Why MBA

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The Free Trade Agreement of the Americas (FTAA) sparks much controversy about whether developing countries will suffer more than they will gain. South American business and individuals are now transferring hundreds of billions of dollars of economic resources to North America each year in terms of trade losses, debt servicing and profit outflows. In the South, multinationals are seen as routinely bribing politicians to gain a competitive edge over local rivals via changes to protective legislation, while imposing added costs through the requirements that cash strapped, high interest borrowers in the local economy to follow expensive developed nation standards in environmental stewardship. (responsibilities -action'activity-protections)

It is important however for all sides to understand and agree to the primary aspect (attitude-feeling-necessity) that the FTAA has its merits. The new trade provisions will aid corporate success by removing governmental regulations and closing legal loopholes. Success in this area means the stimulation of economic growth through capital investment and entrepreneurial communities. There is an audible public cry for better education, health care, and social services which can be addressed more expediently if the international community has a stake in the welfare of the local population. "Big business' will move into Central and South America. The question is not when, it is how.

Attempting to superimpose North American managerial practices onto local Latin American organizations can be frustrating to the uninitiated manager if the ideas are not adapted to local cultural norm. This was the case when recently I built, partnered, and managed Tantra, named by American Airlines's in-flight magazine as 'The Best Nightspot in Santiago." The training, team-building, structure and strategy employed at this highly successful restaurant and nightclub have their roots in a North American style formal business model. Yet, it the only way to utilize these ideas was by taking into consideration the employees local cultural aspects (personalities, expectations- work habits) and adapt these models to fit.

Foreign corporations planning to move operations to Latin America will face many similar challenges. The successful blending of business practices is going to require a bit of grease on the wheels in the form of specialized negotiators who understand both entities and all their particularities. It is my goal to position myself at the forefront of the global transition, to facilitate business between North and South America, while keeping true to the globalization credo of 'transparency and accountability.' If responsible business practices are employed, free trade measures will prove to be very beneficial for developing countries as well.

Practicing law in both Latin America and the United States, I have gained experience in the negotiation tactics of both cultures. My law background and my entrepreneurial experience have taught me the obstacles and issues involved in initiating and maintaining successful business. An MBA at this point in my career, would serve to round out my knowledge, giving me the tools I will need to achieve my goals.

The MBA program at Anderson provides the precise blend of coursework I will require. The many electives offered in Latin American economy and development will be a necessary adjunct to the study of organizational theory and macro economics that I'd like to undertake. I am especially interested in studying under Sebastian Edwards. A fellow Chilean, and sensitive to the complexities of emerging economies, he has earned a strong reputation as an innovator in modern economic thought. I also look forward to interchanging ideas and forming relationships with the highly qualified group of students Anderson attracts.

The world is changing at a rapid pace. Fortunately we are clear on its direction and the type of leadership it will require to reach its destination successfully. An MBA from Anderson would shape me into that leader, to initiate far reaching, beneficial changes and to be properly positioned at the forefront of this global transition.

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Legends

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The man who, legend has it, escaped from a early grave when his uncle pulled him from drowning in a cesspit is notorious for his dirty deeds but what cannot be forgotten are his achievements in the 186 World Cup.

Mexico 86 Maradona inspired Argentina to their second World Cup(Photography/Allsport)

Forget the handball against England, feel the quality of his 50-yard solo goal in the same game and the near repeat performance in the semi-final against Belgium.

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If any man can be given the accolade of having won a tournament single-handedly its this squat, bull-like figure from the barrios.

The Argentina side of 186 were functional and hard-working but it was Maradona who fired them to the final and then set up two of the goals in their - win over West Germany in the final.

In 10, a barely-fit Maradona dived and complained his way to the final where the Germans took their revenge. Few people shared Diegos post-match tears. In fact many rejoiced that such an ugly brute of a team had lost.

Eight years before, in Spain, Maradona, then newly arrived at Barcelona, disgraced himself by being sent off in a Second Phase game with Brazil. Even four years before that the 18-year-old Maradona was a source of great controversy when he was left out of the victorious squad that won on home ground.

USA 14 was the end for Maradona as a player. Playing in an Argentinian side that had hammered Greece, put the promising Nigerians to the sword and bore all the best signs of being tournament winners, Maradona looked back to his best.

But then, after the Nigeria game, he was picked for drugs-screening and tested positive for banned stimulant ephedrine. He was banned from the rest of the tournament and the team fell apart, going out in the second round to Romania.

It was probably the biggest scandal in World Cup history but when talking of Maradona, one must accept the controversy and scandal alongside the image of a footballing demi-god.

World Cup Legends - Roberto Baggio (Italy)

As with Romario and Zinedine Zidane, the Divine Ponytail has a (sadly fading) chance to add to his status as a World Cup hero.

Baggio His penalty miss tarnished a superb World Cup(BenRadford/Allsport)

Baggio had hit the headlines before Italia 0 when Fiorentina fans rioted after his record sale to Juventus. But football fans had to wait until the third game in the group stage to get a real glimpse of Baggio. He didnt disappoint and struck up a great parnership with Salvatore Schillaci that displaced the previous first-choice pairing of Andrea Carnevale and Gianluca Vialli.

That game saw Baggio score the goal of the championships. Picking up the ball just inside his own half, Baggio took on the Czechoslovakian defence and then wrongfooted keeper Jan Stejskal. It was the moment the world saw that in Baggio Italy possessed a real great.

