the money supply in a given country. In business organizations, regression analysis is frequently utilized in order to make important decisions like pricing strategies (Regression Analysis 2008). WidgeCorp’s entry to the cold beverage sector should further be assessed by looking at the attractiveness of the market and the potential that it has in serving the customers. The company’s decision of coming up with a forecast of its monthly sales will be beneficial in decision of production levels. The monthly sales can be forecasted by using monthly sales as the dependent variable. In the regression equation, independent variables should include the amount investment in advertising, season, and time. The amount investment in advertising is important

The challenges in managing employee’s performance through effective appraisal system

The challenges in managing employee’s performance through effective appraisal system Introduction Developing an appraisal system that accurately reflects employee performance is a difficult task. Performance appraisal systems are not generic or easily passed from one company to another; their design and administration must be tailor-made to match employee and organizational characteristics and qualities. This assignment highlights the importance of effective performance appraisal system with the rating errors and challenges that the organization faced in a competitive working world. First of all I give a clear understanding of what performance appraisal is and then in discussion part I look forward the problems and challenges that organizations faced while rating their employee performance through rating scale method using company examples. Later on the study discussed detailed on the critical incidents that organizations might faced and the solution. In conclusion part I suggest a modern effective performance appraisal system that can help organizations to overcome the problems and challenges they faced during evaluation of the employees. Performance Appraisal According to Hannah, P., (2009), Performance appraisal is a formal management system by which the job performance of an employee is examined and evaluated, with the intent of identifying their strengths and weaknesses for improvement in future. The procedure is conducted by the subsequent supervisor or manager Aminuddin. M (2008), States that Organizations interested in best practice are constantly and actively looking for ways to improve employees performance and motivate individual employees to achieve the best they can. In order to be effective, performance appraisal must fulfill certain criteria; performance appraisal system should be formalized so as to ensure fairness to the workers involved, a systematic appraisal of employees makes it possible to achieve various benefits like: Encouraging quality performance by rewarding those who do well Improve current performance by giving workers feedback Identify training needs Initiate fair disciplinary proceedings Provide a channel of communication between managers and their subordinates Challenges with effective performance appraisal Several problems may arise during performance appraisals. Some problem arises from the manager, some from the employees and some from other factors (Wells et.al, 1994). Most employees dislike performance appraisal interviews for fear of criticism, fear of uncertainty in handling question and fear that their salaries, promotions and their destinies with the organization hinge upon the outcomes of these interviews as justification for decisions that are already made concerning salaries, promotions and job tenures (Nelda et.al, ND). Sometimes organizations come across various problems and challenges of performance appraisal in order to make a performance appraisal system effective and successful. Determining the evaluation criteria Recent research on Compare InfoBase Limited (2007), has shown, the Identification of the evaluation criteria is one of the biggest problems faced by the top management. The performance data to be considered for evaluation should be carefully selected. For the purpose of evaluation, the criteria selected should be in a measurable term. Create a rating instrument The purpose of appraisal process is to judge the performance of the employees rather than the employee. The focus of the system should be on the development of the employees in the organization, Compare InfoBase Limited (2007). Lack of competence Top management should choose the raters or evaluators carefully. They should have the required expertise and the knowledge to decide the criteria accurately. They should have the experience and the necessary training to carry out the appraisal process objectively, Compare InfoBase Limited (2007), Errors in rating and evaluation Many errors based in personnel bias like stereotyping, halo effect may creep in the appraisal process. Therefore the rater should exercise objectively and fairness in evaluating and rating the performance of the employees, Compare InfoBase Limited (2007). Resistance The appraisal process may face resistance from the employees and the trade unions for the fear of negative ratings. Therefore, the employees should be communicated and clearly explained the purpose as well the process of appraisal. The slandered should be clearly communicated and every employee should be made aware that what exactly is expected from them, Compare InfoBase Limited (2007). One study shows that in UK, most of their Universities and colleges faced problems of performance appraisal. Simmons, J., (2001), states that, a closely related issue was the age -old appraisal dilemma of achieving an appropriate balance between the aims of control and commitment. the study shows that the traditional appraisal schemes emphasis on control by stipulating and assessing the individual employee contribution to the organization lives on within contemporary performance management system by ensuring each employees performance objectives drives from and contribute to those at departmental, divisional, or corporate level. Taylor, S., (2002), research shows that the way in which appraisal carried out in the organization and in particular, to unfair bias in managerial assessments of performance. According to him the problems with the rating systems are: The tendency to give a good overall assessment on the basis that one particular aspects has been accomplished well A tendency to avoid giving tow ratings, even when deserved, for fear of angering or upsetting a weak performer The tendency to give a poor overall assessment on the basis of particular poor performance in one area The tendency to give particular weight to recent occurrences in reaching judgments about individual performance The tendency to give high rating to people who have performed well historically, whatever their performance over the previous years A tendency to refrain, on principle from giving particular high ratings A tendency to rate subordinates at a lower level than the appraiser achieved when in their position Some of the criticism of performance appraisal are the focus will be too much on the individual and does little to develop employees. Employees and supervisors believe that the appraisal process is seriously flawed and appraisals are inconsistent, short term oriented, subjective and useful only at the extremes of performance. Problems with the ratings The drawback of essay evaluation method will be their length and content can vary considerably, depending on rater, the appraisal are difficult to compare and the writing skills of appraiser can also affect appraisal. Critical incidents drawbacks are like rater is required to jot down incidents regularly, which can be burdensome and time consuming. And this method may lead to friction between manager and employees when employees believe manager is keeping a book on them. The drawback for checklists would be raters can see positive or negative connotation of each question which introduces bias. It is time consuming to assemble questions for each job category, separate listing of questions must be developed for each job category and checklist question can have different meanings for different raters. Problems