Jollibee Foods and Corporation Essay

Jollibee Foods and Corporation have a good mission/vision statement because it is possible, reachable and curative. There are lots of people, when they are having difficulties; their hobby is to go to a place where they can eat plenty of foods to avoid thinking about their problems. It may help problematic persons to become happy even just for a while. Also, Jollibee is well-known to most Filipino children with it’s ‘’Be Happy’’ trademark. It really attracts people due to the fact that you may really feel happy every time you hear it or even see it. That’s why, aside from the children, even teenagers, adults or I may say the whole members of a family would love to come and eat at Jollibee. The company did well with its mission and its existence is really worth it. However, Jollibee’s vision statement is doing well too. With Jollibee’s rapid growth, it had reached Filipino workers in some other part of the world like United States and Hong Kong. Jollibee then offers Filipino foods instead of the usual menu such as burgers and fries so that Pinoy customers will overcome their loneliness of being far from their country land where their love ones are. The company did a great job because Jollibee is well-loved by the Overseas Filipino Workers (OFW) until now. So as to compare with any other top brands, Jollibee emphasized ‘’happiness’’ that made them as one of the leading fast food chain in the Philippines.

Visual Analysis

Visual Analysis of Mediated Images Though a visual may be analysed in many ways, of late a convention has been established to study under Six major schools of thought. 1. The personal perspective deals with an emotional subjective opinion. ‘What do I think of the picture’. It’s the first response or first thought that crosses your mind on viewing the picture. It bears personal bias and prejudices. 2. The historical perspective helps to determine the importance of the work based on the time period that it was created in. ‘When was this created?What was the social setup at that period of time? 3. The technical perspective tries to draw a relation b/w the medium and the message. ‘What medium has been used to create the message? How has the creator expressed himself through the medium chosen. 4. The ethical perspective looks at the moral and ethical responsibilities of the artist. ‘What are the moral responsibilities of the creator? Is his portrayal of the image ethical? 5. The cultural perspective relates the symbols used in the image to the society. ‘What symbols has the creator used?What is the message conveyed by them? 6. The critical perspective is a rational conclusion that the viewer draws from the image. It is a personal reaction though free of bias and prejudice. ‘What have I concluded after critically analyzing the picture? How different was my first opinion from the second? Aim of Critical analysis: A producer of messages must have an understanding of the culture of the audience and use symbols that are comprehensible by them. It helps a viewer understand, interpret and appreciate art. List all the  Objects and  ElementsOne must notice all the objects and elements in the picture and draw a distinction between the most important and the less important. The placements of elements gives a sense of movement within the picture hence the positioning of objects must be noted. Centre, left, right, top and bot tom. Shadows and lighting suggest what part is in focus and give a sense of depth. The location helps in interpretation of the message. One must categorize the purpose as news, art, personal, or any other. The List †¢ 4 girls †¢ Water †¢ Old building †¢ Small boys †¢ Road The Composition Placement of Objects Foreground: Girls in centre †¢ Background: Water + Kids (left) playing †¢ Background: Brightly lit Building on the right †¢ Background: High contrast / Darker building behind the boys The girls in the centre are the subject of the picture. The water in the background seems to be coming from a nearby hose pipe or fire hydrant. The girls seem drenched in water. One can see small boys still playing in the water in the background. Study visual cues Shadows and lighting †¢Illuminated building on right hand side †¢Light source is in front of the girls at an angle above them †¢Building behind the boys is in shady regionThe light an d shadow suggests its little after 15:00 hours. It sets the mood of summer and playful indulgence of kids by drenching themselves. There is a sense of innocence. Study visual cues†¦ Colour †¢Objective- perception of colour & its characteristics †¢Comparative- association of colour with objects, events, emotions †¢Subjective- Every different colour has different associations in different cultures and societies. †¢The girls dark complexion. †¢The light shades worn suggests summer season. †¢The dark shades suggests old and shanty town. Form The triangle shape of the girls is a dynamic shape. ts base gives a sense of stability. They are also in a group and seem like a whole unit. The buildings give a sense of serenity and form the base for the girls that seem in front of it. ‘Eight' depth Cues Many representational visual texts give a very strong feeling of depth despite the fact that they are painted on flat surfaces that lack any depth. In tryi ng to depict depth, there are several restrictions on the techniques that an artist can use. First, most visual texts, like paintings, drawings, illustrations, and photographs, are two-dimensional.There is no actual depth in the artwork so one must understand, at least intuitively, what information is in the environment that allow us to perceive depth. These sources of information are commonly called depth or distance cues. A consequence of the two-dimensional nature of painting and pictures is that we lose all the depth information that comes from the fact that we have two eyes. These binocular, or two-eye, depth cues require true depth and thus we will not discuss them in context with conventional visual texts. For example, there is the binocular depth cue called disparity.Disparity arises from the fact that our two eyes have a slightly different view of the world. To allow you to see disparity requires either real depth or two images developed as if from different positions like our eyes. The artist, in trying to paint or draw, is, therefore, limited to depth cues that (a) need no more than one eye to work, and (b) do not require a moving world. Fortunately there are a collection of such depth cues, a subset of monocular cues called pictorial cues by some authors (Goldstein, 1989). 