However, Italian boss Azeglio Vicini did not seem to share that feeling and as soon as Vialli returned to full fitness, he was played in the semi-final against Argentina. It turned out to be the wrong decision as Maradonas team squeezed past them on penalties.

Four years later Baggio was a player in his prime. After a slow start (he was even substituted early in the game against Norway), he was the driving force in Italys march to the final. A late equaliser against Nigeria was followed by the winner in the same game.

He repeated that trick with a late winner against Spain. In the semi-final a Baggio brace saw off Bulgaria. All through the tournament Arrigo Sacchis team huffed-and-puffed only for Baggio to bail them out.

In the final, Baggio, carrying a knee injury which should have prevented him from playing, could not weave his magic and in a tournament where he had shone it was his missed spot-kick in a shoot-out which lost the trophy he had fought so hard to win.

That wasnt the end for Il Principe though, he was back at France 8 and starred in the early group stages before being replaced by Alessandro Del Piero, Cesare Maldinis first choice as Christian Vieiris partner.

He even managed to bury his spot-kick ghost with a succesful conversion in the quarter-final with France. It was to be in vain as Italy, again, lost out.

Was that Baggios final hurrah on the World Cup stage? Sadly, a knee ligament injury while playing for Brescia seems to have ended his often-stated wish of bowing out in Japan and Korea. Hope springs eternal for Roby but Italy coach Giovanni Trappatoni recently stated his belief and sadness that Baggio will not make the finals.

Whatever the outcome of his battle to play, Baggio will still be regarded as a true great.

World Cup Legends - Franz Beckenbauer (Germany)

Though the West Germany team are often portrayed as the bad guys in defeating Holland in the 174 final, there can be little doubt about the quality of the victors. And even with players of the talent of Gerd Muller, Paul Breitner and Uli Hoeness, it was Kaiser Franz Beckenbauer who stood out.

West German coach Helmut Schoen congratulates his onfield leader after winning the final in 174(HultonArchive/Allsport)

Beckenbauers talents bestrode three tournaments. In 166 he was the young player of the tournament as West Germany reached the finals.

Playing as an attacking midfielder the 0-year-old scored the decisive goal in the semi-final against the USSR but was asked to play a man-marking role on Bobby Charlton. Charlton was successfully shackled but the Germans lost with one of their most devastating attacking weapons severely restricted.

Four years later, Beckenbauer had been withdrawn to the libero role with which he will forever be associated.

Nevertheless, even from that defensive role he had his revenge on England, scoring the first goal in a two-goal comeback that eventually ousted England in the quarter-finals.

In the semi-final just days later Italy ran out 4- winners in a thrilling extra-time match but Beckenbauer confirmed his heroic status by playing on, heavily strapped-up with a dislocated shoulder.

By 174, Beckenbauer was the experienced elder statesman, marshalling his troops from the back. Using the traditional system of playing their best player at the back, the Germans benefitted from Beckenbauers calmness on the ball, his charges down the middle and his pinpoint passes.

As Germanys greatest ever skippers, he can also be regarded as one his countrys greatest ever managers, having led the Germans to World Cup triumph in 10, becoming the first man to captain and coach his team to the highest footballing accolade of all.

World Cup Legends - Bobby Charlton (England)

Terry Venables recently described this footballing knight as a national treasure and theres no doubting that for most of the world he is a symbol of English football.

Bobby Charlton enjoys a joke with brother, England team-mate and old adversary Jack (left)(HultonArchive/Allsport)

Many a story has been spun about people in far-flung corners of the world associating England with Bobbee Charlton and thats can be attributed in no small part to his exploits in 166.

While Geoff Hurst may have taken the plaudits for his hat-trick in the final, its Charlton who was Player of the Tournament and was European Footballer of the Year that same year.

Manager Alf Ramsey decided to give the Manchester United stalwart a free role behind strikers Hurst and Roger Hunt and Charltons goals and attacking verve were a major factor in Englands victory.

He scored a thunderous goal against Mexico in the group stages and following one of his two goals against Portugal he was applauded back to the centre-circle by every member of the Portugese team.

The final saw the West Germans pick him out as the dangerman and sacrifice their own creative force in Franz Beckenbauer to counteract him.

Charlton, ever emotional, will be forever remembered for sobbing tears of joy when England eventually lifted the Jules Rimet trophy.

In four World Cups - he was an unused squad member in 158, just a few months after surviving the Munich Air disaster - he came to be recognised as one of the worlds best.

Playing in a variety of positions - on the wing, as a centre-forward or inside forward - Charlton is one of the most graceful players to ever walk the earth. Athletic with a superb feint and change of feet he packed a shot so hard that if hit the target few keepers had a chance of stopping it.

In Mexico in 170, Charlton was very much an elder statesman, though younger than he looked. After England went into what looked like a comfortable -0 lead against the Germans with Charlton at his best, Ramsey chose to save his kingpins legs for the semi-final and brought on Manchester Citys Colin Bell.

It came to be seen as a disastrous decision as England blew their lead and eventually lost - in extra-time. With Charlton unable to do anything from the sidelines it was a bathetic ending to a glittering World Cup career.

A true ambassador for English football, and, just like old adversary Franz Beckenbauer, Charlton continues to play a leading role in his countrys footballing affairs.

World Cup Legends - Johan Cruyff (Holland)

One of the tragedies of World Cup history is the failure of the Brilliant Orange team of the 170s in winning the World Cup. And the team that characterised Total Football had Cruyff as the conductor of the orchestra.

