Trade Practices Essay Example for Free

Trade Practices Essay On the material date of 19th December 1997, the Australian Rugby League (ARL) disclosed its intention to enter into partnership with News Ltd to run rugby league that unites their respective leagues on condition that the conglomeration of teams under the ARL news would be reduced to fourteen teams. As a result, souths, which was excluded from participating in the National Rugby league in the year 2000 brought a claim on grounds that the action taken by ARL, News, NRLI and NRL was unlawful as it contravened the provisions of section 45 as read with section 52 of the Trade Practices Act (1974). These provision stipulate the general rules. In section 52 corporations are not entitled in the course of transacting in trade to engage in conduct that is misleading or deceptive.   In echoing this principle, section 45 prohibits the making of contract arrangements that are discriminatory on the basis that they exclude certain persons or corporations. Issues in Question Whether ARL and News were competitive partners at the time they entered into the contract and made exclusionary provisions. Whether the inclusion of the 14-team term was to the effect of restricting, limiting and/or preventing trade. Whether the victim was a specific person or class of persons. It was established in both courts that the souths fell under the description of particular persons under section 4D Tests used to resolve the case ARL and News were not competitive partners at the time of establishing the 14 team term as they had merged to form National Rugby League therefore section 45 and 4D did not apply Souths had failed to establish the respondent’s intention to prevent or restrict their trade, as the 14- team was part of a selection process due to their successful performance. Holding: Partners who are competitors and enter into a contract that intends to provide less services or goods would have contravened section 45 at the time the exclusion is made Reference South Sydney District, Rugby Football Club Ltd V. News Ltd (2002) Appeal Case

Progression of Morality Essay Example for Free

Progression of Morality Essay Throughout the centuries, morality has guided the beliefs and actions of families as well as societies. It has brought them together but it has also torn them apart. These beliefs continue to be a dominant force throughout many societies, affecting everything from what people wear to how they behave. The progression of morality has been a powerful basis for societies. The spectrum of greater access to the ideas and customs of different cultures, because of technology mass media and entertainment, especially television, has resulted in a diverse cultural blending. As cultural ideas move with people among cultures, some beliefs seem to have a greater effect than others. Blending of Morality In the 21st century, ideas from the West have been one of the dominant forces in shaping cultures in many parts of the world. The United States domination of the worldwide mass media has influenced different cultures significantly, leaving behind a legacy of western customs and ideas. The English language is also spoken globally, mainly because of Europe’s history of colonization in the Americas, Asia, and Africa. It has emerged as one of the premier international languages. English is the most common language used on the Internet and is responsible, in part, for the emergence of a dynamic global culture. Western business suits are standard uniforms among many people. McDonald’s hamburgers and Coca-Cola soft drinks can be purchased in many countries around the world. Many Disney characters are now commonly recognized because of Human World Views: HUM 360 Walt Disney theme park locations in Paris, Tokyo, and Hong Kong. These examples of common dress, food, and entertainment all originate from America and are incorporated into other cultures. Western influence has also affected ways of thinking as well in many cultures with the expansion of materialism. This American mindset of placing high value on acquiring material possessions seems to have been adopted by many people of different cultures. Conflicts of Morality There have also been many historical conflicts among people of different racial, national, linguistic, or cultural groups. Some ethnic or religious groups have had moral issues that reach back for decades and, in some, for centuries. Examples of such conflicts would be â€Å"the troubles† between Catholics and Protestants in Northern Ireland (McKittrick McVea, 2002) and the hostilities between Palestinians and Jews in the Middle East. People caught in these conflicts, that have been characterized by terrible violence, sometimes suffered torture or massacres of their whole towns or villages. An exemplification of such extreme immoral behavior is the violence imposed on the Kurds, a nomadic group in southwest Asia. For decades, Kurds have wanted their own separate country. But because their traditional lands cross the borders of three nations, it’s been an unsettling issue (McDowall, 2004). The Turks have responded to the Kurdish nationalism by forbidding Kurds to speak their native language. The Iranians have also persecuted the Kurds, attacking them over religious issues. In the late 1980’s, the Iraqis used chemical weapons on the Kurds, known as the Halabja Massacre or Bloody Friday , killing around 5,000 people (Esteri, 2012). Throughout history and present day, morality has played an important role in bringing people together. It has also, at times, driven them apart. Morality guides the beliefs and behaviors of its members. Whatever emotions it prompts, morality remains one of the most powerful influential forces on mankind in the world. ?