1. Interposition 2. Space 3. Size 4. Colour 5. Lighting 6. Textural gradient 7. Time 8.Perspective 1. Interposition The first depth cue to be discussed here is interposition which is the partial blocking of a more distant object by a nearer object. Note how the the building is blocked by the girls. In fact, if you notice the kid behind the girls on your right is partially blocking the building too. But, it is the girls who land up blocking him too. Thus creating an illusion as to what is in the background and what is in the front. It is the interposition, overlap, that causes the sense of depth to arise. Usually the impression of depth caused by interposition alone is not very st rong.Notice the foreground figures of two girls with partially blocked figures of other two taking a piggy ride, which are all that are important for our present purposes. Here relative size and even relative height play little role in giving the depth order of the various figures (all the figures are roughly the same level and same size). Shadowing plays an important role in giving each of the figures their sense of three-dimensionality, but to tell who is in what position relative to another, the principle cue is interposition. 2. Space Space is the frame in which an image is located.With a natural scene, the space depends on how close you are to the subject. Standing in an open field gives the feeling of a large amount of space and enhances the feeling of depth. If an object is close to the eyes, depth perception is limited. Distance is related to space and helps in our perception of depth. There is a lot of space behind the girls suggesting they are far from the buildings. The w ater is in the background and the wet girls suggest they had been in the water previously. 3. Size Size can help create the illusion of the depth perception if the viewer is aware of the object’s actual size.A jumbo jet seen from a distance is a small bird sized object. If someone has no idea what the jumbo jets are, then the viewer does not react to this depth cue. Likewise, in this photograph we can guess average size (both height and size) and average size of two storied building in the backdrop we become aware of the depth (both in terms of space and distance) between the girls (foreground) and the building (background). Size, consequently, is closely related to our ability to determine an object’s distance. Distance is related to space and helps in our perception of depth. Size also is related to scale and mental attention.Without knowing an object’s size, we have to view it next to an object of known size in order to determine its size. 4. Colour Correct i nterpretation of colour, and especially lighting cues, allows the beholder to determine the shape of objects, and thus their arrangement in space. The colour of distant objects is also shifted towards the blue end of the spectrum. (e. g. distant mountains. ) Painters, notably Cezanne, employ â€Å"warm† pigments (red, yellow and orange) to bring features forward towards the viewer, and â€Å"cool† ones (blue, violet, and blue-green) to indicate the part of a form that curves away from the picture plane.High contrast pictures with great differences between light and dark tones seem closer than objects with more neutral tones colour. 5. Lighting The exact shape and description of the shadows changes depending on the direction of the light. There are certain general rules about shadows. First, in a place with only one source of light, e. g. outside, the shadows from all the objects in the area all go in the same direction. As a corollary of this rule, it is certainly true for all natural lights, and for most artificial lights, that the light comes from above to some degree.We do not usually experience getting illuminated from the floor. Second, for a solid object sticking up the side of the object in shadow is the side away from the light but for a hole in the ground, the shadow is on the side near the light. Shadow can play a very powerful role in defining form by giving the object a three-dimensional feel as in the title to this page. In addition, artists can take good advantage of shadow to define form by highlighting how different portions of an object are at different depths and herefore the object closer to the light will cast a shadow on the more distant object. Shadow can play a broader role in defining depth between objects since objects that are in shadow must be farther from the light than objects that are not in shadow. Differences in light intensities can communicate depth. Carefully crafted lighting design provides subject’s sep aration from background. If brightness level of the back light is slightly higher than the lights in front then this separation is more distinct. However, no backlight has been used in this photograph.Yet, the prevalence of shadows (largely in mid-space of the picture plane and the shows of the subject indicate subject’s volume and provides the viewer with reasonable illusion of depth perspective. 