Vogts the player trips Johan Cruyff in the 174 World Cup Final.(HultonArchive/Allsport)

Few teams can have had the personality of one players so imprinted on them. Wiry, with the build of a ballet dancer, Cruyff was an unbelievably creative talent from the left side of midfield.

He was ably supported by the likes of Johan Neeskens, Wim Van Hanegem and Ruud Krol, and the Dutch swept their way to the final in 174 where they were every romantics favourite to win.

The first minute of that final characterised that great team. From the kick-off the Dutch swept the ball around with total control and arrogance while the West Germans floundered in their wake.

Then Cruyff set off into the box with extreme intent until he was stopped by a crude Berti Vogts foul. Neeskens did the rest from the spot and the Dutch were leading.

But the arrogance of Cruyff and co was to count against them as the Germans, no mean side and fed up with being teased, fought back to win -1.

Cruyffs sole tournament was in 174, as, at the wish of wife Danny, he refused to travel to Argentina in 178. They reached the final without him and lost narrowly to Argentina but the team still bore all the hallmarks of its former leader.

Despite that fleeting appearance, Cruyff left the World Cup with two eternal snapshots of his class.

A thunderous goal against Brazil in the second phase and the complete bewitching of a Swedish defender that would give the world the term Cruyff turn are quite a legacy for the man whose name will forever be synonymous with Dutch football.

World Cup Legends - Pele (Brazil)

Edson Arantes di Nascimento remains the most famous footballer on earth - more than 5 years after his retirement - and it is his World Cup achievements which have chiefly garnered that accolade.

Pele sobs tears of joy after Brazil win Mexico 70(HultonArchive/Allsport)

Though his achievement of scoring over 1,000 career goals is amazing, the Pele of 158 and 170 is the most potent image.

At just 17, then the youngest player to play in the finals, Pele took the 158 tournament by storm, scoring six goals, including two in the final against Sweden. One of that brace saw him control the ball, hook it over his shoulder and smash in an unerring volley.

Chile in 16 saw Pele injure his hamstring in the second match and miss out on his countrys second successive World Cup win.

Four years later he was again injury-hit, the victim of some disgraceful tackling from Bulgaria and Hungary as Brazil crashed out in the first round.

Mexico 170 is the tournament that fully cemented the Peles position at the head of World Cup legends. Playing in an amazing attacking force, Pele scored four goals and supplied many of the bullets for Rivelino, Jairzinho and Tostao.

His opener in the final against Italy, an object lesson in the bullet header, made him only the second player to score in two World Cup finals but it is the goals that never were which remain the strongest memories of Pele in 170.

An amazing shot from the half-way line against Czechoslovakia which just missed the post and an amazing feint, dribble and shot against Uruguay are two of World Cup footballs enduring images.

World Cup Legends - Ferenc Puskas (Hungary)

Like Johan Cruyff, the story of Ferenc Puskas is the story of a team. Possessing possibly the best left-foot shot in the history of football, the man known as the Galloping Major - by virtue of his playing for army team Honved - was the skipper of a team that were just about everybodys favourite to win the World Cup.

The Galloping Major, talisman of a glorious Hungarian team(HultonArchive/Allsport)

At the 154 tournament in Switzerland, Hungary arrived having been unbeaten for four years in international football. With players like Kocsis, Hidegkuti, Bozsik and Czibor, the Hungarians had taken on all-comers and beaten them.

England had been beaten 6- at Wembley and 7-1 in Budapest and few could envisage anyone stopping them at the World Cup finals.

Playing at inside-forward Puskas gave men of a certain bodyshape hope by being the worlds best player while at the same being short, stocky, barrel-chested, overweight, unable to head and one-footed. Other than that he was absolutely magnificent.

The Hungarians set out their stall with a -0 win over South Korea, following that with an 8- despatching of West Germany. Puskas starred as the Hungarians racked up the goals and points. However he picked up an ankle knock in the German game and missed both the quarter and semi-final.

His team didnt seem to miss him and beat both Brazil and Uruguay 4-. In the final, a return game against the Germans, there was much doubt over whether he would be fit to play.

But, despite being nowhere near match fit, he turned out in his familiar inside-left role and seemed to have shaken off any of the doubts when he scored a trademark left-foot blockbuster after just six minutes. Three minures later winger Czibor put Hungary -0 up and all seemed to be going to plan.

However, in the greatest shock of any final, the Germans fought back to equalise within ten minutes. After that, despite several good chances, the doubts about Puskas were proven as he faded badly in a time when there were no substitutions. And when Helmut Rahn scored with six minutes to go the Hungarians could find no answer.

It was the last chance the World Cup would have to see the Marvellous Magyars as, within two years, Puskas and several other players had defected to the West to escape the Hungarian revolution.

Puskas would have an Indian summer as a European Cup winner with Real Madrid when his waistline had even further expanded but he will be forever associated with the glorious failure of that team of 154.

World Cup Legends - Paolo Rossi (Italy)

Rossis is one of the most remarkable stories in World Cup history. Less than two months before the finals started, Rossi ended a two-year ban - the result of being implicated in a bribery scandal - but was still picked in coach Enzo Bearzots squad for the 18 finals in Spain.

Rossis finest hour, the - victory over Brazil.(Photography/Allsport)

Bearzots selection of him probably came as a result of Rossis promising play at the 178 championships, where Rossi had formed a great parnership with Juventus legend Roberto Bettega.

