Film Adaptation of Antigone :: essays research papers

The film adaptation of Sophocles’ Antigone portrays the text substantially well in several ways. The filmmaker’s interpretation encourages the audience to be discerning as their perception of the Greek tragedy is enhanced. The play becomes profound and reverberant because of the many interesting elements of production. These include musical score, set design, and the strategic costuming – all of which advocates an improved comprehension of Antigone.   Ã‚  Ã‚  Ã‚  Ã‚  The musical score proficiently provides the viewers with a sense of what is happening in the scene which could not be communicated through text. Dramatic music is played for Creon’s entrance; this immediately communicates to us that he is a man of great importance and power. When Antigone enters after being arrested, the music is dynamic and tense. This conveys the seriousness and desperate atmosphere of the scene. The score is also a representation of the varying moods of the characters. An example of this is when Antigone is anxiously trying to appeal her sentence. The music makes the audience drawn is drawn to feel sympathy and pity her when she is preaching her views on death. For instance, a solemn melody is played when Haemon’s dead corpse is brought to King Creon. Creon grieves by himself as he is overcome with devastation caused by his foolish actions; his emotions are intensified by the sorrowful and sombre background music. The music is abl e to complement the play, while accentuating the more significant events.   Ã‚  Ã‚  Ã‚  Ã‚  The design of the set is the most essential element of the production because it serves as the backdrop for the entire play. When the film starts, there is a wide shot of the Theban palace. There are two very large portraits of Creon hanging from the ceiling; this instantly establishes that Creon is the ruler of the state. The set depicts the castle’s massive foyer which contains a large staircase. Either than that there are hardly any props; this is advantageous because the presence of props and ornate decorations would divert the audience’s attention away from the dialogue and happenings of the play. Furthermore, the ambience in the palace becomes dark and bleak the moment Antigone commits suicide. This reflects the despondent mood and foreshadows Haemon’s suicide. The set of the play is successful in generating a suitable atmosphere and is reflective of the chaos that will occur.   Ã‚  Ã‚  Ã‚  Ã‚  A significant aspect of the play is the acting and wardrobe, because it helps demonstrate the personalities of the characters.