with graphic ratings scale have some weaknesses by evaluating the rates, such as evaluators are unlikely to interpret written descriptions in the same manner due to differences in background, experience and sometimes personality. So it would be better to choose categories that have little relationship to job performance and omit categories that have a significant influence on job performance. Performance appraisal can also have legal consequences in the field of discrimination on ground of sex, race and disability. This occurs when they are used as the basis of or justifications for promoting employees, increasing or decreasing individual pay levels, or selecting employees for new opportunities in the organization. Similar considerations apply where pay rates are determined as a result of performance ratings. Sometimes the law will also affect the evaluation of performance of employees and sometimes these subjective judgments can introduce bias into the system. In Brito v. Zia Company, the companys performance evaluation instrument was invalid because it did not relate to important elements in the jobs for which employees were being evaluated. Other performance evaluation lawsuits have dealt with sex, race, and age discrimination in terminations, promotions, and layoffs. Maclean, J., (2001), States that, when Canadian employment conducts an appraisal these laws prohibits discrimination based on race, religion, ethnic or national origin, sex and marital status. Problems that organization face while using 360-degree feedback would also include rate errors. Each source of feedback suffers from varying sources of potential rater error. (e.g., halo error, leniency or severity, attribution errors). By using all these differing sources of information means dealing with the all different potential avenues for rater error to seep into the evaluation. The second criticism is cost and confusion. It can often be very costly and tedious to implement a 360-degree program. The multiple sources of feedback are difficult to coordinate, may contradict each other, and are often confusing to sort out and process effectively. This puts the burden on the manager to filter through the material provided and refine in into a coherent evaluation. Critics also fear a negative attitude in 360-degree appraisal. The added sources of information may be used by a manager to bolster negative appraisals with a see I told you so approach. Finally employees alike worry about confidentiality. With so many sources of feedback about single individual floating around, it is feared that both rater and ratee may lose their rights to confidentiality. The problem with MBO is that it will be not applicable to all jobs; allocation of merit pay may result in setting short-term goals rather than important and long-term goals. Psychological appraisal would be slow and costly and may be useful for bright young members who may have considerable potential. However quality of these appraisals largely depends upon the skills of psychologists who perform the evaluation. Disadvantages for assessment centers will be Costs of employees traveling and lodging, psychologists, ratings strongly influenced by assessees inter-personal skills. Solid performers may feel suffocated in simulated situations. Those who are not selected for this also may get affected. Desseler,G., (2011), The number of things that can lead to bias during appraisals is limitless. One study focused on the raters personality. Raters who scored higher on conscientiousness tended to give their peers lower ratings , they were stricter, in other words, those scoring higher on agreeableness gave higher ratings, they were more lenient. Even the appraisals purpose biases the results. Unfortunately the appraisees personal characteristics also affect their ratings. Solutions for rating evaluations Rater training and orientation in 360-degree appraisal programs is becoming increasingly popular. Research shows that most of the American companies used to train their raters in order to minimize the problem occur during the appraisal. This training introduces employees to the concept of multiple source feedback, and it makes them aware of rater error and methods to diminish it. Rating formats that focus on the frequency of specific behaviors can also help to limit sources of errors. Desseler, G., (2011), Computer appraisal software makes dealing with the glut of incoming information easier to handle. This software can also present the wealth of available data in a simple format to give to or discuss with the employee. Desseler, G., (2011), Overall 360-degree appraisal systems provide a wealth of information about an employees behavior that might be unavailable in traditional manager evaluation formats. Customers (both internal and external), peers, subordinates, and others may all have access to unique performance data that can provide a truer picture of the individuals performance. This method of evaluation can also provide information on the state of the companys goals and needs. For example, Digital executives use the feedback from external customers to determine if the strategic plan they laid out is flattering down to employees. Federal express uses a 360 -degree feedback system as the foundation of objective goal setting. By receiving information from internal and external customers, an individual gains feedback as to what areas are seen as superior and what areas are seen as deficient. Desseler, G., (2011), this feedback is then used in a management by objectives system to define the goals for that individual according to the needs of his or her customers. These new goals help to focus employee on what is required to improve performance and achieve customer satisfaction at the same time. According to Taylor, S., (2002), we can conclude that the assessment centers will be more flexible. They are not purchased off-the-shelf like psychometric test, and are not time restricted as interviews. There is therefore a plenty of scope to introduce exercises that are of specific relevance to the job and the organization involved. For this reason, each center is likely to differ from others to a considerable degree. That said a number of exercises and types of exercises associated with assessment centers are frequently included. Desseler, G., (2011), States that well-conducted assessment center can achieve better forecasts of future performance and progress than other methods of appraisals. Also reliability, content validity and predictive ability are said to be high in assessment centers. The tests also make sure that the wrong people are not hired or promoted. Finally it clearly defines the criteria for selection and promotion. Garry Desseler, (2011), Many of American top companies have set up assessment centers where they can first interview potential employees, then evaluate them in real work situation. It provides an excellent way to evaluate an individuals capabilities so perform and entry level management job. Donald et.al, (2008), When the organization uses MBO techniques, it will increases the employees involvement in setting performance objectives and concomitantly increase the motivation required to reach those objectives. On the same time it offers and objective factual basis for measuring accomplishment and also it emphasizes results, not traits or personality characteristics. MBO is entirely job centered; it supports the psychological concept that people will exercise self direction and self control in the accomplishment of organizational objectives that they have participated in settings. Sommerville (2007), argue that performance appraisal must be free from discrimination. The appraisal criteria, the methods and documentation must be designed to ensure that they are all job related. Otherwise there will be a possibility that an employee may challenge decisions made by management based upon a flawed appraisal system in court because managers and supervisors have said or done something that has adversely affect their e employees. The Recommendations for a legally defensible appraisal system would include Procedures must not differ because of race, sex, national origin, religion, or age Use