But now, with Bettega retired, Bearzot needed a predatory striker and Rossi, who had joined Juventus during his ban, fitted the bill.

That decision looked a gamble in Spain as Rossi and Italy stuttered through the first round without winning a game and were even held by the then unknown quantity of Cameroon.

Even the second phase -1 win over Argentina saw a poor showing from Rossi, who looked severely rusty and had not scored in four games.

Everyone knew the next second phase game against Brazil would be his last chance. But in what proved to be an all-time classic encounter, Rossi came through and repaid Bearzots faith with a hat-trick of true striking quality as they edged out Brazils all-star XI -.

And Rossi was just getting into the groove. A brace against Poland put Italy in the final and there he opened the scoring in Italys -1 win over West Germany. That final goal saw him finish top scorer in the entire tournament - when just ten weeks earlier he had been languishing in the ignominy of a ban.

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Bugs

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Due to the competitiveness of today's high school and collegiate athletics, athletes who have the desire to win must work harder during the off-season to stay ahead or even to keep pace with everybody else. This is especially true in baseball. To succeed in the highest level of baseball, the player must dedicate himself to a specific regimen of running, throwing, and strength training during the off-season.

Running is essential to improving a player's speed and cardiovascular endurance. This cardiovascular endurance is specifically crucial to pitchers who should be able to pitch for six to seven innings per game; which usually amounts to 80-0 pitches. "The most important single indicator of overall health is cardiovascular endurance, which is what running develops." (Fixx 6). To keep stress off the throwing shoulder and elbow, the legs have to be strong to handle most of the stress. Major League pitcher Scott Forrester explains the kind of running he did for training. "During spring training, as pitchers we would run 'poles' [sprints of approximately 00-50 ft.] about 10-5 times per practice. This was done just about everyday." (Forrester personal interview). Because baseball requires a high intensity effort for a short period of time, players should run short sprints to improve in explosion of speed. Aerobic exercises that require longer periods of less intense running should be performed to improve muscular endurance and longevity. "To be effective, aerobic work must be a consistent, predictable, and sustained effort. (House 5). A player's running pattern should last throughout the entire off-season.

In addition to a good running regimen, performing a throwing program during the off-season is necessary for a player to build arm strength. Throwing long toss is the best and most efficient way to build arm strength and to prevent injury. "The most common exercise, which is used by most if not all major league pitchers is long toss." (Filer interview). Long toss is basically two players playing catch with one another on flat ground. "Pitchers of all ages should learn and practice their skill in a progression that emphasizes more flat-ground training…" (House 10). They start 60 feet apart, then gradually spread to about 10 feet apart. This specifically strengthens the rotator cuff muscles in the shoulder, as well as increased leg strength. Exercising the throwing arm during the off-season pays great dividends as far as longevity during the season. This should be taken into account by not only a pitcher, but any position player as well because throwing is a fundamental part of the game at any position.

Custom Essays on Bugs

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"A Doll's House"

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"A Doll's House"

"A Doll's House" by Henrik Isben has a very interesting ending because you never see it coming. It ends as Nora walks out the door to begin a new life. Throughout the whole play, Nora seems like she is very happy. She is living a wonderful life with great kids and a loving husband. She is always saying that she would do anything for her husband.

She believes in everything her husband does, and she is sure that if anything happened to her, Torvald would be her savior. Nora is so caught up in her husband she has no clue what the real world holds. She thinks her place is to do anything for her husband, and there is nothing else out there that she is supposed to do. All her life she has been she has been told what to do, first by her father and now her husband. She tells Torvald,"You have never understood me. A great wrong has been done to me, Torvald. First by Papa and then by you" (577A) Then she goes on to say, "It's the truth Torvald. When I lived with Papa, he used to tell me what the thought about everything, so that I never had any opinions but his" (577A). Nora then goes on to say that her father dragged her along as a doll and then passed her right into the hands of Torvald to play with her more.

Nora loves her husband so much, that nothing else matters to her. When her husband gets very ill, Nora took the initiative to safe him. She forged her father's name for a loan to take him to Italy. She has been saving up money and doing odd-end jobs to pay back her loan. When Torvald finds out, he flips out. Nora always thought in the back of her mind that he would take all the blame for her, but this is not what happened. Torvald says, "Nora, I would gladly work for you night and day, and endure sorrow and hardship for your sake. But no man can be excepted to sacrifice his honor, even for the person he loves" (578B).

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When Nora's old friend Christine comes to visit, Nora realizes many things that are wrong in her life. Christine tells Nora how hard life is, and Nora realizes she was never happy when she wasn't working. Christine indirectly tells her that she is still very childish and she needs to grow up. "Nora, Nora, haven't you grown up yet?" (55A). Christine seems to show her that she doesn't know what the real world is like. I think after this Nora realizes she needs to grow up and find out what the world is like outside her husband, her children and the little life she has been living.