‘In Paris With You’ by James Fenton and ‘Hour’ by Carol An Duffy Essay

James Fenton born 25th of April 1949 is a modern English poet, journalist a literary critic and was also a former Oxford professor of poetry. He wrote several books about poetry mostly about relationship and war like the collection of poems ‘The Memory of War’. He received multiple of awards for his poetry, the latest was in 2007 when he was rewarded a ‘Queen’s Gold Medal for Poetry’. Carol Ann Duffy born 23 December 1955 is also a modern Scottish poet and playwright. Her poetry style speaks about everyday life experiences through stages of her life about love, memory and languages. She wrote poetry collection, children books and plays. Both poets show heavy feelings about love in their respectful poems but each poem contains different contents but apply to the same theme: love. In Paris With You makes the reader think that the poem is romantic but it actually an anti-clichà © poem that focuses mostly on the poet’s bitterness towards love because he speaks about his experience with his rejected love and his rebound relationship, the poem rejects conventional ideas about love. He might have been in love before and she left him, that is seen when he says â€Å"Yes I’m angry at the way I’m been bamboozled.† and that is why he’s hurt and in need of forgetting about his former lover but isn’t quite there yet when he starts the poem in a negative way: â€Å"Don’t talk to me of love. I’ve had an earful† This suggests that the narrator finds the subject of love difficult to discuss because of his share of love and heartbreak. Throughout the poem ‘Don’t’ is repeated and that indicates repetition in the first and last two stanza, it also shows how controlling Fenton was with his former lover when he’s always saying ‘Don’t’ as she left him. This gives the reader an impression of the poet is possessive and heartbroken because of the ending of his former relationship. The sentence ‘Don’t talk to me of love’ and that proves that the man is determined on keeping the subject of love out of a conversation and detest it being brought up by cause of his heartbreak from his past relationship as if trying to protect himself from further pain. I find the way the poet started the poem in a negative way really intense because the poet jumps into the subject without pleasantries towards love and doesn’t hide his distaste towards it and shows his deep  bitterness against love. Fenton also talks about how he’s victimized and has a feeling of self-pity by love throughout the poem when he describes the state he has been when his relationship ended with his ex lover, how he spent it hurt and drowning his misery with alcohol to help him forget. In the first stanza, he says: ‘I’m one of your talking wounded.’ That has a strong imagery of war because ‘wounded’ suggests that someone is injured in battle and in this case, injured because of love. The poet also mentions that: ‘I’m a hostage. I’m maroonded’ and that show us his emphasize on him being abandoned and deserted as he describes it as he’s trapped and stranded. He uses metaphors when he says that he’s really trapped as a ‘hostage’ and left alone in an inescapable place. He shows rebellion when he says ‘maroonded’ instead ‘marooned’ which is the right term. It gives the reader and idea of how painful love is to the poet and lowers the reader’s expectations of romance and love. Fenton uses a comical rhyme in ‘wounded’ and ‘maroonded’ to add a humor into the poem to lighten up the mood of the poem despite the bitterness. I think that the way the poet describes himself is in a devastating state after being deceived by love. The poem’s title ‘In Paris With You’ suggests a romantic theme but it’s ironic that Paris is the city of love but Fenton is only in Paris because he’s on the rebound but only because Paris reminds him of his former relationship. He uses repetition of ‘I’m in Paris with You’ throughout the poem reflects the speaker’s insistent concentration on the present. Fenton then goes off listing to show his disdain towards Paris’ landmark and how he doesn’t want to visit Paris’ romantic landmarks ‘If we skip the Champs Elysees’ meaning he would rather ‘remain here in this sleazy, old hotel room’ meaning that the poet rejects the traditional and usual romantic gestures and places in Paris and that they are unimportant and that shows us that he doesn’t care about the scenery around him as long being together with his lover, but stay in Paris is only about being on the rebound to forge t his former love, and that he’d rather stay in a cheap hotel room instead of going out to romantic Paris features. It creates an image in the reader’s mind of the tone of this poem where it goes from bitter, sad and  mournful and tells us that the poet doesn’t actually care about the woman or lover he had in company. There’s enjambment between stanzas three and four in ‘†¦in this sleazy†¦Old hotel room.’ That is used because the poet wants the poem read in a faster pace instead of a slow one without pauses in between stanzas so it shows the poet’s thoughts. I think the way the poet emphasize his bitterness towards love resulted to him turning towards alcohol and lust, his behavior is relatable in many ways because after a heartbreak, people tend to try to forget their feelings and their aching heart. Hour talks about how time is an enemy of love and how it destroys love with how quick it goes, that time is an obstacle for love and Duffy starts the poem with: â€Å"Love’s time beggar,† which is personification and it suggests that love is dependent and is a slave for time, that it doesn’t last forever and that is a negative sign. This has a huge impact on the reader because when being in love, there is never enough time to spend together with your lover and it goes quickly. The personification show us the image of love being a beggar and time being someone who would pass by and offer, that is when Duffy used â€Å"†¦but even a single hour, bright as a dropped coin, makes love rich.† And that means that time, which is the passer, offers love only an hour to be spent on and narrator values that and it also shows strong imagery of wealth to present that the love is far more precious than all the wealth in the world. This also suggests to the reader that the time spent between the speaker and her love is valuable for the both of them. Like I said above, love being put as a beggar has a negative tone and that only highlights the fact that time is a problem for love. The poem is a extended metaphor that time wastes love and that is seen when the narrator says: â€Å"For thousands of seconds we kiss†¦Ã¢â‚¬  and that could only mean that the narrator in the poem has been counting the time because she still couldn’t get enough of her lover. Throughout the poem, the poet uses various of imagery of wealth that identifies that the narrator finds the hour spent with her love one precious to her, Duffy uses the sentence: â€Å"love spins gold, gold, gold from straw,† which links to the story of Rumplestilskin where it also talks about how straw turns to gold, it also introduces the contrast to show that opposite  things mentioned in the poem like ‘jewel’ and ‘cuckoo spit’ and in the sentence, the poet says that love is spinning from straw which is negative and an ordinary thing to gold showing that love is cherished and valued. If the reader has experienced love in their life, they will find themselves relating to certain parts of the poem and find that longing love does indeed leave you finding the small amount of time precious. Duffy uses colour like ‘gold’ and wealth imagery when she mentions ‘coin’ – ‘rich’ – ‘treasure’ and etcetera to emphasize that love is more valuable than all the wealth and treasures of the world. I could agree that being in love with someone could leave you dependent on that person and set them as your reason of happiness and that is a beautiful thing, however, people shouldn’t rely on love too much because it will leave them in pain when the other person break their heart or falls out of love. Duffy uses romantic imagery in the first stanza, line 3 and 4 where she shows how unromantic scenery is more than enough for her that her and her lover would rather be out in nature. She says: â€Å"Spend it not on flowers or wine, but the whole of the summer sky and a grass ditch.† And that the place to her isn’t important as long as her lover and she are together, she prefers the outdoors because of the natural setting that surrounds them because of its simplicity. It also displays sign of sibilance and the effectiveness of the narrator’s feeling and her lover would rather enjoy the nature and the natural air instead of going on typical and traditional dates (courting) and that shows non-conventional ideas of love. The reader would find the idea of being out in nature a bit strange for dates but some may relate. Duffy suggests that â€Å"the summer sky and a grass ditch† which is far away from being a traditional place to spend with your love one but the narrator finds it an exceeding choice to enjoy the ‘summer sky’ and not be distracted with people in public, romantic places because the narrator only has an hour to spend it with her love. I find the setting of the poem odd to be a place spent by two people but it only defines who her lover and her are as a couple in this society and how different they are from the rest of normal couples and that is special. Both poems have similarity because they both show vivid feeling conveyed by  the poet. Whilst In Paris with You is bitter towards love, Hour is more about how time is an obstacle for love and spending an hour with your loved one is precious. The structure in both poems is also different. The similarities between both poems use metaphoric language to describe emotional feelings and also write in first person. I like the ‘In Paris With You’ poem because it had a deeper meaning into the words and people would have to read between the lines to finally get it with poetry. ‘Hour’ is a beautiful poem but I didn’t find myself pulled deeper into the words but Duffy does display both light and darkness and that is something interesting.