The Importance Of Being Ernest Character Analysis English Literature Essay

The Importance Of Being Ernest Character Analysis English Literature Essay The way Wilde characterized the characters in this play, chiefly Jack Worthing, displays these people as uptight and serious that wouldnt put a toe out of line. This initial characterization of Jack would seem to the audience a character that should belong in a drama, but Wilde added to Jack the extra quirk of being found in a handbag, and thus not knowing who his actual parents. Wilde did this first display and to ridicule the Victorian dogma stressing normalcy and their frowning upon that which, seems to display a contempt for the ordinary decencies of family lifeà ¢Ã¢â€š ¬Ã‚ ¦ (Lady Bracknell, Act I, pg. 134). Wilde uses the circumstances of Jacks abandonment to symbolize both Jacks ambiguous social status throughout the play and to emphasize his mobility within social circles, whether that is up or down. The handbag that baby Jack is perfectly used to symbolize this ambiguity, for this bag was has all the trademarks of normalcy: Thus, this commonplace container contains a baby of uncommon origin. There is no coincidence that this ordinary handbag/baby container is discovered in a cloakroom, for these pieces of apparel can all be worn to conceal ones true form, face, or identity. The Victoria Station has prevalence to this play as well. The western trail, including the Brighton line, led to the wealthier parts of London while the eastern road led to places like Chatham and Dover, which were more impoverished. Wilde uses the fact that the baby Jack is at the intersection of these two lines to literally put him in an identity crisis. Does he come from a poor common family or a rich aristocratic one? Lady Bracknell chose to look on the negative side and judge him as common until proven noble (indecently exposing Wildes contempt for the aristocratic propriety and downright snobbishness). There is however another, more positive way to interpret his discovery at Victoria Station. Trains are all about moving people to the places where they need to be. Wilde uses Jacks presence at Victoria Station to be a comment on his social status, suggesting that he has great social mobility; that he may have success in climbing up the social ladder to a prestigious position. This is foreshadowed by the fact that hes found specifically on the Brighton line, the road that leads to the richer parts of town. And indeed the story of  Earnest  is about Jacks social advancement. In fact, Wilde reveals at the end that Jack is a true member of the aristocracy as part of the Moncrieff family, which makes him a worthy husband for another aristocrat, Gwendolen. So the scene of Jacks orphaning contains aspects, like the ordinary handbag and the cloakroom, to show that he may seem common, but with the hint of an aristocratic background, through which Wilde reveals Jacks true social identity. The most prevalent reason the characters in  The Importance of Being Earnest lie is to get out of social or familial duties, to instead do something more enjoyable. Not surprisingly, only a few characters hold honesty in high regard. However, the viewer can see how hard it is for Wildes characters to set things straight once theyve lied about them. As the situation gets increasingly complicated, Wilde must weave more complex lies for his character to get out of the tangles of their previous lies. Perhaps the most striking thing is that none of the characters ever shows true remorse or guilt about lying. The first examples of lying are the two imaginary people created by Jack and Algernon, which Wilde uses to symbolize the empty promises or deceit of the Victorian era. Not only is the character Ernest anything but earnest for the majority of the play, but he also doesnt even really exist! This makes Jacks creation of him doubly deceitful. Bunbury sounds as ridiculous and fictional a s he actually is. Both of these figments of fantasy allow Jack and Algernon to live a lie; so as to seem as if they uphold these high moral standards, while in reality are gallivanting around without suffering any repercussions. Jack takes it a bit farther since he actually impersonates his so-called good-for-nothing brother. Even when Jack and Algernon are caught in their lies, they never suffer any real punishment. That they can both kill off their imaginary alter egos or friends without much to-do, shows Victorian societys real values; the Victorian era did not value honesty, responsibility, or compassion for the under-privileged (neither Lady Bracknell or Algernon exhibit much pity for Bunbury when he dies), but only style, money, and aristocracy. It is appropriate that the nonexistent characters of Ernest and Bunbury show how shallow are the Victorians real concerns. It seems that Wildes main point in  The Importance of Being Earnest  is to criticize Victorian society by showing how shallow and hypocritical is it. What do aristocrats do all day? Sit around, drinking tea, taking shallow gossip, and even gallivanting around under false pretence. What does Lady Bracknell want to see in Jack, her future son-in-law? Money, property, stylishness, and an aristocratic name. She cares little for his character. As the play goes on and we see just how shallow everyones desires are, and we tend to laugh. Wilde does not allow his tone to get too heavy or dark. Instead, we find the characters in  The Importance of Being Ernest  amusing.