After Trovald flips out on her after he finds out about the money Nora borrowed, Nora sits down him for a talk. She tells him that he has never understood her. "No, that's just it. You don't understand me. And I've never understood you'until this evening" (576A). She realizes that Torvald never loved her, and she never loved him. She has been living with a complete stranger, "I realized that for eight years I had been living with a complete stranger, and had borne him three children" (578B). She has been just dragged along as a doll her whole life, and she needs to do for herself and find out what is in the real world. Nora wants to start out new, even if this means that she has to leave her children behind. Torvald cannot believe what his wife is saying and is about to do, "Nora'can I never be anything but a stranger to you" (57B). Nora says, "the miracles of miracles would have to happen" (57B). Nora tells Torvald that Christine will be back tomorrow to get all her stuff, and she wants nothing to do with him anymore. She feels that she cannot live with a complete stranger, and she has to at least try to be something more, "I must stand on my own feet if I am to find out the truth about myself and about life" (577B). Nora needs to do this for herself.

The ending may come as a shock to many readers, but there are a few hints in the play to an ending like this. Nora has a couple recognitions about being treated like a child and doll, and not knowing what it is like to be in the real world. She needs to find out for herself what is out there for her and she wants no one's help only support.

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Aztec Religion

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The creation

The Aztecs, as most highly organized civilizations, needed a religion of their own. They started forming theirs with the following myth At the beginning, Tonacatecuhtli and Tonacacihuatl, the only living gods, klived in the World of Darkness where there was only darkness. They used to go for long walks n he dark, where only occasionally they could see the glare of a monster's eyes. Once Tonacacihuatl touched one of these monsters and it became a brilliant point of perfect light. Amazed by this, they started touching the monsters until the sky was full of stars. But they didn't want to be alone anymore. o they went home and created the Four Tezcatlipocas, four brothers with different colours and characteristics

The 4 Tezcatlipocas

TEZCATLIPOCA - Black

God of Night and Sorcery, also known as Smoking Mirror. The most powerful, supreme deity, associated with the notion of destiny. The god of sin and misery. His Nahual (disguise) was that of the Jaguar.

HUITZILOPOCHTLIThe Blue Tezcatlipoca

The God of war and the sun and special guardian of Tenochtitlan. It was Huitzilopochtli who sent the eagle to perch on the cactus to indicate the site of the Mexicas final resting place. His Nahual (disguise) was the hummingbird

QUETZALCOATL The White Tezcatlipoca

The god of civilization and learning, twins and monsters. He discovered corn, and all good aspects of civilization. The Aztec people thought Cortez was an incarnation of Quetzalcoatl returning from the East to retake his lands as told in legend (source). His Nahual was the quetzal bird.

XIPE TOTEC The Red Tezcatlipoca

The god of springtime, regrowth and jewelers. Also known as The Red Mirror. His Nahual was that of the Eagle.

Other important gods

TLALOC the rain god

CHALCHIUHTLICUE The goddess of running Water.

Cult

The Aztec did many things to worship their Gods. They often prayed, punctured their skin in auto-sacrifice. They even sacrificed human lives to their gods

Praying

The above gods, and many more, were praised and revered by the Aztecs as part of

Their everyday activities. Prayer was an integral part of the Aztec culture, and it was usual to pray for anything from health to success at war. Another common prayer was one for life. As odd as that sounds, it was quite logical to the Aztecs. They looked upon general as a sign that their prayers were received. They then continued to pray, with even greater zeal. The most common gods that were prayed

to were Quetzalcoatl and Huitzilopochtli. Also many of the agriculture and less important gods were prayed to.

Blood letting

The Aztecs often pricked themselves in an act of self-sacrifice. This originated from the belief that Quetzalcoatl had sprinkled blood from his penis in order to create humanity for the fifth time. The higher one was in the Aztec society, the more blood he had to give.

Sacrifices

Human sacrifices to the gods were very often in the Aztec Culture, with the most possible estimation being 0,000 victims a year. The most famous specific sacrifice took place in 1487 at the dedication of the main pyramid in Tenochtitlan. Many sources give the number of victims as 80,400. What led the Aztecs to this?

Well, the Gods requested these sacrifices to perform particular tasks, which were very important.

Huitzilopochtli needed food (human hearts) to fight the forces of dark every night and the sun could keep rising every day. He was particularly thirsty for blood. The victims were laid on their backs and held by priests, then a priest would cut open the chest with a flint knife and offer the heart to the god and the the victim was pushed down the steps of the temple.

Xipe needed sacrifices to make the earth fertile. The victim was tied to a pole and arrows were shot at them until they died. The blood pouring from the wounds was like the rain from the sky. Most sacrifices took place in his festivals because the people had more fun there. The most grotesque example is of the god Huehueteotl. Sacrificial victims were drugged and then thrown into a fire at the top of the ceremonial platform. Before the fire killed them, they were dragged out with hooks and their living hearts were pulled out and thrown back into the fire.

Most of the times the Aztecs ate the limps of their victims. This may seem disgusting to us but for them it was a normal thing to do. The elite of the Aztecs and the capturer of the victim ate the bodies. The victims were prisoners of war from other tribes. The commoners were not allowed to eat human flesh. This was an incentive for the Aztecs to fight better and capture enemies, so they could eat them afterwards. Some tribes, which the Aztecs captured, were left to live in relative freedom, so the Aztecs didn't have to kill their own people. People at that time did not breed anything for meat, only a limited number of turkeys. So it was important that the royals had a complete diet, and it was a very strong incentive for the people to conquer other tribes.