Revenge and Delay in Hamlet Essay

The Tragedy of Hamlet, Prince of Denmark by William Shakespeare is one of his most influential tragedies telling the story of treachery, revenge and moral corruption. The play is about Prince Hamlet who seeks to exact revenge on his uncle Claudius for murdering his King Hamlet, Claudius’s brother. Hamlet’s father then succeeds the throne and takes as his wife Gertrude, the old King’s Widow and Prince Hamlet’s father. â€Å"As doth well appear unit our state, But to recover of us by strong†¦ †(1. 1. 01-102) These word by Horatio, Prince Hamlet’s close friend reveals to the reader one of the crucial themes in this play, the need for revenge, not just by Hamlet but by Fortinbras, the Prince of Norway and Claudius through Laertes. Their emotions, thoughts and action are fueled by their craving for vengeance and as the three revenge plots intertwine, it is revealed that the nature of revenge is not simple but complicated as the reader seeâ₠¬â„¢s Hamlet’s inner struggle to take action, and his inability to make decisions. see more:conflict in hamlet The indecision, hesitation and delay are what make the plot stand out from other revenge stories. The main plot in the play is that of Hamlet who is visited by the Ghost of his father telling him to avenge his death. Hamlet’s response was â€Å"Hast me to know’t, that I, with wings as swift, As meditation or the thoughts of love, May sweep to my revenge† (1. 5. 29-31)Sets the plot for revenge but later he is seen having his doubts as expressed in the line â€Å"Fie upon’t, foh! About, my brains! † (2. 2. 574). After Hamlet establishes Claudius’ guilt, by staging the murder of Gonzago he gets the opportunity to kill the unattended Claudius in his chamber but allows this opportunity pass after soliloquizing the matter and saying that killing Claudius will not be revenge as he will go to heaven. Throughout the play he is reflective and pensive and delays the moment as long as he possibly can. He is later exiled when he accidentally kills Polonius. After another visit by his father’s ghost he makes up his mind. He returns to Denmark and in a fencing match that ensues, he manages to kill both Laertes and Claudius even though he dies from the wound he received from the Poisoned tip of Laertes sword. Claudius on the other hand, uses Laertes as tool to carry out his plan to kill Hamlet. Laertes is blinded by the need of vengeance such he would do whatever it takes to accomplish this without any hesitation whatsoever. Claudius takes advantage of this situation and it’s quite evident in the following lines: â€Å"Laertes, was your father dear to you? Are you like the painting of a sorrow† (4. 7. 05-107) and â€Å"To show your father’s son in deedmore than in words? † (4. 7. 123-124) Laertes replies: â€Å"To cut throat i’the church. † (4. 7. 125)Claudius cultivates this thirst and his ability to act rashly which drives him in a fencing match with Hamlet. This turns into a bloody ending and ultimately leads to Hamlet and Claudius’ death. Fortinbras, the prince of Norway wants to avenge the death of his father by creating so large an army that would over the Danish army. He is a strong-willed leader described as â€Å"Hot and full† (1. 1. 96), with a tendency to act rashly as opposed to Hamlet’s continual hesitation delay. While Hamlet is contemplating on the issues of life, death and morality of revenge, Fortinbras is out to conquer lands. However, he also listens to his friend Horatio who advices him to wait before he attacks Denmark. This allows him in the end to achieve his vengeance without doing much. Hamlet himself considers Fortinbras a model of greatness, as he passed him with his army he remarks, â€Å"To be great, is not to stir without great argument but to find quarrel in a straw, When honor’s at the stake. † (4. 4. 52-55) Fortinbras is not bothered too much with thoughts and is quick to take action to preserve his family’s honor. In conclusion it can be said that the main reason Hamlet fails on his mission of vengeance is due to his hesitation partly brought by his own cowardice and partly due to his inner conflict with the moral outlook of it all. Laertes fails because he is too quick to move into action without careful consideration of the situation at hand. Fortinbras on the other hand, succeeds because even though he was quick to take action, he listens to his uncle’s advice. In the end, this teaches the reader the importance of thinking clearly, coherently and sticking to our principles prior to taking any actions.