6. Textural gradient Related in a sense to relative size but a depth cue in its own right is what has been termed texture gradient. Most surfaces, such as walls and roads and a field of flowers in bloom, have a texture. As the surface gets farther away from us this texture gets finer and appears smoother (Gibson, 1950). A surface or field that recedes in depth has a texture that gets finer.That is very different from a wall where the surface is approximately the same distance from a person at all points. For example, imagine yourself standing and staring at a brick wall which, inste ad of receding in depth like a cobblestone road, rises up in front of you. Here the texture, in this case the brick alternating with the mortar, will have about the same roughness all over the surface and provide a clue that the surface does not recede in depth. In addition, texture may play a role in helping us determine the size of an object.Regardless of how far an object is away from us, it covers roughly the same amount of surface, and thus texture, which can help us determine the actual size of an object (Gibson, 1950). 7. Time Time and space are intricately related concepts that find expression in visual messages. In one sense, time as a depth cue refers to the first element a viewer sees in a frame. That picture will be in the foreground of the viewer’s mind, with other images seen later in the background. 8. Perspective It is a complex depth perception cue due to cultural factor which comes into play each time we try to interpret depth.However, Perspective, in the co ntext of vision and visual perception, is the way in which objects appear to the eye based on their spatial attributes, or their dimensions and the position of the eye relative to the objects. As objects become more distant, they appear smaller, because their angular diameter (visual angle) decreases. Perspective is also seen in the way the parallel lines of how railway tracks appear to be meeting at a distant point (the vanishing point) on the horizon. When used in this sense, the ‘horizon' is always at the level of the viewer's eye.Because the Earth is round, the true horizon (the line dividing the surface and the sky) is lower than this level. The difference is imperceptibly small when standing on the surface, but noticeable from great height (a person standing on a mountain can see further than someone at ground level). According to Evelyn Hatcher, there are three major forms of perspective which she details in her book Visual Metaphors: A Methodological Study in Visual Co mmunication. These are as follows: Illusionary Perspective: An illusionary perspective can be achieved through size, colour, lighting, interposition, and linear perspective.When you stand on a railroad track and look down the ties, the steel rails seem to converge into a single area, or vanishing point, in the distance. This trait of parallel lines when seen at a distance is called linear perspective. This aspect of illusionary perspective that provides the illusion of three dimensional depth in a painting or a photograph is what artists were trying to duplicate with the aid of Leonardo box and camera obscura. Geometrical Perspective: In geometrical perspective the artist shows near figures in the lower portion of the picture and objects farther away higher in the frame on a vertical line above the near object.This type of perspective is common among traditional Japanese and Mayan artwork. Children often exhibit this type of perspective in their drawings. Conceptual Perspective: Con ceptual perspective is compositional trait that relies on a more symbolic definition of depth perception than the other types of perspective. It can be divided into two types: multi-view and social. With the multi-view perspective, a viewer can see many different sides of an object at the same time. The picture is often an X-ray, or transparent, view of the object. Near objects overlap far objects only by the outside edges or lines that make up their shapes.Pablo Picasso liked to use this type of perspective. In social perspective the most important person in a group picture, a government or corporate leader, is larger in size than other, less important people. A viewer often assumes power relationships because of social perspective. In a picture of a couple the man’s dominance over the woman often is signified by the man being nearer and larger in the frame with his hand resting on or arm wrapped around the woman’s shoulder. Over the past three decades, the feminist m ovement has made advertisers and others more sensitive to nonverbal negative stereotypes such as these. Depth 8’ Depth cues 1. Interposition 2. Space 3. Size 4. Colour 5. Lighting 6. Textural gradient 7. Time 8. Perspective Many representational visual texts give a very strong feeling of depth despite the fact that they are painted on flat surfaces that lack any depth. In trying to depict depth, there are several restrictions on the techniques that an artist can use. First, most visual texts, like paintings, drawings, illustrations, and photographs, are two-dimensional. There is no actual depth in the artwork so one must understand, at least intuitively, what information is in the environment that allow us to perceive depth.These sources of information are commonly called depth or distance cues. A consequence of the two-dimensional nature of painting and pictures is that we lose all the depth information that comes from the fact that we have two eyes. These binocular, or two- eye, depth cues require true depth and thus we will not discuss them in context with conventional visual texts. For example, there is the binocular depth cue called disparity. Disparity arises from the fact that our two eyes have a slightly different view of the world.To allow you to see disparity requires either real depth or two images developed as if from different positions like our eyes. The artist, in trying to paint or draw, is, therefore, limited to depth cues that (a) need no more than one eye to work, and (b) do not require