Term paper Essay Example | Topics and Well Written Essays - 1000 words - 2

Term paper - Essay Example It has an incredible organization that has propelled its existence to date. Historically, Olympics dates as early as 776 BC; however, several studies may differ on the exact date of the first Olympic event. Based on wide analysis, many studies widely accept 776BC as the inception date. It is a date that is based on inscriptions in Olympia a place where it is believed that the first Olympic event occurred in Greece. Notably, it is believed that the first Olympic events were largely religious and athletics that were marked after every four years at the sanctuary of Zeus in Olympia, Greece (Guttmann, pg. 22). Moreover, the first Olympic sports competition featured combat sports, athletics, wrestling and the pankration, a horse racing event. Surprisingly, it is believed that during these sporting events, all conflicting communities would keep off wars and resume after the event. Today, evidence points out that Zeus was a center of animal sacrifices as religious observance of the event. Notably, winners of any events were highly regarded and were given special publicity through poems and statues. Evidently, the King Onesmaus of Pisatis is remembered for his prowess in horse chariot race and his statue remain an icon of admiration to modern times. However, despite the huge attraction of magnitude of people, the cultural event started declining gain 6th and 5th BC due to the incursion of the Roman rulers. While there is argument on the exact year that saw the event close temporary, there is scholarly consensus that it was 393 AD. During this year, emperor Theodosius decreed that all religious, pagans and cult events be eliminated as the Romans exerted its power in the ancient Greece. Besides, other scholars argue that it was during the 426 AD when Theodosius the second destruction of Greek temples. Following the harsh Roman rule in Greece, there was no any other documented games. It was a period that the

Online Integrated Marketing Communication Essay Example for Free

Online Integrated Marketing Communication Essay Integrated marketing communication – the evolution of a concept The IMC approach has received almost instant recognition at the end of the 1990s, as a result of the existing trends to reduce the budget allocated to mass advertising campaigns and to concentrate on segmented or personalised communication with final consumers. The increased fragmentation of media and customers, as well as the revolution introduced in mass communication by the new communication channels – internet and mobile communication technologies – has created the need for a new approach to marketing communication, that can insure centralised management and a consistency of corporate messages sent towards various audiences. The concept of IMC was defined in many different, often contradictory, ways: Pickton and Broderick (2001) claim that synergy is the principal benefit of bringing together the various facets of marketing communications in a mutually supportive way. Definition proposed by Keegan et al. (1992, p. 631): Integrated marketing communications is the strategic co-ordination of all messages and media used by an organisation to collectively influence its perceived brand value. At the heart of this definition is the assumption that the credibility and value of both the company and its brand(s) will increase, when messages transmitted to various audiences become consistent across time and targets. Another definition proposed by Duncan (2002, p. 8) demonstrates the current conceptual perception of IMC: A cross-functional process for creating and nourishing profitable relationships with customers and other stakeholders by strategically controlling or influencing all messages sent to these groups and encouraging data-driven, purposeful dialogue with them. The notion of stakeholders implies the shift in the IMC concept from customer target audiences to the inclusion of key stakeholder groups such as employees, investors, suppliers, distributors, media and the social community. The most significant organisation barriers for the implementation of the IMC concept: * lack of horizontal communication; * functional specialisation; * decentralisation; * lack of IMC planning and expertise; * lack of budget; * lack of database technology; * corporate culture; and * fear of change. The impact of the internet technology on marketing communication: The rapid development of the internet in the last ten years has changed the classical communication procedures (Blattberg and Deighton, 1991; Holtz, 1999), because of three specific and co-existent characteristics that differentiate it from any other communication channel: * Interactivity. The internet offers multiple possibilities of interactive communication, acting not only as an interface, but also as a communication agent (allowing a direct interaction between individuals and software applications). The traditional communication channel was uni-directional, Even when communication