Edward Scissorhands life Essays

Edward Scissorhands life Essays Edward Scissorhands life Paper Edward Scissorhands life Paper Essay Topic: Citizen Kane Edward Scissorhands is a typical Tim Burton and Johnny Depp film. Tim Burton is a director; he has directed and produced many films which are strange and out of the ordinary. The films, including Batman and Beetle juice have a distinctive genre, fantasy. Johnny Depp is renowned for his extraordinary parts in films, but he is at his best here playing a role he understands as well as anyone, an outcast. From past films we the audience can expect a film with a fantasy storyline. The film promises a magical, but weird experience. We can expect the Burton film to be very fantasy like with a character who does not appear to be like a human (Batman, Beetle juice). Before either the film or the credits start we see a 20th century fox advertisement. The advertisement is different to past adverts. The logo is the same, but we see snow falling around it. I acknowledged this and I believe it has a connection with the film by the indication of the snow. This also sets the tone. Its different and unconventional.  When the film starts we see the credits of the entire cast, which run over the beginning of the film. The credits are scissor-rific which hints at whats to come. They are also in an italic, thin font, like the writing for Citizen Kane. This also suggests and hints at horror because of the dark background and the scissor like credits. Scissors propose to me danger and implicate cutting whether to paper or something else. Whilst all this is going on we can hear a non-diegetic sound, which sounds eerie, but fantasy like. This gives a small clue in establishing the genre. The start of the film, in which the credits run over, is the establishment of some of the environment. Upon entrance to an unknown building it is as if we are going to be told a story (fantasy like). We see inventions, a staircase and a pair of scissors. The inventions are a point-of-view shot and also a tracking shot. This is because us, the audience has been introduced into a new environment and we are constructing a visual image of our surroundings. It gives us information, which later on in the film helps us to understand what has been going on in Edward Scissorhands life. The editing is straight cut and dissolving. This makes the audience keep guessing at whats to come. It also keeps the audiences interest because they want to know what happens. It is dark in the building, with low-key lighting, which produces a sharp contrast of dark and light areas on the screen as very deep, distinct shadows are formed. The effect of this is we become aware that there is a hint of horror in the film. The dark lighting effects cause the awareness.  Stars and other shapes appear on the screen one by one. They look like biscuits. The sound when the biscuits appear on the screen is unfriendly and unfamiliar. It is a non-diegetic sound. The biscuits on screen are fantasy like and the sound is horror like. This makes us wonder what is going to happen and keeps our interest because we think it is very odd that biscuits are appearing on the screen. What have biscuits got to do with anything? We are then focused on a pair of hands and the camera then gradually zooms away from them. They are pale and look set. The hands are gradually faded out until we can see them no more. The consequence of the hands is it leaves us the feeling of cold and death that has happened or going to occur.  Our attention is then drawn to an eye. It is a close-up shot and once again the camera moves away from the object it is focusing on, but this time in a spiral way. As the camera moves progressively outwards we can see the face of an old, pale, lifeless man. Once again horror is suggested here. Next, as the man fades and dissolves into the background, snow appears at the foreground. After a few frames of snow, the snow starts to fade and from the background appears a house on a hill (horror). The house looks haunted and later on in the film we discover this house, or mansion is where we saw the inventions and the old man. The view of the house, hill and snow looks like a snow dome. The fading and dissolving, and the background and foreground effects create a mysterious tone, once again keeping the audiences attention and interest. The house on the hill is another example and theme of horror. The distance from the house and the camera increases and we are now in a room. We know this because in front of us is a window with a woman looking out at the house. This is a point-of-view shot. We are now introduced to a character. It is the woman looking out of the window. We hear her speak for the first time. Her voice is friendly and aimed towards another new character. The voice of the woman speaking is diegetic and on screen. We now feel safe and secure in the house and our interest is kept by us wondering who these characters are and what they have to do with the film. The mise-en-scene of the room in which we are in with the two characters is brightly decorated, in vivid yellows. This is a contrast to the view of the house outside the window. The yellows make me feel that the characters in the room are nice and friendly, because if they werent I think the room would be decorated differently, perhaps in black.  In the room are a fire and a lamp. These are two light sources. The fire creates a sense of warmth and friendliness by the glow, which is also in contrast to the house outside. The camera follows the old woman to the bedside of our second character. The second character is a young girl. She is tucked in a double bed. The girl looks lost in the bed. This is ironic because the bed suggests security to the young girl. We learn of the relationship between the two characters when the little girl says, Why is it snowing Grandma?. The woman sets about telling the child about Edward Scissorhands. The audiences interest is still kept because we are now finding out about whom we think the film is all about (because of the name of the film).