a moving world. Fortunately there are a collection of such depth cues, a subset of monocular cues called pictorial cues by some authors (Goldstein, 1989). The first depth cue to be discussed here is interposition which is the partial blocking of a more distant object by a nearer object. Note how the the building is blocked by the girls.Infact, if you notice the kid behind the girls on your right is partially blocking the building too. But, it is the gir ls who land up blocking him too. Thus creating an illusion as to what is in the background and what is in the front. It is the interposition, overlap, that causes the sense of depth to arise. Usually the impression of depth caused by interposition alone is not very strong. Notice the foreground figures of two girls with partially blocked figures of other two taking a piggy ride, which are all that are important for our present purposes.Here relative size and even relative height play little role in giving the depth order of the various figures (all the figures are roughly the same level and same size). Shadowing plays an important role in giving each of the figures their sense of three-dimensionality, but to tell who is in what position relative to another, the principle cue is interposition. There is a lot of space behind the girls suggesting they are far from the buildings. The water is in the background and the wet girls suggest they had been in the water previously. Movement â⠂¬ ¢The girls have moved fro near the water to the position they are in now.Where was the picture made? What do u think was its purpose? * The picture seems to be clicked in some Afro-American suburb. * It could have been taken to accompany a feature article on the summer heat. Personal Perspective * What do I think of the visual? * Omniphasism â€Å"All in Balance† * Rick Williams philosopher, photographer ; educator at the University of Oregon * Theory that combines the rational and intuitive aspects of the mind. Omniphasism was thought of by Rick Williams, a philosopher, photographer, and educator at the University of Oregon develop the theory Omniphasism.It’s a theory that attempts to combine the rational and intuitive aspects of the mind into a balanced whole. William uses 8 steps for analyzing a visual message, using his Omniphasism tech called a â€Å"personal Impact Assessment† What is my first emotional response to the visual? Do I like it? Dislike it? How do I feel about the image? Its a picture of teenage girls who have just played in water. It’s pleasant to look at. Personal Impact Assessment â€Å"Part of the idea of going from primary words to associative words to significant words is to move away from Literal interpretation of the photo to a symbolic understanding of it. ~  Rich Williams Personal Impact Assessment 8 Steps: 1. Take time with the image 2. List Primary Words 3. List associative words 4. Select the most important associative words 5. Pair primary and associative words 6. Relate each pair to yourself 7. Review your inner symbolism 8. Write a story Take time with the Image * Does the story Stimulate or Alienate? Its an isolated moment that rests on composition. * What is the story or message? Some girls played in the water to beat the heat. List Primary Words * Visual Cues * Objects * Feelings Primary words * Group of 4 girls * Water * Sun Old buildings * Light shade clothes List Associative Words Observ e each primary word and link it to your thought. One must write down all words that come to ones mind on reading each of the primary words. Associative words * Group of 4 girls :  happy, wet, Afro American * Water:  Hose pipe, Fire hydrant * Sun:  Summer, heat, daytime * Old buildings:  poor neighbourhood * Happy :  cool, relaxed Select the most important associative words Among the associative words one word would be closest to its primary word underline or select that word. This is the most important associative word.Choose one word out of the associative words for each primary word. Pair Primary and Associative words Write the primary and most important associative word together. * Group of 4 girls :  Afro American * Water:  Fire hydrant * Sun:  Summer-heat * Old buildings:  poor neighbourhood * Happy :  cool Relate each pair to Yourself Make note of the thoughts that come to your mind on viewing each pair of words. What does each pair suggest? * Group of 4 gi rls :  Afro american  poor * Water:  Fire hydrant  wet, sultry * Sun:  Summer-heat scorcher * Old buildings:  poor neighborhood unaffordability of luxury * Happy   cool  relief Review your Inner Symbolism See if the conclusions drawn from the pairs link to any conflict, event, emotion, value or feeling. * List inner conflicts, emotions, values or feelings The summer heat is hard to bear . Water is natures boon to mankind Write a story Add up all your thoughts and write a summary or a story. What is the story in the image? A group of Afro-American girls decide to cool of in the summer heat by playing with some water from a fire hydrant. Historical Perspective * When do you think was the image made? In the 1980’s or after. Is there a specific style that the image imitates? The historical perspective helps to understand current trends in terms of their roots in technology and philosophies of the past. Where did the image come from? What was the setup at that time ? What is the background of the image? these questions help us to infer meanings. Technical Perspective One can evaluate the production techniques. Has the producer used the technology at hand to its best in generating the message? Has it aided in delivering the message as intended effectively. * What medium has been used? film * What techniques were employed?A street shot clicked without the subject noticing it been taken * How was it produced? With an SLR camera * Is it of good quality? yes (look at grain size, gama, composition, content, shutter