objective, non-rated, uncontaminated data A formal system of review or appeal should be available for disagreement over appraisals Use more than one independent evaluator Use a formal, standardized system for evaluation Avoid ratings on traits, such as dependability, drive, aptitude, and attitude Improvement of performance appraisals Performance appraisals usually can be improved vastly. The manager should be prepared adequately before conducting a performance appraisal interview. Many managers seem too busy to gather the needed information or to plan for an interview, resulting in frustration and confusion for the employee. The performance appraisal interview is too important and has too great an impact upon the organizational climate to be conducted without necessary information and preparation (Nelda et.al, ND). Hannah Paul, (2009) it is a usual practice in most places that, managers conduct appraisals just to justify pay increase or decrease, forgetting that the sole purpose of performance appraisal is not salary increase or decrease, but the development of employee skills and the improvement of work in the office. Besides that, it is also important to give employees feedback (whether it is a matter of money or not), on the work that they are doing. This helps build employee morale and motivates them to work even better, whereas it is also important to give critical feedback to employees, so they can get their act together. The focus of managers on performance appraisals at the end of the year, instead of working towards improving performance during the year is the main problem today. If managers focused their attention to helping employees improve their job performance it would make it easier for them to analyze it at the end of the year, instead of just rating employees based on numbers or personality traits, which is neither accurate nor fair to the employees. If managers and supervisors were to understand how much they themselves would benefit from doing this, it would make their job much easier. Recommendation Debora, F.B., et.al, (1997), one of the first steps in developing an effective performance evaluation system is to determine the organizations objectives. These are then translated into departmental and then individual position objectives working with employees to agree their personal performance targets. This allows the employee to know up front the standards by which his/her performance will be evaluated. This process involves clarifying the job role, job description and responsibilities explaining how the role and responsibilities contribute to wider goals, why individual and team performance is important and just what is expected within the current planning period. Objectives developed in this way should be reflective of the organizational goals and provide linkages between employee and organizational performance. After studying the methods that used to evaluate employee performances the best method that I could find was 360-degree feedback method and MBO method. These two methods helps to evaluate employees performance with all the important factors that an employee needs to improve in order to improve the individual levels as well as organizational level. Managers can use these two methods to evaluate employees performance and give feedback to employees about their strengths and weaknesses which they need to improve and after analyzing this, employees can work hard to achieve organizational goals to compete with others. Conclusion In conclusion it can be said that, performance appraisal is generally a performance measuring tool, It is not only to identify employees job performance but it also helps managers gain information that help them make their employees work more prolific. Also vital information can be gained so that organizations may recognize the difficulties that workers face in everyday work. However it should not be forgotten that this system has a lot of flaws, and may not always be ideal for companies, but it cannot be ignored. It is an inevitable procedure which no matter how much employees or managers try to ignore it, needs to be carried out, because without it employee evaluation is not possible. One can soften it by calling it development discussions or have them on a usual basis to identify areas of improvement, but it cannot be overlooked. Developing an effective performance appraisal system requires strong commitment, from top management: if the system does not provide the linkage between employee performance and organizational goals, it is bound to be less than completely effective.

Armenian Genocide Essay -- essays research papers

  Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚   Can you imagine yourself living during the time that WWI was going on? I’m pretty sure you’d be terrified to even walk out of your house. Like it wasn’t bad enough that the whole world was at each other’s throat, but to know that your country may be at the hands of another leader. A leader who may have different perspectives on every day life, with the benefit of doubt that it may be extremely foreign to you, is pretty scary. I’m pretty sure that it would make you or anyone else feel extremely unsafe and uncomfortable. But imagine being unaware of the underlying plan to â€Å"cleanse† your ethnic group. The Armenian people faced this situation during the time of WWI. Life between the Turks (Armenia’s rival) and the Armenians was very complex. Not all Armenians hated the Turks, and not all Turks hated the Armenians. Consequently, the Armenian people were not aware of any forms of annihilation that were being plotted at the time.   Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚  What exactly is the definition of a Genocide According to the World Book Dictionary, genocide means: The systematic extermination or destruction of a political, racial, or cultural group1. When the word genocide is brought up, many people usually think of the Holocaust. Although the Holocaust was a massive tragedy, many don’t recall the Armenian Genocide. The Armenian Genocide was just as terrifying as the Holocaust, and we should commemorate this tragedy. The people who are held responsible for this tragedy are a young group of Turks. Their plan was to exterminate all of the Armenian population. The Turks desired a Turkish State that extended to Central Asia, and thus to carry through the unity of the Turkish speaking people. This creation of such a state would create what they call â€Å"Pan-Turkism†2.   Ã‚  Ã‚  Ã‚  Ã‚  The Armenians had their first taste of aggression by the Turks on April 24, 19153. Three hundred Armenian leaders, writers, thinkers, and professionals in Constantinople were imprisoned in many parts of Turkey without any advanced warning. Shortly after they were imprisoned, they were brutally tortured and beaten by the Turkish authorities. Other methods of brutality included pulling out fingernails, teeth, and beards, branding on the chest with hot horseshoes and raising the feet abo... ...everal facts that backed up my thesis. My sixth grade teacher once told me that a genocide seeks no difference between men and women, between children and adults. That it understands no righteousness and tolerates no principle which invests life with meaning and individuals with rights. The Turks believed it was okay to kill a Armenian and to get away with it. They believed that it was okay to starve them and send them on â€Å"death marches†. They believed it was okay to rape the women, and it was okay to kill the men as well as the children. The Armenians were not humans in their eyes, they were considered animals, or even objects. Mechanically operated robots of some sort, who were expected to walk practically-forever, in the middle of a deserted desert with nothing living within hundreds of miles away. No one to witness the killings. No one to hear their cries for help. No one to come and rescue them. And the Turks are blameworthy. Between 1915-1923, more than one million Armenian lives were taken. It is described as the first genocide in the twentieth century. The people of Armenia suffered prolong despair, devastation, torture, and brutality that will remain in history forever.