The Sacrificial Temples

The emperor thought that a special temple should be built for the sacrifices so, the Aztecs built the Sacrificial Temple. The cities of the Aztec empire always wanted to make their sacrificial temple better than any other cities. They decided not to destroy the old temple, but to build over it! They made temples larger, more extravagant, and more pleasing to the eye with each new layer. In addition, the temples had more steps, more decorations, and a larger sacrificial area. These temples look a lot like the great Egyptian pyramids except they do not have a pointed top. In a rare find, archaeologists found a temple, which was built over six times! Each new temple was more magnificent than the others. Other additions are little figures at the ends of the staircases, which look like dragons. They are called stone serpents heads and there is no clear reason as to why they were placed there. They could have been built for decoration, or, as a greeting for the gods, or, to ward off evil spirits.

The legend of the five suns

The Aztecs believed that from the beginning of time, 5 suns have been created by the gods. $ of them had been destroyed and we are now living in the era of the fifth sun. The table below gives information about the suns

Sun By whom was it created How it was destroyed

First By Tezcatlipoca By Jaguars

Second By Quetzalcoatl Hurricanes

Third By Tlaloc Rain of Fire

Fourth Chalchiuhtlicue Water floods

Fifth All of the gods(Nanahuatzin became the sun)

Not yet destroyed-our current sun. Will be destroyed by earthquakes

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An Era of Theatrical Perfection

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"The Plays The Thing." This quote from William Shakespeare's Hamlet establishes the meaning of life during the rule of Queen Elizabeth I in England. Queen Elizabeth I's reign as queen of England ran from 1558 to 160. This era in England's history is arguably the most productive literary period ever. From books to poems, and eventually drama and theater, this period had it all. However, the most influential aspect of this time would be the theater. The drama and theatrical presentation during the time of Queen Elizabeth I's rule in England included different roots, writers, acting companies, playhouses, and diverse themes and styles for their plays. In this respect, this magnificent era in theater history has been appropriately named after the queen herself Elizabethan Theater.

Elizabethan drama was very diverse in that it encompassed many forms of drama. This drama had many roots, from colleges and universities to plays and acting troupes. First, the schools where plays were read and performed in Latin were crucial as influences to this period. The Inns of Court was one such college that shapes the drama of the period. It was a school for attorneys. Here, the students of this school were exposed to classical learning and the plays of ancient Rome. Ralph Roister Doister, a book by Nicholas Udall, by drawing its content from neoclassicism, helped advance the dramatic construction of the modern play. Another book, Gammer Gurston's Needle also furthered the development of the modern play. Written by a Mr. "S", this book uses the techniques of a Roman comedy to fuse together the subject matter and characters of a play in a medieval farcical manner. Thomas Norton and Thomas Sackville united their writing skills to write the book Gorbudoc. Written in 1561, this first English tragedy introduced the concept of blank verse. Another influential man to the period was John Heywood. An early playwright, he introduced the interlude to the English Theater. A further enhancement of the drama was the emergence of a revenge tragedy. The Spanish Tragedy, a book written by Thomas Kyd, was the first revenge drama to be made known. Other, more politically oriented influences include the legalization of acting in the 1570's and the outlawing of religious drama by Elizabeth I. Because of all these influences, the plays of the period had to be dramatically altered and therefore the writers of the period faced the difficult task of writing plays to suit all of these different criteria (Trumbull, "Elizabethan Theatres").

During the Elizabethan period, there emerged many great playwrights, poets, and novelists. More importantly, the writers of the period are very much diverse and distinct from one another. The major Elizabethan playwright of the period was the great Sir William Shakespeare. Shakespeare wrote everything from tragedies to comedies to historical plays. Besides writing 8 plays within a -year period, Shakespeare was an actor and shareholder in Lord Chamberlain's Company. His most popular plays are Othello, Romeo and Juliet, Hamlet, and Macbeth (Wild). Because of his importance to this period in history, the writers who came before him are considered to be pre-Shakespearean and those who came after, post-Shakespearean. There were three major pre-Shakespearean writers. The first was John Lyly. He wrote "light, romantic, pastoral comedies" (Wild). He also wrote a very popular play by the name of Endymion. Another pre-Shakespearean playwright was Thomas Kyd. Being deeply influenced by the works of Seneca, Kyd wrote the first revenge tragedy in The Spanish Tragedy (Lee, 105). The third and also leading pre-Shakespearean playwright was Christopher Marlowe. Noted as one of the three major writers of the period, Marlowe is considered the Father of English Tragedy. In his historical tragedies, he introduced the concept of blank verse (Lee, 105). After Shakespeare, the post-Shakespearean playwrights, there were many good writers but none as great as Ben Jonson. Jonson, an actor turned playwright, wrote many masques which were harshly moralistic in scope. He was such a great writer that in 1616, he was made England's poet laureate (Trumbull, "Elizabethan Theatres"). Other, less celebrated contemporaries of the time were Thomas Dekker, George Chapman, Thomas Middleton, Thomas Heywood, and John Marston (Trumbull, "Elizabethan Theatres"). Also during this period, there were many groups that contributed to the writing of plays. The University Wits, an informal group of scholars, were one such group. The playwrights that belonged to this group were Thomas Kyd, Robert Green, Christopher Marlowe, and John Lyly. Besides helping to develop new theatrical conventions, such as elegant prose and complex protagonists, the University Wits made new plays for several acting companies (Trumbull, "Theatre's Transition in Europe"). These acting companies then proceeded to make the plays into a visible reality.