Royal Aircraft Factory SE5 in World War I

Royal Aircraft Factory SE5 in World War I One of the most successful aircraft used by the British in World War I (1814-1918), the Royal Aircraft Factory S.E.5 entered service in early 1917. A reliable, stable gun platform, the type soon became the favored aircraft of many notable British aces. The S.E.5a remained in use through the end of the conflict and was retained by some air forces into the 1920s. Design In 1916, the Royal Flying Corps issued a call to the British aircraft industry to produce a fighter that was superior in all respects to any aircraft currently in use by the enemy. Answering this request were the Royal Aircraft Factory at Farnborough and Sopwith Aviation. While discussions began at Sopwith which led to the legendary Camel, R.A.F.s Henry P. Folland, John Kenworthy, and Major Frank W. Goodden began working on a design of their own. Dubbed the Scout Experimental 5, the new design utilized a new water-cooled 150-hp Hispano-Suiza engine. In devising the rest of the aircraft, the team at Farnborough crafted a tough, square-rigged, single seat fighter capable of enduring high speeds during dives. Increased durability was achieved through the use of a narrow, wire braced, box-girder fuselage which improved pilot vision while also ensuring a higher rate of survivability in crashes. The new type was initially powered by a  Hispano-Suiza 150 HP V8 engine. Construction of three prototypes began in the fall of 1916, and one flew for the first time on November 22. During testing, two of the three prototypes crashed, the first killing Major Goodden on January 28, 1917. Development As the aircraft was refined, it proved to possess high speed and maneuverability, but also had excellent lateral control at lower speeds due to its square wingtips. As with previous R.A.F. designed aircraft, such as the B.E. 2, F.E. 2, and R.E. 8, the S.E. 5 was inherently stable making it an ideal gun platform. To arm the aircraft, the designers mounted a synchronized Vickers machine gun to fire through the propeller. This was partnered with a top wing-mounted Lewis gun which was attached with a Foster mounting. The use of the Foster mount permitted pilots to attack enemies from below by angling the Lewis gun upwards and simplified the process of reloading and clearing jams from the gun. Royal Aircraft Factory S.E.5 - Specifications General: Length: 20 ft. 11 in.Wingspan: 26 ft. 7 in.Height: 9 ft. 6 in.Wing Area: 244 sq. ft.Empty Weight: 1,410 lbsLoaded Weight: 1,935 lbs.Crew: 1 Performance: Power Plant: 1 x Hispano-Suiza, 8 cylinders V, 200 HPRange: 300 milesMax Speed: 138 mphCeiling: 17,000 ft. Armament: 1 x 0.303 in. (7.7 mm) forward-firing Vickers machine gun1x .303 in. (7.7 mm) Lewis gun4x 18 kg Cooper bombs Operational History The S.E.5 began service with No. 56 Squadron in March 1917, and deployed to France the following month. Arriving during Bloody April, a month that saw Manfred von Richthofen claim 21 kills himself, the S.E.5 was one of the aircraft that aided in reclaiming the skies from the Germans. During its early career, pilots found that the S.E.5 was under-powered and voiced their complaints. Famed ace Albert Ball stated that the S.E.5 has turned out a dud. Quickly moving to address this issue, R.A.F. rolled out the S.E.5a in June 1917. Possessing a 200-hp Hispano-Suiza engine, the S.E.5a became the standard version of the aircraft with 5,265 produced. The improved version of the aircraft became a favorite of British pilots as it provided excellent high-altitude performance, good visibility, and was much easier to fly than the Sopwith Camel. Despite this, production of the S.E.5a lagged behind that of the Camel due to production difficulties with the Hispano-Suiza engine. These were not resolved until the introduction of the 200-hp Wolseley Viper (a high-compression version of the Hispano-Suiza) engine in late 1917. As a result, many squadrons slated to receive the new aircraft were forced to soldier on with older types. A Favorite of the Aces Large numbers of the S.E.5a did not reach the front until early 1918. At full deployment, the aircraft equipped 21 British and 2 American squadrons. The S.E.5a was the aircraft of choice of several famed aces such as Albert Ball, Billy Bishop, Edward Mannock, and James McCudden. Speaking of the S.E.5as impressive speed, McCudden noted that  It was very fine to be in a machine that was faster than the Huns, and to know that one could run away just as things got too hot. Serving until the end of the war, it was superior to the German Albatros series of fighters and was one of the few Allied aircraft that was not outclassed by the new Fokker D.VII in May 1918. Other Uses With the end of the war that fall, some S.E.5as were briefly retained by the Royal Air Force while the type continued to be used by Australia and Canada into the 1920s. Others found second lives in the commercial sector. In the 1920s and 1930s, Major Jack Savage retained a group of S.E.5as which were used to pioneer the concept of skywriting.   Others were modified and improved for use in air racing during the 1920s. Variants Production: During World War I, the S.E.5 was produced by Austin Motors (1,650), Air Navigation and Engineering Company (560), Martinsyde (258), the Royal Aircraft Factory (200), Vickers (2,164) and Wolseley Motor Company (431). All told, 5,265 S.E.5s were built, with all but 77 in the S.E.5a configuration. A contract for 1,000 S.E.5as was issued to the Curtiss Aeroplane and Motor Company in the United States, however only one was completed before the end of hostilities. As the conflict progressed, R.A.F. continued development of the type and unveiled the S.E.5b in April 1918.   The variant possessed a streamlined nose and spinner on the propeller as well as a retractable radiator. Other alterations included the use of single bay wings of unequal cord and span and a more streamlined fuselage. Retaining the armament of the S.E.5a, the new variant did not show significantly improved performance over the S.E.5a and was not selected for production. Testing later found that drag caused by the large upper wing offset the gains made by the sleeker fuselage.