Anne Fleche – the Space of Madness and Desire

Tennessee Williams exploits the expressionistic uses of space in the drama, attempting to represent desire from the outside, that is, in its formal challenge to realistic stability and closure, and in its exposure to risk. Loosening both stage and verbal languages from their implicit desire for closure and containment, Streetcar exposes the danger and the violence of this desire, which is always the desire for the end of desire. Writing in a period when U. S. rama was becoming disillusioned with realism, Williams achieves a critical distance from realistic technique through his use of allegory. In Blanche's line about the streetcar, the fact that she is describing real places, cars, and transfers has the surprising effect of enhancing rather than diminishing the metaphorical parallels in her language. Indeed, Streetcar's â€Å"duplicities of expression†(3) are even more striking in the light of criticism's recent renewal of interest in allegory. 4) For allegory establishes the distance â€Å"between the representative and the semantic function of language† (I89), the desire that is in language to unify (with) experience. Streetcar demonstrates the ways in which distance in the drama can be expanded and contracted, and what spatial relativism reveals about the economy of dramatic representation. Tennessee Williams' plays, filled with allegorical language, seem also to have a tentative, unfinished character. The metalanguage of desire seems to preclude development, to deny progress. And yet it seems â€Å"natural† to read A Streetcar Named Desire as an allegorical journey toward Blanche's apocalyptic destruction at the hands of her â€Å"executioner,† Stanley. The play's violence, its baroque images of decadence and lawlessness, promise its audience the thrilling destruction of the aristocratic Southern Poe-esque moth-like neuraesthenic female â€Å"Blanche† by the ape-like brutish male from the American melting-pot. The play is full in fact of realism's developmental language of evolution, â€Å"degeneration,† eugenics. Before deciding that Stanley is merely an â€Å"ape,† Blanche sees him as an asset: â€Å"Oh, I guess he's just not the type that goes for jasmine perfume, but maybe he's what we need to mix with our blood now that we've lost Belle Reve† (285). The surprising thing about this play is that the allegorical reading also seems to be the most â€Å"realistic† one, the reading that imposes a unity of language and experience to make structural sense of the play, that is, to make its events organic, natural, inevitable. And yet this feels false, because allegorical language resists being pinned down by realistic analysis — it is always only half a story. But it is possible to close the gap between the language and the stage image, between the stage image and its â€Å"double† reality, by a double forgetting: first we have to forget that realism is literature, and thus already a metaphor, and then we have to forget the distance between allegory and reality. To say that realism's empiricism is indistinguishable from metaphor is to make it one with a moral, natural ordering of events. Stanley is wrong and Blanche is right, the moralists agree. But the hypocrisy of the â€Å"priggish† reading is soon revealed in its ambivalence toward Blanche/Stanley: to order events sequentially requires a reading that finds Blanche's rape inevitable, a condition of the formal structure: she is the erring woman who gets what she â€Å"asks† for (her realistic antecedents are clear). For the prigs this outcome might not be unthinkable, though it might be — what is worse — distasteful. But Williams seems deliberately to be making interpretation a problem: he doesn't exclude the prigs' reading, he invites it. What makes Streetcar different from Williams' earlier play The Glass Menagerie (I944)(5) is its constant self-betrayal into and out of analytical norms. The realistic set-ups in this play really feel like set-ups, a magician's tricks, inviting readings that leave you hanging from your own schematic noose. Analytically, this play is a trap; it is brilliantly confused; yet without following its leads there is no way to get anywhere at all. Streetcar has a map, but it has changed the street signs, relying on the impulse of desire to take the play past its plots. In a way it is wrong to say Williams does not write endings. He writes elaborate strings of them. Williams has given Streetcar strong ties to the reassuring rhetoric of realism. Several references to Stanley's career as â€Å"A Master Sergeant in the Engineers' Corps† (258) set the action in the â€Å"present,† immediately after the war. The geographical location, as with The Glass Menagerie, is specific, the neighborhood life represented with a greater naturalistic fidelity: â€Å"Above he music of the ‘Blue Piano' the voices of people on the street can be heard overlapping† (243). Lighting and sound effects may give the scene â€Å"a kind of lyricism† (243), but this seems itself a realistic touch for â€Å"The Quarter† (4I2). Even the interior set, when it appears (after a similar wipe-out of the fourth wall), resembles The Glass Menagerie in lay-out and configuration: a ground-floor apartment, with two rooms separated by portieres, occupied by three characters, one of them male. Yet there are also troubling â€Å"realistic† details, to which the play seems to point. The mise en scene seems to be providing too much enclosure to provide for closure: there is no place for anyone to go. There is no fire escape, even though in this play someone does yell â€Å"Fire] Fire] Fire]† (390). In fact, heat and fire and escape are prominent verbal and visual themes. And the flat does not, as it seems to in The Glass Menagerie, extend to other rooms beyond the wings, but ends in a cul-de-sac — a doorway to the bathroom which becomes Blanche's significant place for escape and â€Å"privacy. † Most disturbing, however, is not the increased sense of confinement but this absence of privacy, of analytical, territorial space. No gentleman caller invited for supper invades this time, but an anarchic wilderness of French Quarter hoi polloi who spill onto the set and into the flat as negligently as the piano music from the bar around the corner. There does not seem to be anywhere to go to evade the intrusiveness and the violence: when the flat erupts, as it does on the poker night, Stanley's tirade sends Stella and Blanche upstairs to Steve and Eunice, the landlords with, of course, an unlimited run of the house (â€Å"We own this place so I can let you in† 48 ), whose goings-on are equally violent and uncontained. Stella jokes, â€Å"You know that one upstairs? more laughter One time laughing the plaster — laughing cracked — † (294). The violence is not an isolated climax, but a repetitive pattern of the action, a state of being – it does not resolve anything: BLANCHE I'm not used to such MITCH Naw, it's a shame this had to happen when you just got here. But don't take it serious. BLANCHE Violence] Is so MITCH Set down on the steps and have a cigarette with e. (308) Anxiety and conflict have become permanent and unresolvable, inconclusive. It is not clear what, if anything, they mean. Unlike realistic drama, which produces clashes in order to push the action forward, Streetcar disallows its events a clarity of function, an orderliness. The ordering of events, which constitutes the temporality of realism, is thus no less arbitrary in Streetcar than the ordering of spade: the outside keeps becoming the inside, and vice versa. Williams