My Mean Old Art Teacher Essays -- Personal Narrative Writing

My Mean Old Art Teacher Mr. Arnold stands smugly by his classroom door between classes, with his arms proudly crossed over his chest as trails of students trample past his art room each day. Many of the passers-by recognize this man simply as "the scary art teacher." Those who have experienced Mr. Arnold's art class first-hand regard him otherwise. I had heard many stories about Mr. Arnold before entering his grueling class. "Most people don't like him," some warned me. Others commented, "I've heard his class is really difficult." I can remember my first day in his art class clearly. I entered his room a timid freshman with unpleasant expectations. Maybe I was even a little more than timid. The concept of high school frightened me, and having a teacher with a bad reputation didn't ease my fears. I was a sheltered fourteen-year old girl; a girl who had been babied most of her life. I entered room 28 for the first time on a warm late-summer's afternoon, as the sun's rays attempted to soothe me through the windows. The poignant smell of oil paint filtered through the air, soft classical music drifted from his office and impressive artwork decorated the walls. Mr. Arnold always insisted, much to the students' opposition, that, "Classical music puts you in the right mind set to create art. It will not distract you, it will force you to focus." The shelves juggled piles of aged art supplies and half-filled canvases doffed the edges of the room. Mr. Arnold loomed in front of the class with his pointer, a man with frosty silver hair and an undeniable bald spot, unraveling his list of arduous requirements. "Art is not an easy B", he smirked, making reference to a sign on the wall, and squinting at us with his sharp icy eyes. "Furt... ...der his tutelege. Mr. Arnold's guidance has made me realize that if I deeply and genuinely love what I do, I can succeed. Art has wisked me into lands of creativity and imagination I never knew. I've learned to expand my boundaries by setting sail on risky bodies of water. I may be somewhat of a timid person, but when I create art, I can fly. Mr. Arnold has helped me gain more of the confidence I so desperately needed to break loose. I spent four years in that same room, a room where I grew to love the familiar smell of oil paint and the sound of classical music, listening to Mr. Arnold holler, narrate, criticize, instruct and laugh. I do know an art teacher, different from the one who stands smugly by the door of his art room, with his arms proudly crossed over his chest, and I will never forget him because his teaching has shaped me as an artist, and as a person.

Teaching Philosophy Statement :: Philosophy of Education Teachers Essays

Teaching Philosophy Statement Yesterday’s great thinkers are not nearly the same as today’s great thinkers! Along with modern technology and our country’s increasing emphasis on individuality and freedom, students today are accomplishing more personal goals and achieving much different aspirations than those of just twenty years ago. Therefore, with these realities comes the thought that educational philosophy, curriculum, and teaching methods should also change with the time. I do not want our schools to become manufacturers of â€Å"ideal† thinkers, where we just spit out little replicas of past instructors and educators. Our own philosophies of life rule our everyday decisions and how they affect those around us, and do our philosophies for the classroom. How we approach even the simplest of tasks relates to how the teacher will handle the classroom environment and its challenges. I hope one day to prove to my students that I am a person of education but not of harsh discipline. I want my role in the classroom to one of a facilitator no that of a dictator. My students will know that I am approachable for questions and discussion and I am friendly and the class mood that I will establish will be one that is informal, fun, and creative. There are so many people and students in this world and each of which has a slightly different view of life. That is what makes a world dynamic and interesting. I believe my educational philosophy stems from the progressive movement of thinking of such men as John Dewey and W. H. Kilpatrick. I want to show my future students that they have the power to change the world for the better, depending on whom they choose to take wise advice from and how they apply it to their lives and careers. An encouraging, more relaxed type of education such as the one I want to utilize, also known as Social Reconstructionism, is so important, I believe because the present students and intellectuals are our future leaders and government officials. We want to ensure that our students are given enough freedom to learn as an individual, along with some positive reinforcement and guidance for learning. I feel that I have a lot to instill in many students’ lives, and while I know that I cannot change the whole world, I can change my world.