was considered a two-way process, the institutions had the resources to send information to audiences through a very wide pipeline, while the audiences had only a minuscule pipeline for communicating back. Now, the communication channel is a network, not a pipeline. Communicators have grasped and even embraced this new proximity, fact demonstrated by the vast number of web sites which display â€Å"Contact Us† buttons and links. However, in most of the cases, these new facilities are not fully used. * Transparency. The information published online can be accessed and viewed by any internet user, unless this information is specifically protected. * Memory. The web is a channel not only for transmitting information, but also for storing information – in other words, information published on the web remains in the memory of the network until it is erased. The new realities of how audiences get and use information: * The audience is connected to the organisations * The audience is connected to one another * The audience has access to other information * Audiences pull information (info has to be available where audiences can find it, and it must be customizable) { Today, we get messages from multiple media channels: email, voice mail, faxes, pagers, cell phones, interoffice memos, overnight courier packages, television (with hundreds of channels), radio, internet radio, etc. As a result, the media that used to provide an efficient channel of communication for practitioners have become now only noise that most of the audiences have learned to filter out} Different definitions of IMC: Some retail organisations track the interaction between the online user and their web site: â€Å"the time spent by a client on a specific web page can represent an indication of his/her present interest†. â€Å"We use the results provided by our online behaviour tracking system to create personalised promotions targeted to individual customers†. The meaning is not simply transmitted, but has to be negotiated separately with each online audience. The message needs to be adapted to the specific level of understanding and interpretation of each public, but, on the other hand, has to express the same core organisational values, in order to display a coherent organisational image If the company attempts to reach foreign audiences, the message needs to be adapted to the cultural specificity of the overseas public. This raises important questions regarding the possibility of integrated online marketing communication in the global context: â€Å"we often communicate with customers from various cultural and economic backgrounds. In these conditions we must apply a clear segmentation and positioning strategy, in order to match the needs of every cultural group with our marketing messages.† The specific characteristics of the internet therefore create two conflicting tendencies: (1) the fragmentation of audiences and communication contexts requires the customisation of online marketing messages; but (2) the interactivity, transparency and memory of the web necessitates the consistency of communication and the coherence of the transmitted meaning Below figure presents the place of integrated online marketing communication in the online CRM process of the firm. The customer data/feed-back collected online is used directly to better design and implement the online integrated marketing communication, which are then targeting selected online audiences. Correctly implemented, the IMC program is a continuous cycle of gathering data and implementing response-generating marketing communication which is based on previously gathered consumer data. the specific characteristics of the internet are making the implementation of integrated online marketing communication both inevitable and efficient for an online organisation. The transparency, interactivity and memory of the internet force the organisation to adopt a proactive-reactive attitude in online communication, and to combine consistency and continuity with flexibility and customisation. These characteristics can be integrated by designing and implementing a specific model of integrated online marketing communication. The use of advanced online applications to collect customer data and feed-back information is paramount for the success of the online communication campaign (O’Malley and Mitussis, 2002). Because of the high interactivity of the internet, the communication process has become a real-time dialogue. Important issues relevant for the implementation of integrated online marketing communication have not been addressed because of space and methodology limitations. These areas can represent the subject of future research projects investigating: the management process of integrated online marketing communication; the criteria used for selecting and combing various channels in the online communication mix; the relation between the organisation and web advertising agencies; or the challenges raised by the general integration and co-ordination of online and offline (traditional) communication.