has done more to relativize space in Streetcar than he did in The Glass Menagerie, where he visualized the fourth wall: here the outer wall appears and disappears more than a half-dozen times, often in the middle of a â€Å"scene,† drawing attention to the spatial illusion rather than making its boundaries absolute. The effect on spatial metaphor is that we are not allowed to forget that it is metaphor and consequently capable of infinite extensions and retractions. As we might expect, then, struggle over territory between Stanley and Blanche (â€Å"Hey, canary bird] Toots] Get OUT of the BATHROOM]† 367 ) — which indeed results in Stanley's reasserting the male as â€Å"King† (37I6 and pushing Blanche offstage, punished and defeated — is utterly unanalytical and unsubtle: â€Å"She'll go] Period. P. S. She'll go Tuesday]† (367). While the expressionistic sequence beginning in Scene Six with Blanche's recollection of â€Å"The Grey oy† (355) relativizes space and time, evoking Blanche's memories, it also seems to drain her expressive power. By the time Stanley is about to rape her she mouths the kinds of things Williams put on screens in The Glass Menagerie: â€Å"In desperate, desperate circumstances] Help me] Caught in a trap† (400). She is establishing her emotions like sign-posts: â€Å"Stay back] †¦ I warn you, don't, I'm in danger]† (40I). What had seemed a way into Blanche's char acter has had the effect of externalizing her feelings so much that they become impersonal. In Streetcar, space does not provide, as it does in realistic drama, an objective mooring for a character's psychology: it keeps turning inside out, obliterating the spatial distinctions that had helped to define the realistic character as someone whose inner life drove the action. Now the driving force of emotion replaces the subtlety of expectation, leaving character out in space, dangling: â€Å"There isn't time to be — † Blanche explains into the phone (399); faced with a threatening proximity, she phones long-distance, and forgets to hang up. The expressionistic techniques of the latter half of he play abstract the individual from the milieu, and emotion begins to dominate the representation of events. In Scene Ten, where Blanche and Stanley have their most violent and erotic confrontation, the play loses all sense of boundary. The front of the house is already transparent; but now Williams also dissolves the rear wall, so that beyond the scene with Blanche and Sta nley we can see what is happening on the next street: A prostitute has rolled a drunkard. He pursues her along the walk, overtakes her and then is a struggle. A policeman's whistle breaks it up. The figures disappear. Some moments later the Negro Woman appears around the corner with a sequined bag which the prostitute had dropped on the walk. She is rooting excitedly through it. (399) The mise en scene exposes more of the realistic world than before, since now we see the outside as well as the inside of the house at once, and yet the effect is one of intense general paranoia: the threat of violence is â€Å"real,† not â€Å"remembered† and it is everywhere. The walls have become â€Å"spaces† along which frightening, â€Å"sinuous† shadows weave — â€Å"lurid,† â€Å"grotesque and menacing† (398-99). The parameters of Blanche's presence are unstable images of threatening â€Å"flames† of desire, and this sense of sexual danger seems to draw the action toward itself. So it is as though Blanche somehow â€Å"suggests† rape to Stanley — it is already in the air, we can see it being given to him as if it were a thought: â€Å"You think I'll interfere with you? Ha-ha] †¦ Come to think of it — maybe you wouldn't be bad to — interfere with†¦ † (40I). The â€Å"inner-outer† distinctions of both realistic and expressionistic representation are shown coming together here. Williams makes no effort to suggest that the â€Å"lurid† expressionistic images in Scene Ten are all in Blanche's mind, as cinematic point-of-view would: the world outside the house is the realistic world of urban poverty and violence. But it is also the domain of the brutes, whose â€Å"inhuman jungle voices rise up† (40I) as Stanley, snakelike, tongue between his teeth, closes in. The play seems to swivel on this moment, when the logic of appearance and essence, the individual and the abstract, turns inside-out, like the set, seeming to occupy for once the same space. It is either the demolition of realistic objectivity or the transition-point at which realism takes over some new territory. At this juncture â€Å"objective† vision becomes an â€Å"outside† seen from inside; for the abstraction that allows realism to represent truth objectively cannot itself be explained as objectivity. The surface in Scene Ten seems to be disclosing, without our having to look too deeply, a static primal moment beneath the immediacy of the action — the sexual taboo underneath realistic discourse: BLANCHE Stay back] Don't you come toward me another tep or I'll STANLEY What? BLANCHE Some awful thing will happen] It will] STANLEY What are you putting on now? They are now both inside the bedroom BLANCHE I warn you, don't, I'm in danger] (40I) What â€Å"will happen† in the bedroom does not have a name, or even an agency. The incestuous relation lies beyond the moral and social order of marriage and the family, adaptation and eugenics, not t o mention (as Williams minds us here) the fact that it is unmentionable. Whatever words Blanche uses to describe it scarcely matter. As Stella says, â€Å"I couldn't believe her story and go on living with Stanley† (405). The rape in Streetcar thus seems familiar and inevitable, even to its â€Å"characters,† who lose the shape of characters and become violent antagonists as if on cue: â€Å"Oh] So you want some roughhouse] All right, let's have some roughhouse]† (402). When Blanche sinks to her knees, it is as if the action is an acknowledgment. Stanley holds Blanche, who has become â€Å"inert†; he carries her to the bed. She is not only silent but crumpled, immobile, while he takes over control and agency. He literally places her on the set. But Williams does not suggest that Stanley is conscious and autonomous; on the contrary the scene is constructed so as to make him as unindividuated as Blanche: they seem, at this crucial point, more than ever part of an allegorical landscape. In a way, it is the impersonality of the rape that is most telling: the loss of individuality and the spatial distinctions that allow for â€Å"character† are effected in a scene that expressionistically dissolves character into an overwhelming mise en scene that, itself, seems to make things happen. The â€Å"meaning† of the rape is assigned by the play, denying â€Å"Stanley† and â€Å"Blanche† any emotion. Thus, the rape scene ends without words and without conflict: the scene has become the conflict, and its image the emotion. Perhaps Streetcar — and Williams — present problems for those interested in Pirandellian metatheatre. Metatheatre assumes a self-consciousness of the form; but Williams makes the â€Å"form† everything. It is not arbitrary, or stifling. Stanley and Blanche cannot be reimagined; or, put another way, they cannot be imagined to reimagine themselves as other people, in other circumstances entirely. Character is the expression of the form; it is not accidental, or originary. Like Brecht, Williams does not see character as a humanist impulse raging against fatal abstractions. (In a play like The Good Person of Setzuan, for example, Brecht makes a kind of comedy of this â€Å"tragic† notion — which is of