Alienation in Hamlet Essay -- Shakespeare Hamlet Essays

Alienation in Hamlet In Hamlet, Shakespeare depicts alienation among the younger characters. Trusting no one, Claudius, the new king, and Polonius send out spies to obtain information from others to assure Claudius's rule of Denmark runs smoothly. Claudius killed Old Hamlet for the rule of Denmark and he fears that Hamlet might know of the murder. Both Claudius and Polonius spy on Hamlet to find out if he knows of the murder. Polonius sends his daughter, Ophelia, out to also gain information. Hamlet begins going mad and people claim that the cause is from the death of his father. Truly, though, Hamlet knows of the murder. But Claudius and Polonius are not the only ones, Gertrude, the queen, blames Ophelia for Hamlet's madness. Polonius's lack of trust in Laertes forces him to send Reynoldo to follow Laertes to France and spy on him. Shakespeare presents alienation of Hamlet, Ophelia, and Laertes resulting from a lack of trust from elders and the deception present in the royal family. While Claudius and Polonius spy on Hamlet, Hamlet loses all of his hopes and happiness. The problems began with the Claudius murdering Old Hamlet and taking over the rightful throne of Hamlet. Procrastination prevents Hamlet from avenging Old Hamlet's death and only causes more problems for the entire family in the end. With the kind of problems he possesses, he has no one to turn to for help. Even his friends, Rosencrantz and Guildenstern, are sent to spy on him. Hamlet cannot speak of the murder because of its confidentiality and spies he might not know of. With no one to turn to, the thought of suicide crosses his mind as a solution on several occasions: "I am myself indifferent honest, but yet I could accuse me of such things that it wer... ...ing and spying, Ophelia suffers alienation throughout Hamlet. Polonius' distrust in Laertes results in Polonius' sending Reynoldo to France to spy on Laertes. Reynoldo reports information back to Polonius about Laertes and what he is doing. By stating: "...your bait of falsehood takes this carp of truth... by indirections find directions out. So by my former lecture and advice we shall you my son" (Shakespeare 90), Polonius reveals the lack of trust he has in Laertes. Therefore, by spying, Polonius alienates Laertes. Hamlet, Ophelia, and Laertes all suffer character alienation throughout Shakespeare's play, Hamlet. Claudius and Polonius spy on Hamlet and Laertes to maintain a safe rule of Denmark for Claudius. The queen also blames Ophelia for Hamlet's mental instability. As a result of the alienation of each, Hamlet, Ophelia, and Laertes, meet a tragic end.