The acting companies during Elizabethan England were so structured and strict that every aspect of the company is fixed and inelastic. From the governmental regulations to the individual members of a company, the acting companies were so tightly controlled that change within them was highly improbable. For starters, the government, in enacting its policies concerning the theater, limited the theater to what it could and could not do. For example, acting wasn't considered an occupation so, under the Tudor Poor Law of 157, actors needed a license to act (Cassady, 6). Other laws limited the number of acting troupes and troupes could only be licensed to members of the royal family (Trumbull, "Theatre's Transition in Europe"). The structures of the companies were also very strict. Economically speaking, a company was democratic and it had three members of economic investment shareholders, householders, and hirelings. Shareholders were those who had an economic interest in the company and shared the profits and losses of the company. Householders were those who had economic interests in the theater and shared the profits and losses of the theaters. Hirelings were actors who were hired for a single performance by a company. Within the company, there were also important, individual roles. For instance, each company had a specific playwright. The gatherer in the company was the most trusted member of the company who collected the penny admission from the audience as they entered (Wild). Because of the many restrictions on these companies, there were few major notable companies. The two most important are the King's Men and Earl of Leicester's Men. The King's Men, also known as Lord Chamberlain's Men, was the leading English acting company. Its leading actor was Richard Burbage and its resident playwright was William Shakespeare. The patron of the company was King James I and they performed in the Globe Theater (Wild). The Earl of Leicester's Men was the first important troupe. Licensed in 1574, this troupe was headed by James Burbage and performed their plays in the Theater (Trumbull, "Theatre's Transition in Europe"). In general, companies had little in common but there were some aspects and events that were accepted or affected the companies. First and foremost, no women were allowed to act. Also, the companies had extremely large repertoires so that they played a different bill each day. Finally, the companies usually consisted of 10-0 men and -5 boy apprentices (Cassady, 8). With the vast number of acting companies at the time, there was a necessity for the creation of stages for them to perform in. These stages, also known as playhouses, came in abundant and ample amounts.

Help with essay on An Era of Theatrical Perfection The playhouses during Elizabethan England all had very similar designs although there were two different types of playhouses. In general, a playhouse was either considered public or private. A public playhouse was an outdoor, open-air theater. It usually varied in size and shape and it was open to all those who wanted to go. It was much cheaper than a private playhouse and they were much more common than the private playhouses as well. A private playhouse, being smaller than a public playhouse, was an indoor, roofed theater. Here, the cost to attend a play was more and during the winter months most plays were performed in these types of playhouses. Regardless of whether the playhouse was a private or a public one, the theater setup was always the same. First, there is the pit. The pit is a courtyard or yard where the groundlings, or penny stinkers, stood to watch the performance. The name penny stinker is derived from that fact that they paid a penny to get in and that they usually stunk because showers were not done daily back then. Then there were the galleries. There were usually three galleries, in the case of the public theaters they were roofed, that were obviously more costly because of the better seating. Moreover, there appeared to be some private galleries for the people of nobility and of the upper classes (Lee, 104). Also, there was a musician's gallery. The musician's gallery was located below the hut and either on the first or third level. The stage itself also had many components. For starters, there was the forestage. This area of the stage jutted out into the central of the pit and here is where most of the action took place. Behind the forestage was a smaller area known as the inner below. This is the curtained discovery area just to the rear of the forestage through which actors generally entered the stage. Above the inner below is the inner above. As is stated in the name, this area is above the inner below, on the second level. It too is a curtained discovery area. Another area behind the forestage is the tiring house. This house was also located at the rear of the stage and it is here where actors would wait and change. Also, there were two doors leading into the tiring house and these were frequently used to represent different locations. Above the tiring house was the hut. Within the hut there was located heavy machinery and equipment. Even further above the hut, and capping of the top of the stage, was a flag. This flag was a certain color and that color pertained to the type or form of play that was going to be performed that day. Finally, as in anything, there has to be an element of religious intervention. For the stage, it is found in two areas heaven and the hell. The heaven was the roof over the forestage from which flying was common. The hell, on the other hand, was the area under the stage where that was used early on as an echo chamber for off-stage voices and spirits (Wild). Although these theaters were very similar in style, there were still many playhouses that had distinguishable characteristics. The first professional English theater of the period was the Theater. Opened in 1576 by James Burbage, it was an open-air amphitheater built outside of London. This theater was dismantled in 1587 and rebuilt in another location in 15 and it then became the Globe. Obviously, this theater was an open-air amphitheater and James Burbage built it as well. In 161, it was burned down and it was rebuilt in 1614. Eventually, it was closed in 164. Another prominent playhouse was Blackfriars. This was the first theater to open as an indoor, private playhouse. Formerly, this building was a monastery but it was converted. It was closed in 1584 and reopened and renamed Blackfriars in 156. Unlike the previous Blackfriars, James Burbage opened this theater and the King's Men used it as a winter performance area (Wild). Other leading playhouses included Newington Butts, Rose, Swan, Curtain, Fortune, Hope, Paul's, and Cockpit theaters (Holman). However, even with the success of the playhouse, there were many obstacles to be hurdled. The merchant class, being the fastest growing populace mostly made of Puritans, did everything they could to prevent the plays. Also, till 1608, the theaters were not allowed inside the city of London, making it a bit more difficult for the playhouses to attract an audience. The final breath of the playhouse occurred in 164 when an act of Parliament ordered the closing of all theaters (Trumbull, "Theatre's Transition in Europe). Despite these difficulties, playhouses were prosperous and the playwrights of the period were forced to write many plays in order to keep them prospering. As a result of the abundant number of plays, there was an extensive field of theme ideas and style propositions that defined the Elizabethan Theater.