course the notion of â€Å"tragedy. â€Å") Plays are about things other than people: they are about what people think, and feel, and yet they remove these things to a distance, towards the representation of thoughts and feelings, which is something else again. If this seems to suggest that the rape in Streetcar is something other than a rape, and so not a rape, it also suggests that it is as much a rape as it is possible for it to be; it includes the understanding that comes from exposing the essence of appearances, as Williams says, seeing from outside what we cannot see from within. At the same time, and with the same motion, the scene exposes its own scenic limitations for dramatizing that which must inevitably remain outside the scene — namely, the act it represents. Both the surface â€Å"street scene† and the jungle antecedents of social order are visible in the rape scene, thoroughly violating the norms of realism's analytical space. When Stanley â€Å"springs† at Blanche, overturning he table, it is clear that a last barrier has been broken down, and now there is no space outside the jungle. â€Å"We've had this date with each other from the beginning]† We have regressed to some awful zero-point (or hour) of our beginning. (A â€Å"fetid swamp,† Time critic Louis Kronenberger said of Williams' plays, by way of description. (7) We are also back at the heart of civilization, at its root, the incest taboo, and the center of sexuality, which is oddly enough also the center of realism — the family, where â€Å"sexuality is ‘incestuous' from the start. â€Å"(8) At the border of civilization and the swamp is the sexual transgression whose suppression is the source of all coercive order. Through allegory, W illiams makes explicit what realistic discourse obscures, forcing the sexuality that propels discourse into the content of the scene. The destruction of spatial oundaries visualizes the restless discourse of desire, that uncontainable movement between inside and outside. â€Å"Desire,† Williams writes in his short story â€Å"Desire and the Black Masseur† (I942-46), â€Å"is something that is made to occupy a larger space than that which is afforded by the individual being. â€Å"(9) The individual being is only the measure of a measurelessness that goes far out into space. â€Å"Desire† derives from the Latin sidus, â€Å"star† (â€Å"Stella for Star]† 250, 25I ); an archaic sense is â€Å"to feel the loss of†: the ndividual is a sign of incompleteness, not self-sufficiency, whose defining gesture is an indication of the void beyond the visible, not its closure. The consciousness of desire as a void without satisfaction is the rejection o f realism's â€Å"virtual space,† which tried to suggest that its fractured space implied an unseen totality. Realism's objectivity covered up its literariness, as if the play were not created from nothing, but evolved out of a ready-made logic, a reality one had but to look to see. But literature answers the desire for a fullness that remains unfulfilled — it never intersects reality, never completes a trajectory, it remains in orbit. The nothing from which literature springs, whole, cannot be penetrated by a vision, even a hypothetical one, and no time can be found for its beginning. As Paul de Man reasons in his discussion of Levi-Strauss' metaphor of â€Å"virtual focus,† logical sight-lines may be imaginary, but they are not â€Å"fiction,† any more than â€Å"fiction† can be explained as logic: The virtual focus is a quasi-objective structure osited to give rational integrity to a process that exists independently of the self. The subject merely fills in, with the dotted line of geometrical construction, what natural reason had not bothered to make explicit; it has a passive and unproblematic role. The â€Å"virtual focus† is, strictly speaking, a nothing, but its nothingness concerns us very little, since a mere act of r eason suffices to give it a mode of being that leaves the rational order unchallenged. The same is not true of the imaginary source of fiction. Here the human self has experienced the void within itself and the invented fiction, far from tilling the void, asserts itself as pure nothingness, our nothingness stated and restated by a subject that is the agent of its own instability. (I9) Nothingness, then, the impulse of â€Å"fiction,† is not the result of a supposed originary act of transgression, a mere historical lapse at the origin of history that can be traced or filled in by a language of logic and analysis; on the contrary fiction is the liberation of a pure consciousness of desire as unsatisfied yearning, a space without boundaries. Yet we come back to Blanche's rape by her brother-in-law, which seems visibly to re-seal the laws of constraint, to justify that Freudian logic of lost beginnings. Reenacting the traumatic incestuous moment enables history to begin over again, while the suppression of inordinate desire resumes the order of sanity: Stella is silenced; Blanche is incarcerated. And if there is some ambivalence about her madness and her exclusion it is subsumed in an argument for order and a healthy re-direction of desire. In the last stage direction, Stanley's groping fingers discover the opening of Stella's blouse. The final set-up feels inevitable; after all, the game is still â€Å"Seven-card stud,† and aren't we going to have to â€Å"go on† by playing it? The play's turn to realistic logic seems assured, and Williams is still renouncing worlds. He points to the closure of the analytical reading with deft disingenuousness. Closure was always just next door to entrapment: Williams seems to be erasing their boundary-lines. Madness, the brand of exclusion, objectifies Blanche and enables her to be analyzed and confined as the embodiment of non-being, an expression of something beyond us and so structured in language. As Stanley puts it, â€Å"There isn't a goddam thing but imagination] †¦ And lies and conceit and tricks]† (398). Foucault has argued, in Madness and Civilization, that the containment of desire's excess through the exclusion of madness creates a conscience on the perimeters of society, setting up a boundary between inside and outside: â€Å"The madman is put into the interior of the exterior, and inversely† (II). (I0) Blanche is allegorically a reminder that liberty if taken too far can also be captivity, just as her libertinage coincides with her desire for death (her satin robe is a passionate red, she calls Stanley her â€Å"executioner,† etc. . And Blanche senses early on the threat of confinement; she keeps trying perversely) to end the play: â€Å"I have to plan for us both, to get us both — out]† she tells Stella, after the fight with Stanley that seems, to Blanche, so final (320). But in the end the play itself seems to have some troub le letting go of Blanche. Having created its moving boundary line, it no longer knows where to put her: what â€Å"space† does her â€Å"madness† occupy? As the dialogue suggests, she has to go – somewhere; she has become excessive. Yet she keeps coming back: â€Å"I'm not quite ready. â€Å"Yes] Yes, I forgot something]† (4I2 4I4). Again, as in the rape scene, she is chased around the bedroom, this time by the Matron, while â€Å"The ‘Varsouviana' is filtered into a weird distortion, accompanied by the cries and noises of the jungle,† the â€Å"lurid,† â€Å"sinuous† reflections on the walls (4I4). The Matron's lines are echoed by â€Å"other mysterious voices† (4I5) somewhere beyond the scene; she sounds like a â€Å"firebell† (4I5). â€Å"Matron† and â€Å"Doctor† enter the play expressionistically, as