speed etc. ) Ethical Perspective This is the moral and ethical analysis of the visual. It applies to both the viewer and the producer of the visual. Categorical Imperative * Immanuel Kant, German philosopher from the east principality of KOnisberg 18th Century * Categorical (unconditional / without exception) * â€Å"Right is Right† * Do your duty The right thing must be done under even the most extreme conditions.Once a rule is es tablished for a proposed action or idea, behavior and actions must be consistently applied and always in accordance with it. One does his/ her duty. In the ethics of the 18th-century German philosopher Immanuel Kant, founder of critical philosophy, a moral law that is unconditional or absolute for all agents, the validity or claim of which does not depend on any ulterior motive or end. â€Å"Thou shalt not steal,† for example, is categorical as distinct from the hypothetical imperatives associated with desire, such as â€Å"Do not steal if you want to be popular. For Kant there was only one such categorical imperative, which he formulated in various ways. â€Å"Act only according to that maxim by which you can at the same time will that it should become a universal law† is a purely formal or logical statement and expresses the condition of the rationality of conduct rather than that of its morality, which is expressed in another Kantian formula: â€Å"So act as to tr eat humanity, whether in your own person or in another, always as an end, and never as only a means. † Utilitarianism Jeremy Bentham ; John Stuart Mill (British Philosophers) * Belief: â€Å"The greatest good for the greatest number of people† * Analysis of the consequence : Outcome must do good to most people In ethics, a tradition stemming from the late 18th- and 19th-century English philosophers and economists Jeremy Bentham and John Stuart Mill that an action is right if it tends to promote happiness and wrong if it tends to produce the reverse of happiness—not just the happiness of the performer of the action but also that of everyone affected by it.Utilitarianism is an effort to provide an answer to the practical question â€Å"What ought a man to do? † Its answer is that he ought to act so as to produce the best consequences possible. Eg: A gruesome image must be published or printed only if it would evoke a positive reaction in maximum of the viewe rs. Hedonism Hedonism is the philosophy that pleasure is of ultimate importance, the most important pursuit. The name derives from the Greek word for â€Å"delight†. * A student of Socrates, Aristippus founded this ethical philosophy on the basis of pleasure. Aristippus believed that people should â€Å"act to maximize pleasure† now and not worry about the future. * He referred to intellectual pleasure not physical. * Pleasures of the mind * â€Å"I Possess I am not Possessed† * Aesthetic pleasure that we get out of a picture Golden Mean  (Finding a compromise b/w the two extreme points of an action or view. In philosophy, especially that of Aristotle, the golden mean is the desirable middle between two extremes, one of excess and the other of deficiency. To the Greek mentality, it was an attribute of beauty.Both ancients and moderns realized that â€Å"there is a close association in mathematics between beauty and truth†. The poet John Keats, in his Od e on a Grecian Urn, put it this way: Beauty is truth, truth beauty, that is all Ye know on earth, and all ye need to know. The Greeks believed there to be three concomitants of beauty: symmetry, proportion, and harmony. This triad of principles infused their life. They were very much attuned to beauty as an object of love and something that was to be imitated and reproduced in their lives, architecture, Paideia and politics.They judged life by this mentality. Golden Rule * â€Å"Love your neighbor as yourself† * Be humane do not harm others by your actions The Golden Rule which stems from ethic of reciprocity is a fundamental moral value which â€Å"refers to the balance in an interactive system such that each party has both rights and duties, and the subordinate norm of complementarity states that one's rights are the other's obligation. † In essence, it is an ethical code that states one has a right to just treatment, and a responsibility to ensure justice for others .Reciprocity is arguably the most essential basis for the modern concept of human rights, though it is not without its critics. Many assign the imperative commandment of Golden Rule as instruction for a positive only form of reciprocity. A key element of the golden rule is that a person attempting to live by this rule treats all people, not just members of his or her in-group with consideration. The golden rule, with roots in a wide range of world cultures, is well suited to be a standard to which different cultures could appeal in resolving conflicts.Principal philosophers and religious figures have stated it in different ways. Veil of Ignorance John Rawls (1971) â€Å"Put the shoe on the other foot. * All people are equal * Eliminating all prejudice and discrimination The original position is a hypothetical situation developed by American philosopher John Rawls as a thought experiment to replace the imagery of a savage state of nature of prior political philosophers like Thomas H obbes. In social contract theory, persons in the state of nature agree to the provisions of a contract that defines the basic rights and duties of citizens in a civil society.In Rawls's theory, Justice as Fairness, the original position plays the role that the state of nature does in the classical social contract tradition of Thomas Hobbes, Jean-Jacques Rousseau, and John Locke. The original position figures prominently in his book, A Theory of Justice, and it is one of the most influential ideas in twentieth-century philosophy. It has influenced a variety of thinkers from a broad spectrum of philosophical orientations.As a thought experiment, the original position is a hypothetical designed to accurately reflect what principles of justice would be manifest in a society premised on free and fair cooperation between citizens, including respect for liberty, and an interest in reciprocity. Questions to be asked while analysing a visual from Ethical / Moral Perspective†¦ as per Dr Demi Elliot Poynter Jamison, chair, Media Ethics & Press Policy at the University of South Florida at St. Petersberg. 