Battered Women Syndrome

Battered Women Syndrome BATTERED WOMENS SYNDROME: FICTION OR REALITY. Introduction To understand battered womans syndrome one has to know why and how one becomes a â€Å"battered woman.† For a woman to be labeled battered woman has to undergo two complete battering cycles which has three different stages. The stages begins with tension-building, followed by explosion which also known as acute battering incident and then culminating in a calm, loving interval which is known as the honeymoon stage. Battered woman stays in insulting relationship because women are resistant during honeymoon stage and they tend to be peacekeepers in a relationship and they are responsible for marriage work, unfavorable economic costs and its more dangerous to leave than staying before threats by batterer to kill her or the children and this result to psychological paralysis. According to Tennant, 2001 battered woman syndrome is a psychological and behavioral pattern which is a symptom in those women living in rough treatment relationships. There are various characteristics of the syndrome such as woman believing that it was her fault for the violence to happen, she is unable to put the responsibility of the violence elsewhere, she fears for her life and for her childrens and she has an illogical belief that, the abuser is omniscient and omnipresent. This syndrome can be more of a Post Traumatic Stress Disorder rather than being just a mental illness (Tennant). Most women who experience domestic violence suffer from battered women syndrome and they have to undergo two cycles; cycle of abusive which involves repeated abuse which can be either generational or episodic whereby generational is passed down by exposure from parents to children and episodic is a repeated pattern in which two people in the family are involved either child abuse, spousal abuse or elder abuse. (McMahon, 23) ODonovan, 1991 stated that, stages for battered woman syndrome includes; Denial stage which occurs when a woman denies to her or to others that there is a problem, they have excuses why their partners have an abusive happenings and they generally believe the abusiveness will happen again. Stage two is guilt and the woman acknowledges that in their relationship there is a problem and recognizes she is an abuse victim and she blames herself for the incidents and she begins to question her character and she will try to live up with her partner. Stage three is enlightenment, this begins when the woman begins to understand that no one deserves a beat and the beatings she receives are not necessary and then comes to realize that her partner has a problem and she then stays in the relationship with future hopes for a change. Stage four comes when the woman realizes that her abuser has a fixable problem and she realizes that there is nothing they can do to assist him and then she decides to take another step of leaving the spouse and starts a new live. (ODonovan, 219) US Department of Justice, 1996 outlined that, there have been a battered women defense which is a legal defense for the assaulted or murdered people who was suffering from battered person syndrome and the defense is invoked by women. Battered women syndrome is as a result of legal advocacy and it owes the existence of legal advocates needs to support and rationalize claims from the battered women. Battered women syndrome has been used in a diverse assorted cases ranging from ideal self-defense case to the more narrative prosecutorial syndrome use. Courts use the relevance of the syndrome to back up honesty of womens belief in use of deadly force for her mental incapacity for establishment of a necessary mental objective. Battered women syndrome has been employed in criminal cases and experts have to qualify to testify about the syndrome. (US Department of Justice) According to McMahon, 1999 battered women syndrome has been misunderstood even by legal expertise and its not a legal defense but its effects and expert testimony are employed in getting legal system to assist judges understand the experience of a battered woman. Some beliefs show that, battered women syndrome is a fact and others show is a fiction and the fact ones are powerful for they influence the way a battered woman, family and friends encounter and the general public respond to the various instances of battering (McMahon, 25). Battered women syndrome fiction beliefs that, battered women hate and they have to learn that not all men are bad but according to the fact they dont hate men they hate being battered. Mans home is his castle and it shouldnt be interfered with but the fact is battery is an offense and no one has the right to beat or abuse another. Womans beating comes as a result of provoking or nagging her spouse but the fact remains that, people are beaten for a reason and people have no right to violently express their anger. A person still stays with her abuser even after being battered likes being beaten. Beating hurts and no one is fond of being beaten but a woman may decide to continues staying with her abuser due to the fear of further violence, because of religious reasons, financial hardships, emotional attachments and family beliefs that they should stay together. (McMahon, 26) In addition, there has been a fiction that upper and middle class women dont often experience battering like poor women but the fact is that, domestic violence can happen in any socio-economic levels for the rich women are accessible to resources and the poor women make use of the community agencies and they are more visible. Once a battered woman, always a battered woman, this is false belief which has been with people but the fact is that, whereas some battered women have been in one or more abusive relationship, those