functional agents, and Blanche's paranoia is now hers alone: the street is not visible. The walls do not disintegrate, they come alive. Blanche is inside her own madness, self-imprisoned: her madness is precisely her enclosure within the image. (II) In her paranoid state, Blanche really cannot â€Å"get out,† because there no longer is an outside: madness transgresses and transforms boundaries, as Foucault notes, â€Å"forming an act of undetermined content† (94). It thus negates the image while imprisoned within it; the boundaries of the scene are not helping to define Blanche but reflecting her back to herself. Blanche's power is not easy to suppress; she is a eminder that beneath the appearance of order something nameless has been lost: â€Å"What's happened here? I want an explanation of what's happened here. † she says, â€Å"with sudden hysteria† (407-8). It is a reasonable request that cannot be reasonably answered. This was also Williams' problem at the end of The Glass Menagerie: how to escape from the image when it seems to have bee n given too much control, when its reason is absolute? Expressionism threatens the reason of realistic mise en scene by taking it perhaps too far, stretching the imagination beyond limits toward an absoluteness of the image, a desire of desire. The â€Å"mimetic† mirror now becomes the symbol of madness: the image no longer simply reflects desire (desire of, desire for), but subsumes the mirror itself into the language of desire. When Blanche shatters her mirror (39I) she (like Richard II) shows that her identity has already been fractured; what she sees in the mirror is not an image, it is indistinguishable from herself. And she cries out when the lantern is torn off the lightbulb, because there is no longer a space between the violence she experiences and the image of that violence. The inner and the outer worlds fuse, the reflecting power of the image is destroyed as it becomes fully self-reflective. The passion of madness exists somewhere in between determinism and expression, which at this point â€Å"actually form only one and the same movement which cannot be dissociated except after the fact. â€Å"(I2) But realism, that omnivorous discourse, can subsume even the loss of the subjective-objective distinction — when determinism equals expression — and return to some quasi-objective perspective. Thus at the very moment when all space seems to have been conquered, filled in and opened up, there is a need to parcel it out again into clearly distinguishable territories. Analysis imprisons desire. At the end of A Streetcar Named Desire, there is a little drama. Blanche's wild expressionistic images are patronized and pacified by theatricality: â€Å"I — just told her that — we'd made arrangements for her to rest in the country. She's got it mixed in her mind with Shep Huntleigh† (404-5). Her family plays along with Blanche's delusions, even to costuming her in her turquoise seahorse pin and her artificial violets. The Matron tries to subdue her with physical violence, but Blanche is only really overcome by the Doctor's politeness. Formerly an expressionistic â€Å"type,† having â€Å"the unmistakable aura of the state institution with its cynical detachment† (4II), the Doctor †¦ takes off his hat and now he becomes personalized. The unhuman quality goes. His voice is gentle and reassuring s he crosses to Blanche and crouches in front of her. As he speaks her name, her terror subsides a little. The lurid reflections fade from the walls, the inhuman cries and noises die our and her own hoarse crying is calmed. 4I7) Blanche's expressionistic fit is contained by the Doctor's realistic transformation: he is particularized, he can play the role of gentleman caller. â€Å"Jacket, Doctor? † the Matron asks him. † He smiles †¦ It won't be necessary† (4I7-I8). As they exit, Blanche's visionary excesses have clearly been surrendered to him: â€Å"She allows him to lead her as if she were blind. † Stylistically, he, realism replaces expressionism at the exact moment when expressionism's â€Å"pure subjectivity† seems ready to annihilate the subject, to result in her violent subjugation. At this point the intersubjective dialogue returns, clearly masking indeed blinding — the subjective disorder with a assuring form. If madness is perceived as a kind of â€Å"social failure,†(I3) social success is to be its antidote. Of course theater is a cure for madness: by dramatizing or literalizing the image one destroys it. Such theatricality might risk its own confinement in the image, and for an instant there may be a real struggle in the drama between the image and the effort to contain it. But the power of realism over expressionism makes this a rare occasion. For the â€Å"ruse,† Foucault writes, â€Å"†¦ ceaselessly confirming the delirium , does not bind it to its own truth without at the same time linking it to the necessity for its own suppression† (I89). Using illusion to destroy illusion requires a forgetting of the leap of reason and of the trick it plays on optics. To establish order, the theatrical device repeats the ordering principle it learns from theater, the representational gap between nature and language, a gap it has to deny: â€Å"The artificial reconstitution of delirium constitutes the real distance in which the sufferer recovers his liberty† (I90). In fact there is no return to â€Å"intersubjectivity,† just a kind of formal recognition of it: â€Å"Whoever you are — I have always depended on the kindness of strangers. † Streetcar makes the return to normality gentle and theatrical, while â€Å"revealing† much more explicitly than The Glass Menagerie the violence that is thereby suppressed. This violence is not â€Å"reality,† but yet another theater underneath the theater of ruse; the cure of illusion is ironically â€Å"effected by the suppression of theater† (I9I). The realistic containment at the end of Streetcar hus does not quite make it back all the way to realism's seamlessly objective â€Å"historical† truth. History, structured as it is by â€Å"relations of power, not relations of meaning,†(I4) sometimes assumes the power of reality itself, the platonic Form behind realism, so to speak, When it becomes the language of authority, history also assumes the authorit y of language, rather naively trusting language to be the reality it represents. The bloody wars and strategic battles are soon forgotten into language, the past tense, the fait accompli. Useless to struggle against the truth that is past: history is the waste of time and the corresponding conquest of space, and realism is the already conquered territory, the belated time with the unmistakable stamp of authenticity. It gets applause simply by being plausible; it forgets that it is literature. To read literature, de Man says, we ought to remember what we have learned from it — that the expression and the expressed can never entirely coincide, that no single observation point is trustworthy (I0-II). Streetcar's powerful explosion of allegorical language and expressionistic images keeps its vantage point on the move, at a remove. Every plot is untied. Realism rewards analysis, and Williams invites it, perversely, but any analysis results in dissection. To provide Streetcar with an exegesis seems like gratuitous destruction, â€Å"deliberate cruelty. † Perhaps no other American writer since Dickinson has seemed so easy to crush. And this consideration ought to give the writer who has defined Blanche's â€Å"madness† some pause. Even the critical awareness of her tidy incarceration makes for too tidy a