1. Does the taking and displaying of the picture fit the social responsibility of the professional involved? 2.Has any ones rights been violated in taking and displaying the picture? 3. Does the display of the image meet the needs of the viewer? 4. Is the picture aesthetically appealing? 5. Does the picture choice reflect moderation? 6. Does the professional choice reflect empathy for the subjects experience? 7. Could a professional justify the choice if he/she didn’t know which of the parties (subject, shooter or viewer) he/ she would turn out to be? 8. Does the visual Image cause unjustified harm Cultural Perspective * Identify the Symbols used, and * Determine their Meaning for the society as a whole. What is the story and the symbolism involved with the elements in the visual message? * What do they say about current cultural values? (It is related to the semiotic process) The story revolves around the Afro-American people in the United States of America. Historically, the country has been dominated by a settler society of religiously and ethnically diverse Whites. The heaviest burdens of racism in the country have fallen upon Native Americans, Asian Americans, African Americans, Latin Americans and some other immigrant groups and their descendants.Major racially structured institutions include slavery, Indian reservations, segregation, residential schools (for Native Americans), and internment camps. Racial stratification has occurred in employment, housing, education and government. Formal racial discrimination was largely banned in the mid-20th century, and it came to be perceived as socially unacceptable and/or morally repugnant as well, yet racial politics remain a major phenomenon as witnessed during the 44th Presidential Elections. Racist attitudes, or prejudice, are still held by moderate portions of the U. S population.Membe rs of every American ethnic group have perceived racism in their dealings with other groups. Critical Perspective An analysis of a visual to arrive at a ‘Rational', ‘Objective' and ‘Thoughtful' Conclusion. What is my final opinion about the picture? How does my current view differ from the previous? Conclusion â€Å"Analysis is ego-driven. The main thing is that it always reveals the person making the analysis — not really the piece itself? ~  David Lodge It’s a cyclic process. You will find below four images. You may undertake a visual analysis, based on what you have learnt so far:

The History and Evolution of the European Common Agricultural Policy

The years immediately following the Second World War, Europe was marked with food shortages, a situation that needed immediate and lasting action. The food supply must and will be secured, and agricultural production within the region revitalized. This necessity would then prompt the beginnings of a Common Agricultural Policy (CAP).The beginnings of CAPThe Cap has its roots in the signing of one of the Treaties of Rome[1] in 25 March 1957, which established the European Economic Community[2] (EEC). Article 38.4 of theTreaty Establishing the European Community refers specifically to the creation of a common agricultural policy among Member States that would accompany the implementation of a common market for agricultural products (3). Article 39 then presents the objectives of a common agricultural policy:1.  Ã‚  Ã‚  Ã‚  Ã‚   to increase agricultural productivity;2.  Ã‚  Ã‚  Ã‚  Ã‚   to ensure a fair standard of living;3.  Ã‚  Ã‚  Ã‚  Ã‚   to stabilize markets;4.  Ã‚  Ã‚  Ã‚      to assure availability of supplies;5.  Ã‚  Ã‚  Ã‚  Ã‚   to ensure that supplies reach consumers at reasonable prices. (3)The Stresa Conference[3] in July 1958 established the three key principles of the CAP namely: market unity (for free movement of agricultural products within the EU), financial solidarity (a communal treasury finances all of CAP’s expenses), and community preference (European products were to be given priority over products from outside the region) (Delayen 1). Finally, the year 1962 marked the CAP’s coming into force.The CAP started with the short-term goal of addressing the food supply problem by providing subsidies and granting high prices to farmers to produce more. There is a clear link between production and subsidy: the more farmers produce, the more they will earn.Aside from subsidies, the CAP also provided for financial assistance aimed at the development of farming: funds were directed towards farm management and enlargement, and acq uisition and management of proper and up-to-date technological skills.Moreover, the CAP created practical measures like aid for early retirement (to provide avenues for the next generation of farmers), assistance for training and development, and financial incentives for the less favored areas[4] (LFA).Farmers working in less favored areas are given compensation for income loses that they incur. (Rural development in the European Union 5) By the 1980s, the CAP was continuously seeing favorable results and agricultural production continued to increase. The CAP’s long-term goal of self-sufficiency is finally made secure.However, unhampered abundance in agricultural products led to a surplus—more than what the region could consume was being produced. Excess commodities were stored, distributed within the EU, or exported (supported by export subsidies) (The Common Agricultural Policy Explained 