Within every play ever written, there is a theme and a style to be understood. In Elizabethan England, although the themes and styles were many, there can be found some similarities amongst them. Thematically speaking, the themes of the plays varied widely from comedies to tragedies. However, in spite of this difference in theme, there only existed four categories of plays historical tragedies, comedies, tragedies, and revenge plays (Wild). The styles of the plays, just like the themes, were also very simple and to the point. First of all, there were no scenery changes. This then led to the need for small and simple props and set pieces. Also, the playwrights faced difficulties because they had to have their characters reveal the time and place of any scene through the dialogue of the play. When dealing with the costumes, this period showed great importance for them. Theatrical costumes were not only necessary, but they were extremely expensive. They were necessary because it was the current fashion and because the dress of the actors would be seen on stage, in broad daylight, by the entire audience. This quote from a book helps to illustrate the significance of these costumes

"Garments of silk and satin and velvet, trimmed with gold and silver lace, spangled with gold or faced with ermine, cut and slashed with all the fantasy of Elizabethan tailoring, were the ordinary wear of the Elizabethan actor." (Smith, 144)

Something else that should be understood is that insensitive to the time period of the play, the dress was predominantly Elizabethan. The only time where there would be distinctive dress would have been to mark the difference between two groups in the same play (Smith, 144-145). Regarding the acting style, there appear to be two differing views. The more formal view of the acting style argues that males did female roles, there were non-realistic scripts, conventionalized stage sets, and a large number of plays. The more realistic view of the acting style reasons that there were contemporary references, convincing characterizations, an emphasis on contemporary life and manners in comedies, truthfulness of human psychology, and the closeness of the audience to the performers. In either case, vocal quality and flexibility were required because of the openness of the stage and the activity and noise of the pit (Trumbull, "Theatre's Transition in Europe").

Elizabethan theater is one of the most recognized periods of the history of England and of theater history itself. As you have read, all of the conventions of this period have not only carried on the legacy of the previous periods of theater history but they have also incorporated innovations that have been further evolved for today's theatrical presentations. This quote from the character John Milton in the movie The Devil's Advocate thoroughly explains what theater during this period has done for theater today "I only set the stage. You pull your own strings."

Because of this magnificent period in theater history, the actors and playwright of today have been able to pull their own strings and further enhance theater as we know it.

Cassady, Marsh. The Theatre And You A Beginning. Ed. Theodore O. Zapel. Colorado Springs Meriwether, 1. 6-8.

Lee, Robert L. Everything about Theatre! The guidebook of theatre fundamentals. Ed. Theodore O. Zapel. Colorado Springs Meriwether, 16. 10-106.

Miller-Schütz, Chantal. "Early Modern Playhouses in London". Shakespeare's Globe Research Database. Ed. Lyn Holman. April. 000. http//www.rdg.ac.uk/globe/oldglobe/Playhouses.htm

Smith, Irwin. Shakespeare's Globe Playhouse. New York Charles Scribner's Sons, 156. 144-145.

Trumbull, Eric. Elizabethan Theatres. 1 June. 000. Northern Virginia Community College http//novaonline.nv.cc.va.us/eli/spd10et/elizab.htm

---. Theatre's Transition in Europe. 1 June. 000. Northern Virginia Community College http//novaonline.nv.cc.va.us/eli/spd10et/medieliz.htm#ttr

Wild, Larry. Elizabethan Theatre. 6 Nov. 17. Northern State University. 17 http//lupus.northern.edu0/wild/th100/eliz.htm

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Implimentation

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Implementation

In order for Circus Circus to compete within the industry implementation of different market strategies would be their primary concern. One such implementation would be the research of potential markets both internationally and within the United States.

The company will form specialized task force teams. This could be through the use of either internal sources (the firm's intellectual capital), or professional consultants. These task teams will focus on researching new strategies the company plans to take, through market surveys, questionnaires, and industry reports. This will enable management to adhere to the needs of its customers.

Implementation

Help with essay on implimentationIn order for Circus Circus to compete within the industry implementation of different market strategies would be their primary concern. One such implementation would be the research of potential markets both internationally and within the United States.

The company will form specialized task force teams. This could be through the use of either internal sources (the firm's intellectual capital), or professional consultants. These task teams will focus on researching new strategies the company plans to take, through market surveys, questionnaires, and industry reports. This will enable management to adhere to the needs of its customers.

The company will negotiate with strategic alliance candidates such as Harrah's, and MGM Grand Hotel and Casino Resorts. They will also work on joint ventures, and potential mergers with other Gaming companies.

The Company needs to maintain their current position while further expanding throughout the country as well as internationally. This expansion will be both in its current business line, as well as into new market segments. Many of the Circus traditional and new competitors are expanding by establishing businesses in other states. This will be a major cause of fewer visitors to Nevada. Circus will only be able to combat this by having its own casinos and gambling resorts at the locations where potential competitors are present or they can form strategic alliances and joint ventures. One such venture could be with Harrah's Entertainment who has a large market presence in Australia and New Zealand where their market strategy appeals to the high-end customers. This alliance would potentially create the opportunity for Circus to refocus their company's operations, with positive impact on their revenues and the newly found up-scale customer base.

Please note that this sample paper on implimentation is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on implimentation, we are here to assist you. Your cheap custom college paper on implimentation will be written from scratch, so you do not have to worry about its originality.

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