criticism. In Derrida's analysis of Foucault's Madness and Civilization, he questions the possibility of â€Å"historicizing† something that does not exist outside of the imprisonment of history, of speech — madness â€Å"simply says the other of each determined form of the logos. â€Å"(I5) Madness, Derrida proposes, is a â€Å"hyperbole† out of which â€Å"finite-thought, that is to say, history† establishes its â€Å"reign† by the â€Å"disguised internment, humiliation, fettering and mockery of the madman within us, of the madman who can only be a fool of a logos which is father, master and king† (60-6I). Philosophy arises from the â€Å"confessed terror of going mad† (62); it is the â€Å"economic† embrace of madness (6I-62) To me then Williams' play seems to end quite reasonably with a struggle, at the point in the play at which structure and coherence must assert themselves (by seeming to) — that is, the end of the play. The end must look back, regress, so as to sum up and define. It has no other choice. The theatrical ending always becomes, in fact, the real ending. It cannot remain metaphorically an â€Å"end† And what is visible at the end is Blanche in trouble, trapped, mad. She is acting as though she believed in a set of events — Shep Huntleigh's rescue of her — that the other characters, by their very encouragement, show to be unreal. There is a fine but perhaps important line here: Blanche's acting is no more convincing than theirs; but — and this is a point Derrida makes about madness — she is thinking things before they can be historicized, that is, before they have happened or even have been shown to be likely or possible (reasonable). Is not what is called finitude possibility as crisis? † Derrida asks (62). The other characters, who behave as if what Blanche is saying were real, underline her absurdity precisely by invoking reality. Blanche's relations to history and to structural authority are laid bare by this â€Å"forced† ending, in which she repeatedly questions the meaning of meaning: â€Å"What has happened here? † This question implies the relativity of space and moment, and so of â€Å"ev ents† and their meanings, which are at-this point impossible to separate. That is why it is important that the rape suggest an overthrow of meaning, not only through a stylized emphasis on its own representation, but also through its strongly relativized temporality. (Blanche warns against what â€Å"will happen,† while Stanley says the event is the future, the fulfillment of a â€Å"date† or culmination in time promised â€Å"from the beginning. â€Å") Indeed, the problem of madness lies precisely in this gap between past and future, in the structural slippage between the temporal and the ontological. For if madness, as Derrida suggests, can exist at all outside of opposition (to reason), it must exist in â€Å"hyperbole,† in the excess prior to its incarceration in structure, meaning, time, and coherence. A truly â€Å"mad† person would not objectify madness — would not, that is, define and locate it. That is why all discussions of â€Å"madness† tend to essentialize it, by insisting, like Blanche's fellow characters at the end of Streetcar, that it is real, that it exists. And the final stroke of logic, the final absurdity, is that in order to insist that madness exists, to objectify and define and relate to it, it is necessary to deny it any history. Of course â€Å"madness† is not at all amenable to history, to structure, causality, rationality, recognizable â€Å"though† But this denial of the history of madness has to come from within history itself, from within the language of structure and â€Å"meaning. † Blanche's demand to know â€Å"what has happened here† — her insistence that something â€Å"has happened,† however one takes it — has to be unanswerable. It cannot go any further. In theatrical terms, the â€Å"belief† that would make that adventure of meaning possible has to be denied, shut down. But this theatrical release is not purifying; on the contrary, it has got up close to the plague, to the point at which reason and belief contaminate each other: the: possibility of thinking madly. Reason and madness can cohabitate with nothing but a thin curtain between. And curtains are not walls, they do not provide solid protection. (I6) Submitting Williams' allegorical language to ealistic analysis, then, brings you to conclusions: the imprisonment of madness, the loss of desire. The moral meaning smooths things over. Planning to â€Å"open up† Streetcar for the film version with outside scenes and flashbacks, Elia Kazan found it would not work — he ended up making the walls movable so they could actually close in more with every scene. (I7) The sense of entrapment was fundamental: Williams' dramatic language is its elf too free, too wanton, it is a trap, it is asking to be analyzed, it lies down on the couch. Kazan saw this perverse desire in the play — he thought Streetcar was about Williams' cruising for tough customers: The reference to the kind of life Tennessee was leading rear the time was clear. Williams was aware of the dangers he was inviting when he cruised; he knew that sooner or later he'd be beaten up. And he was. (35I) But Kazan undervalues the risk Williams is willing to take. It is not just violence that cruising invites, but death. And that is a desire that cannot be realized. Since there is really no way to get what you want, you have to put yourself in a position where you do not always want what you get. Pursuing desire requires a heroic vulnerability. At the end of â€Å"Desire and the Black Masseur† the little masochistic artist/saint, Anthony Burns, is cannibalized by the masseur, who has already beaten him to a pulp. Burns, who is thus consumed by his desire, makes up for what Williams calls his â€Å"incompletion. † Violence, or submission to violence, is analogous to art, for Williams: both mask the inadequacies of form. Yes, it is perfect,† thinks the masseur, whose manipulations have tortured Bums to death. â€Å"It is now completed]†(I8) NOTBS I Tennessee Williams, A Streetcar Named Desire, in The Theatre of Tennessee Williams, vol. I (New York, I97I), 246. Subsequent references are to this edition and rear nod by page number in the text. 2 See Conversations with Tennessee Williams, ed. Albert J. Devlin (Jackson, Miss . , I986). 3 Paul de Man, Blindness and Insight: Essays in the Rhetoric of Contemporary Criticism, 2nd ed. , revised (Minneapolis, I983), I2. See de Man, Blindness and Insight, I87ff, where he outlines the critical movements in Western Europe and the U. S. that have thus â€Å"openly raise d the question of the intentionality of rhetorical figures† (I88). Among the critics he cites are Walter Benjamin, Roland Barthes, and Michel Foucault (to whose work I will turn later in this essay). Subsequent references to Blindness and Insight are noted by page number in the text. 5 Tennessee Williams, The Gloss Menagerie (New York, I97I). 6 Stanley is quoting Huey Long. 7 See Gore Vidal's â€Å"Introduction† to Tennessee Williams' Collected Short Stories (New York, I985) xxv. 8 Michel Foucault, The History of Sexuality, vol. I: An Introduction, trans. Robert Hurley (New York, I978), I08-9. 9. Tennessee Williams, â€Å"Desire and the Black Masseur,† in Collected Stories (New York, I985), 2I7. I0 Michel Foucault, Madness and Civilization: A History of Insanity in the Age of Reason, trans. Richard Howard (New York, I965). II. Ibid. , 94. I2 Ibid. , 88. I3 Ibid. , 259-60. Subsequent references are noted by page number in the text. I4 Michel Foucault, Power/Knowledge: Selected