women who experience domestic violence are least likely to enter to another abusive relationship. Battered women syndrome claims that, battered women have psychological trauma and they are responsible for the violence and men and women should be all accountable for their violence actions. (McMahon, 30) According to ODonovan, 1991 lawyers and judges are indebted to become better consumers of knowledge because battered women syndrome have been originally put in place of disappointment, aggravation, and sometimes anger over domestic violence. Domestic violence worldwide is very real, and an epidemic extent according to reports. Battered women syndrome has been a psychological-styled diagnosis whereby its a womans ill health provoked by husbands battering and the defense for the syndrome now spins around her ironically alleged helplessness and mental deficiency. Battered women syndrome lacks a scientific and reliable technical base and this make it to fall under disuse. (ODonovan, 225) In todays world many women are beaten by their spouse or boyfriends and several violent cases have been reported. Battery causes injuries to women more than even rape, because many miscarriages happen as a result of battery than medical situations and many women die from battery. The battering effects vary and the psychological impact is defined using a general symptoms and women who are battered react differently to violence and these responses may be emotional through fear, sadness and anger, beliefs and attitude changes towards others and they have psychological dysfunction or distress. Womens response to battery is based on violence and abuse, context and environment in which the woman should respond and heal from and who is the battery victim. (Tennant) As argued by McMahon, 1999 women with battered women syndrome are viewed as flawed, disordered, damaged or abnormal in a way. Despite the fact that many battered victims have negative impacts from the act, the syndrome language makes women battered syndrome in a pathology. Medical conditions of battered victims are not gender specific like the law which is bias in self-defense. Domestic violence results to physical abuse and the depressed is not able to take independent measures which enables him/her to escape the violence. This is the reason why many people doesnt seek assistance, leave the abuser or fight the abuser but they can use force to protect themselves and they may end up killing their abuser due to the life threatening situations and the abusiveness. Conclusion Battered women syndrome is considered as a form of post traumatic stress disorder which is recognized as a psychological condition which describes a constant domestic violence victim and for one to be categorized as battered has to undergo through two cycles and the stages of the syndrome. Battered women syndrome is a fact for many have experienced it through domestic violence and even the law has dealt with such cases. Works Cited McMahon, Mark, â€Å"Battered Women and Bad Science: The Limited Validity and Utility of Battered Woman Syndrome.† Psychiatry, Psychology and Law, Vol.6, No. 1, pp. 23-49, 1999 ODonovan, Katherine, â€Å"Defense for Battered Women Who Kill,† Journal of Law and Society, Vol. 18, No. 2, pp. 219-240, summer, 1991 Tennant, Robert, Battered Womens Syndrome, 2001 US Department of Justice, The Validity and use of Evidence Concerning Battering and Its Effects in Criminal Trials: Report Responding to Section 40507 of the Violence Against Women Act, May, 1996

W.L. Gore & Associates Essay -- Business Management

This paper takes a look into the organization of W.L. Gore & Associates by examining their unique corporate culture, their associates and teamwork, and their compensation program; as well as determining whether or not I would like to work at W. L. Gore & Associates (Module 5 Lecture Pages, n.d.). I will answer four questions that pertain to the areas above, as I discuss the interesting and unique organization of W.L. Gore & Associates. â€Å"How is the corporate culture of Gore different than other firms† (Module 5 Lecture Pages, n.d.)? W.L. Gore & Associates differ from other organizations because they work as self-managed teams without a supervisor; each team member is responsible to each one of their team members and to the group as a whole (W.L. Gore & Associates, 2011). Gore & Associates organization is very unique, because it does not function like a traditional organization (W.L. Gore & Associates). For instance, there are no chains of commands, they don’t follow a typical organizational chart, and there is no direct line of communication (W.L. Gore & Associates). In essence, employees at Gore & Associates are their own bosses, and each of them have an equal say to what their team will or will not do; this helps give each team member a clear sense of purpose, as well as acts as a driving force for innovation (W.L. Gore & Associates, 2011). W. L. Gore & Associates firmly believe in their unparalleled corporate structure approach, as it has been the contributing factor in their success (W.L. Gore & Associates). The unique organizational structure that has been implemented at W.L. Gore & Associates is in contrast to a more formal bureaucratic or hierarchical corporate structure (Kinicki & Kreitner, 2009). For instance, ... ...d the team work mentality the organization has in general. Personally, I would like to work for an organization that encompasses some of the principles and concepts that W.L. Gore & Associates implements in their organization. Works Cited Kinicki, A., & Kreitner, R. (2009). Organizational Behavior: key concepts, skills & best practices (Fourth Edition ed.). New York: McGraw-Hill Irwin. Module 5 Lecture Pages. (n.d.). Colorado State University-Global Campus. MGT301: Perspective on Organizational Behavior Reingold, J. (2007, October 8). A Job that lets you pick your own boss. Retrieved from money.cnn.com: http://money.cnn.com/2007/10/08/magazines/fortune/goretex.fortune/index.htm W.L. Gore & Associates. (2011, n.d.). A Team Based, Flat Lattice Organization. Retrieved from www.gore.com: http://www.gore.com/en_xx/aboutus/culture/index.html