Ode to Evening

Tuesday, March 6, 2007 Ode to Evening – William Collins Introduction: â€Å"Ode to Evening,† is one among the most enduring poems of William Collins. It is a beautiful poem of fifty-two lines, addressed to a goddess figure representing evening. This nymph, or maid, who personifies dusk, is chaste, reserv’d, and meek, in contrast to the bright-hair’d sun, a male figure who withdraws into his tent, making way for night. Thus evening is presented as the transition between light and darkness. Collins’ Construction of Evening: Collins slowly constructs Evening as an allegorical figure with many attributes, and many aural and visual characteristics. Collins piles up epithets; Eve is â€Å"chaste,† â€Å"reserved,† â€Å"composed,† â€Å"calm,† â€Å"meekest†; her ear is â€Å"modest. † The figure of Eve so far is only yet a sketch, but her attributes add up to the idea of an attractive, calm woman who is not restless or forcefully active. Contrast of Evening with the Daytime: According to the poet, Evening possesses â€Å"solemn springs† and â€Å"dying gales† Daytime activity gives way to calm as the wind literally often dies down in the evening. Some activity now supplements our picture of Eve. The gentle movements of water and the air ensure that her figure is not static. Eve’s contrast with the daytime world is even more obvious when Collins compares her to the setting sun. The glaring â€Å"bright-haired sun† sits regally in his tent of clouds, the â€Å"skirts† or edges of which seem to be made of many-colored braided cloth. This ethereal (heavenly) cloth evokes a picture of a vivid sunset; the sun is descending to its â€Å"wavy bed,† behind an ocean or lake. The day is almost done, and the sun not at the height of vigor (he is in his tent), but the implication is that he rests only after an active day. The Journey of the Pilgrim into the world of Evening: After the sunset, at â€Å"twilight,† the world is not yet attuned to Eve’s mood. The air is hushed, except for some annoying sounds: the bat’s â€Å"short shrill shrieks† and sound of the beetle’s â€Å"small but sullen horn. † The bat’s weak eyes and â€Å"leathern wing† are not pleasant, nor are the many beetles as they are borne (by the a breeze, I assume) up against the pilgrim on his quasi-religious journey. The beetles’ horns together can be characterized a making a humming noise; in any case they are heedless of the annoyance they cause. The Poet in a Prayerful Mood: Up until now, Collins has simply been addressing Evening. The grammatical unit of the opening of the poem is not completed until Line 15: â€Å"Now teach me. † The mood of this verb is not imperative, but prayerful. In the drama of the poem, the speaker is at first unsure of himself but gradually gains confidence. Evening has finally arrived: darkening, still, genial, cheering, vital, and beloved. The poet prays for Eve to teach him to write a poem which praises her. This is Collins’ way. Description of Evening: Now the poem blossoms. Collins begins to build up, not a literal picture of Evening, but a picture of the allegorical figure of Evening composed of details which evoke more of her attributes. A â€Å"car† or processional vehicle is being prepared for Eve in which she can progress through the evening surrounded by her attendants. The picture Collins gives us of a ceremonial car would have been more familiar to his audience than to us. Her attendants add to her characterization. Her car is prepared by The Hours (goddesses who order the seasons and are given to adorn things), and accompanied by sprightly elves who sleep in flowers, river goddesses wreathed in sedge and shedding freshening dew, and pensive Pleasures. These are active and by-and-large beautiful figures, without being at all bustling or too dazzling. They all embellish the figure of Eve, delicately balancing her qualities: active yet calm, beautiful and cheerful yet chaste and reserved. The Spirit of Evening: Collins then asks Evening to lead on as she progresses to this lovely day’s end. She moves from the lowly heath, lighted now only by a reflection of a totally calm lake. Moving upward where Evening can be seen for the last time, the lake’s light cheers an ancient building and an upland field. Note that Eve is addressed a â€Å"vot’ress†; presumably like the poet she worships the spirit of Evening. The Other side of Evening: Collins now expands on his definition. So far, his description of Evening has been calm and beautiful. But Collins’ Evening is not just beautiful. She also includes â€Å"chill blustering winds† and â€Å"driving rain. † When he cannot walk about, the poet hopes to look out from a â€Å"hut† on a mountainside, rather like the place from which many Claude scenes are viewed. He will see wild scenery and flooding rivers, as well as the poem’s first traces of ordinary civilization: â€Å"hamlets brown, and dim-discovered spires. † Now night falls as Eve’s â€Å"dewy fingers draw / The gradual dusky veil. † Evening as seen through the Whole Year: Collins then takes Evening through the year. As before, some of the associations are not pleasant. Spring is nicely associated with both water and the movement of air (showers and â€Å"breathing tresses†), Summer with sport and half-light. Autumn is less lovely (sallow), but is generous with leaves. Winter is nasty, â€Å"yelling through the troublous air and attacking Eve’s train (of attendants? of her dress? ) and even rending her robes. Evening can be attacked and is vulnerable, but she is not defeated. Collin’s characterization leads us from the beautiful picture of the poems first 32 lines to a picture of Evening’s strength to endure through good and bad. All in all, Collins has accomplished what he evidently set out to do—catch lovely time of day in all its transitory aspects. Evening as a State of Mind: Lessons from Evening: From the beginning Collins has asked Evening to lead him on, to infuse his heart and mind with the ability to see her and write about her. The progress in the poem has not just been the gradual unfolding of Evening, but the gradual education of the poet about what Evening is—from the early visions of shadowy beauty to the qualities that endure through bad weather. These qualities have obvious human analogues. In short, Evening becomes, not only a time of day, but a state of mind that develops in the pilgrim/poet by contemplating and experiencing and writing about the literal evening. Literal evening is not just associated with but actually helps cause this wonderful calm, happy, contemplative, intelligent, happy, open, creative, sympathetic state of mind, the state that feeds Fancy (as in the writing of this poem), Friendship, Science (that is knowledge and learning), and for that matter physical, and by extension mental, health. It is no surprise that these qualities sing a hymn of praise to Evening—a hymn that is a sharp contrast to the yelling of winter a few lines before. [21] Conclusion: This poem points ahead. He is enabled by this state of mind and moves forward. Ode to Evening is one of the masterpieces of Collins. Collins’ odes, do not point morals. Rather they dramatically define their subject by building up a personified and vividly pictured allegorical character. it is the best of the mid-century odes and provides a good bridge to the great Romantic poets. – With due acknowledgements to Prof. George Soule