4).However, this was not enough—more costs were incurred, prices were dis torted, and negative environmental effects were becoming manifest. There was a growing concern towards environmental sustainability of agriculture and the CAP just had to cope with the changing times and circumstances.The milk quota in 1983 was just the beginning of a series of reforms. To control dairy production and costs, producers were given a certain quota. If producers go beyond their quota, taxes would be appended. Then in 1992, the Mac Sharry reform[5] introduced the vital direct payments. Production was limited and prices reduced, but farmers were given direct payments as compensation (Delayen 2).The EU also began taking the environmental aspect into consideration by providing incentives to farmers who apply farming measures that help in protecting the environment. With the coming of the new century, the food supply is secure and self-sufficiency not an issue anymore. The emphasis of the CAP has changed and therefore, policies must undergo an overhaul.The CAP todayChange wa s inevitable and necessary, thus, Agenda 2000[6] came into being. The reforms initiated focuses on increasing productivity and competitiveness of agriculture in the EU while taking environmental sustainability into account, and establishing clear rural development policies. It was also in Agenda 2000 that the system of funding was reorganized and a specific budget was set.Regarding productivity and competitiveness, the EU remains a strong player in the world market. With the coming of the Agenda 2000, price cuts were implemented (15% for cereals, 15% for dairy products, 20% for beef and veal) so as to stabilize supply and demand in the market (Agenda 2000—A CAP for the Future 1).The quality and circumstances involved in food production and the relationship between production and the environment has replaced the necessity of securing the food supply. In line with this, the CAP established agri-environment measures.Optional cross-compliance was introduced. Incentive is given an nually to farmers who commit to these agri-environment measures. However, non-compliance would mean reduction or cancellation of this incentive. The uncollected funds are then added to funds for rural development or agri-environment measures (Agenda 2000—A CAP for the Future 1).Funding under the Agenda 2000 is now divided into two pillars. Whereas before, funding of the CAP only provided for market management (market-related subsidies) and direct payments to farmers, it now has a second pillar to provide for rural development policies.Funding for the second pillar is financed by both the EU and individual Member States, and encompasses agri-environment measures, aid to farmers working in LFAs, and commitments to higher quality of food, and animal welfare.   (The Common Agricultural Policy—A Policy Evolving with the Times 4).

Love-2 Essay Example | Topics and Well Written Essays - 500 words

Love-2 - Essay Example Sappho’s poetry is very feminine portraying jealousy, insecurity, and she had a way of evoking the sight, tongue, heart etc. as though they belonged to someone else. In her poetry, passion reigns supreme. Naturally her poetry is old fashioned and it projects old-fashioned love. There are many differences between the two. Naturally Sappho’s lines are ancient and Eliot’s modern. Apart from this, Sappho has written in passionate fervour of love, whereas Eliot shows the most unromantic side of it. Sappho is bristling with the romance, passion and sexual desire, while Eliot’s love is dreary and without imagination. Her poetry brims with imagination and she even uses the limbs as external think tanks. On the contrary, Eliot does not show much imagination or creativity in this song. It is a dry, matter-of-fact kind of song showing a very ordinary life, devoid of all sophistication. Sappho creates a world full of love, peopled by lovers with imaginative and creative dreams and desires. In this song, T.S. Eliot shows the bare modernity with the basest things in life and here love does not create an aura, but an ordinary, drudgery like living together and going around together. In a way both these poets reflect the ancient approach and modern approach to love. In ancient days, love is considered to be an ethereal feeling, reserved only for the lucky few. Physical desires did exist, but they were clothed in decency and fascinating, yet erotic love. Even though Sappho’s poetry was extremely feminine, she does not vulgarise it. In the modern approach, love is shown more as sex and the mental involvement comes as an afterthought and the poets represent this basic difference in their

Letter from Birmingham Jail Essay Example | Topics and Well Written Essays - 1000 words

Letter from Birmingham Jail - Essay Example During the period of Martin Luther King, American society witnessed unethical, incredible and pathetic practice of discrimination between the white and black. Although this discrimination resulted in dissatisfaction among the Negros, their inefficiency and helplessness restricted them from taking any steps to break the bondage. They were treated as aliens in their own region, deprived of all sorts of freedom. Their religious churches and worship centers were also destroyed. Luther clearly explains why he has visited Birmingham. It is stated that the situation in the locality was worse and the Alabama Christian Movement for Human Rights could not resist the power of the authority. Hence, they invited him to overcome the existing crisis. The letter says that â€Å"several months ago the affiliate here in Birmingham asked us to be on call to engage in a nonviolent direct action program if such were deemed necessary† (King). He convinces the clergymen that being entrusted with mis sion of working for the society, he has desperately moved to the land so that he could uplift it. And now