Imagination

Is Imagination More Important Than Knowledge? The French philosopher Simons Well wrote, â€Å"Imagination and fiction make up more than three quarters of our real life. † The more you think about this quote, the more you realize it is rather accurate. We are surrounded by the creative imaginations of millions of people. They intrude into our everyday lives, from the books we read, to the television we watch, to the design of the last building you saw. These manifestations of imagination have become a part of not just our lives, but of our culture.This begs the question, how much of our lives and what we know of our lives depends on this capacity to imagine? According to Albert Einstein, â€Å"Imagination is more important than knowledge. For knowledge is limited to all we now know and understand, while imagination embraces the entire world, and all there ever will be to know and understand. † I however, disagree with Mr.. Einstein. There Is an Intrinsic relationship bet ween Imagination and knowledge, both relying upon the other's existence to develop new Ideas. Once Imagination and knowledge have been defined, their Interrelation can be more easily understood.Without Imagination, humans would lack the ability to derive new ideas, but without prior knowledge, they would not know how to go about putting the new ideas into action. Every idea that imagination cogitates is based upon knowledge of another idea. The Romans, for example, borrowed the idea for their aqueducts from other ancient civilizations and improved upon it. The dependency between knowledge and imagination in determining new ideas is so complex, that neither can be deemed of greater importance than the other.To better comprehend the complex relationship between Imagination and knowledge, one must first understand what they entail Individually. The Oxford Dictionary defines Imagination as â€Å"the faculty or action of forming new Ideas, or images or concepts of external objects not p resent to the senses†. Imagination is the capability to conceive something new, but not entirely without precedent. Without this capability, humans would not have the mental capacity to derive anything new and thus would not be able to improve. Humanity without imagination could no longer be considered humanity, as we would essentially descend to the level of animals.Knowledge is described by the Oxford Dictionary as â€Å"1 . Facts, information, and skills acquired through experience or education; the theoretical or practical understanding of a subject. 2. Awareness or familiarity gained by experience of a fact or situation. † Note that both definitions expressly state the requirement of experience as a prior necessity. This suggests that you can't make something out of nothing, there has to be a platform on which to begin and off of which to expand. Existence. To begin, humans need imagination to acquire new knowledge.Without imagination in this respect, humans wouldn 't have the understanding that there is in fact more knowledge to be acquired. Even if this were not so, imagination would still be required to develop a method of obtaining the new knowledge. Imagination is also essential in the acceptance of new ideas. Humans need the capacity to imagine the possibility of something other than what they know exists, in order to accept the new knowledge. Now to consider the opposite side of the relationship: imagination's dependency on knowledge. New ideas, the products of imagination, are improvements of existing ideas, or previous knowledge.Inventors use their imagination to address a problem that they have happened upon in an attempt to resolve the issue. An article from The New Yorker by Malcolm Caldwell suggests that all inverters are actually attackers. â€Å"The tweaked inherits things as they are, and has to push and pull them toward some more nearly perfect solution. † All new ideas are therefore based on a pre-existent notion. Know ledge of that notion and it's flaws as well as how to improve upon it's flaws are necessary to come up with a new idea that is in theory, better than the revises one.A relatively well-known example of attackers in human history is the Romans. The Romans borrowed most of the ideas that most people now give them credit for from other ancient civilizations, notably the Greeks, Egyptians, Assyrian and Babylonians. One such improved upon invention that we use to this day would be plumbing. Roman aqueducts are renowned for their efficiency and ingeniousness, yet they were first used in Egypt, Assyria and Babylon. The Romans simply took an idea they coveted and improved upon it, using it to combat drought and water their crops.The Roman's improvements eventually led to our version of plumbing, something indispensable in modern homes. The complexity of the interactions between imagination and knowledge are better understood after they have both been defined. Imagination is the capability to conceive a notion based upon pre-existent knowledge, whereas knowledge is obtained by imagination being allowed to improve upon existing ideas. The Romans frequently improved upon pre-existing ideas borrowed from other civilizations, the results of which we still use today.Imagination and Knowledge are like two parts to a ricer, but you can't tell which part of the circle is which. They are interdependent, each relying upon the other's existence to aide our society in thriving.