5 Exercises to Sneak in at Work!

5 Exercises to Sneak in at Work! You’re triple-booked with meetings, eating at your desk- with no time for a social life let alone a lunch hour! And it’s the holiday season, when all our best habits are dissolving into sugar cookies and sparkling cocktails and cheese trays. No time to hit the gym? If you can carve out just 15 minutes from your workday, you can keep up your fitness without having to drop any of your spinning plates. Try this simple routine a few days a week. All you need is you, your cubicle, and a little willpower!RELATED:Â  Top 9 Stress Relieving Activities at Work That’ll Keep You Happy1. SquatsTarget area: thighs and butt. How to do it: stand with your feet shoulder-width apart. Focus your body weight in your heels as you push your hips down to knee level and lean forward at a 45 degree angle. Make sure to keep your knees above your ankles and your core strong. Do this 12-25 times. Extra credit: hold a book above your head to step up the intensity.2. PlankTarget area: core, arms, everything. Combat the negative effects of slumping at your desk and help your posture and alignment at the same time. How to do it: lower your forearms to the ground, fits and elbows flat, your palms directly below your shoulders. Keep your neck and spine neutral, keep your shoulders down and back, and stay as straight and firm as possible for 15 seconds. Repeat 4 times.3. LungesTarget area: legs, lower body. Stand with your feet together and your hands on your hips. Take a large step forward so your front and back leg are at a 90 degree angle. Return to the feet together position and repeat with the other leg. Get all the way down your office hallway. Extra credit: hold the book over your head doing this one too.4. Push-ups and Chair DipsTarget area: arms, arms, arms. Start with doing push-ups (you can use a desk to build up to the real thing), bending at the elbow and lowering your body until you arms are at a 90 degree angle. Repeat 10 times. Then, immediately, go to the c hair. With your back to it, use your arms to lower yourself until your upper arms are parallel to the floor. Straighten your arms to raise yourself back up Repeat 10 times. Do this duo 3 times in succession.5. Power VsTarget areas: abs, quads, hip flexors. How to do it: sit at the edge of your chair and lean your torso back. Tuck your pelvis, hold the base of the seat for support, and then raise your knees and extend your legs into a ‘V’ position. Hold for 5 seconds. Lower and raise up again. Repeat 10 times.Do this series of easy heart-pumping, ab-tightening, body-toning exercises twice through a few times a week and you’ll start to see results without letting your job suffer. No gym membership required!

UK Human Rights Essay Example | Topics and Well Written Essays - 3000 words

UK Human Rights - Essay Example Generally, nation states have been the final arbiters of most issues affecting their citizenry and within their borders. By treaty, the signatory nations of Europe have granted the ECHR binding authority to decide cases affecting their citizenry and other persons subject to their authority. In instances where state law is found inconsistent with an ECHR judgment, the nation at issue is obliged to amend its national law to comport with the ECHR decision. These cases illustrate the concept of what is increasingly being referred to as an evolving European supranational identity. The ECHR grants jurisdiction to any individual, non-governmental organization, or group claiming be a victim of a violation of the European Convention by a ECHR signatory nation, and to bring cases before it, as does, in applicable cases, the European Court of Justice (the "ECJ"), the court of the European Union, based in Luxembourg. The Human Rights Act has gone a long way in limiting arbitrary actions from public bodies, in particular, police officers. It cannot be denied, however, that the laws on "breach of the peace" grant have historically been so vast in scope that in some occasions, human rights violations arise. The definition of "breach of the peace" (also known as breach of the Queen's peace) has been discussed in the Court of Appeal decision of Howell3, where it was stated as follows: We are emboldened to say that there is a breach of the peace whenever harm is actually done or is likely to be done to a person or in his presence his property or a person is in fear of being so harmed through an assault, an affray, a riot, unlawful assembly or other disturbance. It used to be that the prospect of violence alone would not be enough to be considered a "breach of the peace", as in the comment of Farqhuarson LJ that "The act which puts someone in fear of violence taking place entitles a police officer...to detain the actor but it is not a breach of the peace, for the violence has not yet occurred."4 There has been scant support for this view, such that in the present time, "breach of the peace" also embraces "behaviour likely to cause a violent reaction", even if such behaviour is not of itself violent. The policy of the law has been recently discussed in the case of Humberside Police v. McQuade5, where it was held that: "the policy of the law relating to arrest for breach of the peace is plain enough. Its purpose is to deal with emergencies. The power of arrest may be exercised without a warrant and belongs to the ordinary citizen as much as to the constable." In a handful of cases, the European Court of Human Rights has found that there is no contradiction between the concept and the Human Rights act of 1998. The most cited case is the case of McLeod v. United Kingdom6 , where the Court held as follows: "The concept of breach of the peace has been clarified by the English courts over the last two decades, to the extent that it is now sufficiently established that a breach of the p