he is confined to his activities he had undertaken, and this he attributes to the unjust act of the ruling power. Moreover, he expresses dissatisfaction as he justifies the responsibility stating that he cannot sit idle or remain blind to the injustice happening to his fellow citizens. Every act is intention oriented. Similarly, this ‘Letter from Birmingham’ also intends a group of people, and they are none other than the clergymen. The reason behind writing the letter is to convince them why he has undertaken such movements. It is precisely to defend the criticism raised by the religious heads and his fellow clergymen. It clearly illustrates that the religions neither initiated nor allowed others to do so. Eventually, Luther does not simply target a few of the clergymen but the entire Christianity for being neutral to the situation. It is not a criticism against th e religion but a reminder of the unfair ignorance or negligence of basic responsibility the church displays. Luther is to point that the religion should understand the racial injustice or discrimination and react against it effectively. Since the church is his intended audience, indirectly he questions the responsibilities of the church. Luther strongly holds his view and answers his fellow clergymen who addressed his activities as ‘unwise and untimely’. Moreover, he shows his dedication to the asserted task by stating it beautifully â€Å"Seldom do I pause to answer criticism of my work and ideas† (King). Apart from this, Luther tells the clergymen who are the intended audience that if he and secretaries keep on answering the criticism placed on the table then there would have been no time to involve in the activities planned. And, he also states that what they have contributed is just criticisms; and it is evident from his statement, â€Å"you deplore the demo nstrations taking place in Birmingham† (King). What Luther could not tolerate is the comment made by the church on police force in a positive sense without understanding the real miseries of the Negros. Luther is takes a challenge since he is criticized for his timely actions as untimely. And he conveys the message that he would take further ‘

The Abecedarian Project and Early Childhood Intervention Essay

The Abecedarian Project and Early Childhood Intervention - Essay Example I feel that there is a difference between the results found in this controlled study project study and what is found in the regular preschool. The reason behind my argument is unlike the regular preschool, for this controlled study there was an early intervention which determined academic improvement as compared to the regular preschool where intervention was done during the school-age. The controlled study provided long-term support where the children were provided with year-round, full-time childcare unlike the other regular preschool children who had minimal support or in some cases none. The children of the controlled study received individualized attention where there was a high ratio of staff to the student in every stage of the program which most of the regular preschool children lack (Karoly 78). The controlled study children were provided with better privileges than the regular preschool children (Karoly 113). Among these privileges were free diapers, transportation, food, a cademic and social improvement activities. The regular preschool children lacked some of these privileges and thus creating the difference. Another difference was that the children from the controlled study were brought up in better living conditions thus improving their developmental growth, socially, physically and education wise. For the regular preschool children they grew up in poverty thus had development differences. The controlled study children had a more positive head start in life, unlike preschool children.

Station Nightclub fire Research Paper Example | Topics and Well Written Essays - 1500 words

Station Nightclub fire - Research Paper Example The building that constitutes the Station Nightclub was conceived in 1949 when it comprised a restaurant, a tavern and a nightclub. Back in 1972, a fire hit the building due to which it was kept closed until 1974. In 1974, it was re-opened as a restaurant however it saw an ownership change in 1985 when it was again re-opened as a pub. The interiors and the roofs were made out of wood and the pub was divided into a bar and a club. The wall at the western side of the club constituted a raised platform which was used by the bands to perform. The walls as well as the platform were insulated with polyurethane foam to control the volume of the music. There were four exits in the room, out of which only one of them was used by the crowd to regress. This was the main front door of the club. Fire alarms and heat detectors were also present but there was no mechanism to sync them with any nearby fire station. (Duval 2006). There were many other incidents similar to the station nightclub fire that took place prior to this one. Rhythm Club fire 1940, Coconut Groove Boston 1942 and Beverley Hills Supper Club South Gate 1977 are the three major nightclub fires that had occurred during the century (Duval 2006). These accidents paved way for different codes that were designed for the safety of people. The paper will aim at analyzing the affectivity of these codes at the same time discussing the extent to which these codes were followed in the construction of this night club. Furthermore, the new codes were conceived as a result of this incident that took away the lives of many people. Moreover, different suggestions and recommendations will be proposed by the end of the paper. A timeline of the events has been specified by the NIST investigation department, according to which the band took its place and lights were dimmed 11:07 PM that night. Soon after that, four pyrotechnics present at the stage