G.C.S.E. English Coursework Macbeth Essay

Assignment title: (5) â€Å"Fair is foul and foul is fair†. Show how this image recurs and develops through the play. Throughout the tragedy, the theme entitled â€Å"fair is foul and foul is fair†, is key to the play’s success and dramatisation, as it both recurs and develops as the play continues. The fore mentioned words are used by and against the key characters in the play, as Shakespeare uses his language to portray the theme and characters. The witches are key in performing the appearance versus reality theme. This major theme is first brought on in the first scene of the play, with the spooky, disturbing, oxymoronic verse culminating in â€Å"Hover through the fog and filthy air†, which explains Shakespeare’s intentions for the plot and deeper metaphors and echoes through to act five. The blatant opener is much like the oxymoron of I.3, â€Å"lesser than Macbeth, and greater†, which appears impossible, but sets the later scenes in which Banquo meets his end; because Banquo is lesser when he dies, but will be greater because of his fantastic devotion to good, and he â€Å"shalt get kings†, showing Shakespeare’s desire to impress James I, the possible seed of Banquo, in his theatre. It is clear that, by Hecat’s rhyming speech in III.5, â€Å"strength of their illusion†, that the fiends’ whole purpose and method is to deceive people like the literate Macbeth by situations appearing to mean certain things, but in reality meaning something totally different. This clever characteristic is also displayed by the apparitions: the third real or hallucinative metaphor, â€Å"Be lion-mettled†, tells Macbeth of the seemingly impossible move of â€Å"Birnan Wood the high Dunsinane Hill† that they speak of is the only way i n which to kill Macbeth, and the English pick up the wood as a simple, proverbial but deadly important battle tactic. The genius playwright shows subtly and brilliantly the innocent appearing child holding a tree, giving the rapt main character a clue to the ironic developments. The equivocal meanings along with the ever-present personification, â€Å"Who chaves, who frets†, would excite the audience and provide excellent entertainment. Also in the apparition scene, it seems that the â€Å"masters† are thought by Macbeth to tell him convivial news, but in fact they bring the disagreeable kind after the rhyming first head, â€Å"beware Macduff! Dismiss me, enough.†, has deemed the tragic hero in this typically beautiful narrative, but what Macbeth does not know is that that what the bloody child said about his fate â€Å"none of woman born shall harm Macbeth†, which sends Shakespeare into his ride into the clouds – incorporating the usual elaborate metaphors, â€Å"a bond of fate†, â€Å"sleep in spite of thunder† – when the fantastical plot of Macduff’s Caesarean section sees Macduff as the one with the powers, when he eventually kills the totally believing Macbeth. Shakespeare develops the character of Macbeth as a study of the supernatural when what seems like a worthless guess by three old hags, â€Å"This supernatural soliciting†, turns out, not only to be true, but doubtfully veracious in Macbeth’s mind from the very off, when even he does not know whether it is fair or foul, â€Å"cannot be good, cannot be ill†, in his oxymoronic evaluation of the words of the witches beforehand, creating dramatic Irony. Banquo is the contrast of this with his steadfast righteousness, â€Å"to betray’s in deepest consequence.†, but the evil predictions turn out to be true in Shakespeare’s idealistic plot, (to follow James I’s views in his book, demonology) as the demons drive him to the highs of monarchy and all the way back down again. The soliloquies of Macbeth provide us with excellent insight into this well developed theme. He openly admits he himself is performing his own fair/foul deeds, â€Å"He’s here in double trust†, as what seems to be a feast for Kind Duncan, turns out to be his own murder as Macbeth describes the apocalyptic imagery, â€Å"tears shall drown the wind†, which he sees in the future, after his equivocal change from polysyllabic to monosyllabic words, â€Å"Commends the ingredience†, â€Å"naked new-born babe†, where Shakespeare cannot decide whether to be literally superb or to concentrate on his plot and echoes. This is developed again by the ‘poet’ in the next act when it moves on from the simple, deceiving act of treachery, to disguise of evil, covering up true nature, â€Å"Nature seems dead†, where the malevolence is personified and â€Å"Tarquin’s ravishing strides† bury the seemingly irrepressible mother nature into the ground, as the audience are whiteness to the scene as a dilemma when Macbeth turns into the depraved, perfidious side of him. Macbeth is so rapt at the apparitions scene that he continues to use his poetic licence to great effect as, even when he is shocked, he continues to rearrange the two opposites while using alliteration to its fullest, â€Å"blood-boltered Banquo†. He continues in the exact same state of mind in the following pages, as Shakespeare develops Macbeth as an assertive, yet easily persuaded character, when the minor Lennox receives the same attention as the rest – none – â€Å"The castle of Macduff I will surprise†, as he ponders on how to kill the feared Macduff: Ironic because he holds the opinion that Macduff is foul, although he is fair and he believes the witches speak fairly, but their intentions are very foul. Much like in IV.1, Macbeth performs a soliloquy in his distressed state of mind while Seyton is present, in V.1. The theme is much more developed here where the philosophical Shakespeare tells his now entranced audience that â€Å"Life’s but a walking shadow†, displaying Macbeth’s depression, followed by his metaphorical, negative description, â€Å"Struts and frets†, of a thing that is thought of as virtuous by the majority of people. This comes after the so- called ‘bad news’ of his wife’s death, but he seems to think that a foul thing like that seems quite fair, â€Å"She should have died hereafter†, even though he appears as the other, sympathetic half of himself, â€Å"find her disease†, before again changing disposition, â€Å"Would scour these English hence†, where he self-centred like concentrates on his own, fragile destiny, as Shakespeare plays around and jumbles the character of Macbeth. Lady Macbeth is an excellent example of the fair/foul theme. She is a lady and is thought to be a kind, loving and lady-like, but her dramatic, alliterative entrance in I.5, â€Å"And take my milk for gall, you murdering ministers†, is the real Lady Macbeth, while the play write shows superbly how she is seeming to be fair in front of guests, â€Å"Look to the lady†, but in fact she is the real villain of the play, tormenting the audience and every-one’s innocent ignorance of women. The theme is somewhat reversed towards the end of the script because Shakespeare – with his depraved repetition, â€Å"To bed, to bed, to bed† – has not made Lady Macbeth such an enemy to his enthralled audience, that they can’t really feel sorry a little for her illness, â€Å"This disease is beyond my practice†, as she becomes more fair in the juggled end of the play. The wife of Macbeth also appears un-hurting, senseless and cruel, before we see the start of her more fair side in II.2, â€Å"Had he not resembled†¦ I had done’t†, as the writer teases the audience with his confusing, twisting plot and monosyllabic dialogues. She repeats a more feeble side of herself in a more complex way as the play develops, â€Å"dwell in doubtful joy†, and she becomes a weaker character. Her contributions to the fair foul/foul theme change as she slowly becomes less of a villain, but her grip on her husband gets much weaker, â€Å"Be innocent of the knowledge dearest chuck†, as he becomes more of the evil one, whilst continuing to use oxymoronic personification, â€Å"Light thickens†, because before, he was looking to be just deception intended by the witches, â€Å"In their newest gloss†, where the lady attacks Macbeth’s masculinity, â€Å"then you were a man†, but in the second and third murders, a brave man being brought down by the witches. Lady Macbeth is also a great believer in the theme as a disguise for the couple’s actions, â€Å"Look like the innocent flower, but be the serpent under’t†, as the great, evil mind of the lady, developed very early on in the play, plots to kill the king. She and him both exhibit their earlier intentions after the murder, â€Å"outrun the pauser reason†, and â€Å" What, in our house†, when suitably the predictions by the witches to be literal and an excuse to gain power, but the bad acting would show off Shakespeare’s talent of producing dramatic irony, frustration and repetition to show women as being insignificant, â€Å"O Banquo, Banquo! Our royal master’s murdered†, which he does throughout the play. In the murder of Duncan, Lady Macbeth has an important role, as her argumentative side is apparent. This is so because she is taking the predictions by the witches to be literal and an excuse to gain power, but the well educated Macbeth sees the foul deception by the witches, â€Å"In their newest gloss†, where the lady attacks Macbeth’s masculinity, â€Å"then you were a man†, but in the second and third murders the she has no involvement. He dismisses her with his over stunning oxymoron, â€Å"restless ecstasy†, and alliterative metaphors, â€Å"life’s fitful fever†, so Shakespeare can show off to James I. The hallucinations of particularly Macbeth display the appearance versus reality theme because the objects appear, but are not reality. The dagger, well portrayed by some productions as a shadow, is the first time that Macbeth begins to hallucinate. His rapt, overpowered state of mind is skilfully shown by Shakespeare to provide us with a pocalyptic imagery personified, â€Å"fatal vision†, and the thought that a â€Å"false creation† could turn a seemingly fair fate into such a foul ending. When the blood and gore become a reality, â€Å"the cry of women†, â€Å"Untimely ripped†, and Macbeth meets his sword-shaped death, which he speaks of in that soliloquy, â€Å"moves like a ghost†, as personification and simile spell out the real fate. At the turning point of the play, III.4, it is questionable whether Macbeth is hallucinating or not. This is still a good example of the fair /foul theme because Banquo’s death was supposed to be a good thing for Macbeth, but it turned out to be bad, whether in the mind of Macbeth (maybe through the witches’ speculative powers) or as the genuine ghost that is scripted by Shakespeare, with some in-appropriate, pretty language. The ghost of Banquo represents the change of feelings, of and towards the Macbeth couple, because Macbeth is sent into an even more psychotic, but still repetitive rapture, â€Å"It will have blood, they say; blood will have blood†, while the innocent flower withers and di es and havoc and evil reign in his kingdom, â€Å"turned wild in nature†, but lady Macbeth becomes seriously mentally ill. At the start of act five, it is lady Macbeth’s turn to be hallucinatory. In scene one of that act, she admits she is really the evil one, as she was the one who projected the idea of a wolf in sheep’s clothing, although disguised by Macbeth’s polysyllabic personification, â€Å"Be bright and jovial among your guests tonight†, and she ends up as the wolf. Shakespeare attempts to redeem her and not leave her on such a sour note as Macbeth, but possessive, selfish, un-dignified metaphors, â€Å"Hell is murky†, â€Å"All the perfumes of Arabia†¦Ã¢â‚¬ , only drive the indifferent, spoilt character more into the role as the villain, before Macbeth kills mercilessly. Dramatic Irony shows the theme superbly because the audience can know of the truth while the characters do not. We first see Macbeth as being fouler than we originally thought when he initially makes his metaphorical lies. The now persuaded and focused Macbeth uses Shakespeare’s dramatic irony as the audience are aware of his thoughts as he deceives the righteous Banquo, â€Å"I think not of them†, when he first shows the audience that he is a traitor, while the killed traitor was replaced by him. When the play has turned against Macbeth, so has the dramatic irony. We heard in V.4 that the prophecy of the witches has deceived Macbeth and the Bard so comically yet sincerely with his own metaphors shows Macbeth hearing the news, â€Å"The wood began to move†, where the tragic hero is told of a seemingly fair protection against death, turned foul against him into certain fate. The tone is not such a happy and pleased one in IV.3. We can imagine the audience distraught and upset when the unfortunate Macduff is first lied to by Ross, but then the news breaks. Shakespeare increases the tragedy by Ross’ equivocal words â€Å"They were well at peace† to increase the dramatic irony before he sickens the audience with his blunt upheaval of alliterative comparison, â€Å"your wife and babes savagely slaughtered†, drawing people away from the idea that death is rest, first touched upon by the mercurial Macbeth. The disturbed Shakespeare is very obsessed the death of young characters. The people visiting the play will be very distressed by the playwright’s veracity to beguiled murderers as first a small boy is brutally hacked down by the assassins, â€Å"He has killed me mother†, (and even he can use metaphor, â€Å"shag-haired villain†) followed by a teenager losing his life in vain, â€Å"Thou liest, abhorred tyrant!†, as the bewitched main character goes on his last run. This shows dramatic irony because we already know that â€Å"only one of women born shall harm Macbeth† so Shakespeare shows off his literary skills as the characters in Macbeth show their true states of mind through their language. Virtually the whole play contains the fair/foul theme; from the very first scene, until the moment in which Macbeth dies. As his evil world disintegrates, Malcolm concludes saying that righteousness is returned and the end of Macbeth signals the absence appearance versus reality, â€Å"That fled the snares of watchful tyranny†, and that Scotland will continue under his reign and significantly, James I’s. He believes that Macbeth was not the totally guilty one, â€Å"Of this dead butcher and his fiend-like queen†, but the dead Lady is. Shakespeare must end the play relevant especially to James I, as a happy ending because the king would not like to see his fears the witches win or his possible ancestors lose.