The Success Of The Club - 2548 Words

In 2005, a shocking news hit the city of Manchester, home of the EPL’s most successful club with a history of more than a hundred years: Manchester United. Their beloved club was to be acquired by an American business tycoon, Malcolm Glazer. What concerned the fans even more was the fact that most of the capital used by Glazer to purchase the team was debt and that he would load  £525million of debt on to the club itself. This was problematic because it meant that money otherwise could be used to acquire top talents, improve training facilities, or towards the club’s CSR activities would be used to pay back Glazer’s debt. The leveraged buyout of the club was directly against the interests of the fans who are the most important stakeholder.†¦show more content†¦Ever since Glazer loaded the club with  £525million debt, over  £680million has gone towards servicing the debt, including interest fees, bank charges, and debt repayment as of May 2014. O n the other hand, the club’s spending on acquisition of players during the same period was  £382.9million while its rivals Manchester City has spent  £693.7million, Chelsea  £600.2million, Tottenham  £448.2million, and Liverpool have splashed out a total of  £443.75million. In other words, Man Utd spent more on servicing Glazer’s debt than it did on strengthening its squad. Although Man Utd won five Premier League titles, three league cups, and a Champions League under Glazer’s ownership, underinvestment eventually led to aging squad and failure to find suitable replacements. As a result, in 2013/2014 season, Man Utd finished the season in 7th place, failing to qualify for the Champions League for the first time since 1990/1991 season while its neighbor, Manchester City, won the title. While Man Utd was suffering from severely deteriorated financial situation, Man City, under the ownership of an Arabian prince, Sheikh Mansour, invested heavily not on ly to acquiring top players, but also to building a new stadium, training facilities, and even to the community by subway construction and new homes. Despite the fact that Man Utd spent  £152.3million in the transfer market this season, the investment does not seem to be paying off yet as the team ranks fourth in the league as of

Analyzing The Theme Of Nature In Literary Devices English Literature Essay Free Essays

string(328) " says something about her similarly ambivalent attitude towards those around her and they to her: ‘The image we now have of Rhys and her heroines is that of a inactive, impotent, self-victimized schizotypal personality who, comfy with failure, wields her weakness like a arm — all every bit natural as being female\." The subject of nature is really of import to each of the texts to be discussed in this essay: The Fat Black Woman ‘s Poems by Grace Nichols ; Death of a Salesman by Arthur Miller and Wide Sargasso Sea by Jean Rhys. In a sense, the fact that each work is created within a different literary genre to some extent dictates the indispensable differences amongst them. However, this essay sets out to analyze how, in add-on to comparing literary devices, nature is used as a different jussive mood in each of the selected texts. We will write a custom essay sample on Analyzing The Theme Of Nature In Literary Devices English Literature Essay or any similar topic only for you Order Now Throughout the drama, Willy escapes back into his memories and it is profoundly important, hence, that the countryside is allied to this: ‘I was driving along, you understand? And I was all right. I was even detecting the scenery. You can conceive of, me looking at scenery, on the route every hebdomad of my life. But it ‘s so beautiful up at that place, Linda, the trees are so thick, and the Sun is warm ‘[ 3 ]Loman both belongs in the state and out of it because he has merely used it, as he has used both things and people, to acquire in front. The fact that he has been unsuccessful is hence a treachery of his ain and a generic dream that is ne’er fulfilled nor justified, merely as the narrative he begins to state Linda, his married woman, ends non in revery on the idyllic, as it started, but on loss of control: ‘all of a sudden I ‘m traveling off the route! ‘[ 4 ]Miller uses nature, hence, as an emblem of Willy ‘s supplanting: ‘M any of Willy ‘s activities can be seen as extremely symbolic. He workss seeds merely as he workss false hopes: both will decease and ne’er come to fruition, mostly because the house has become excessively hemmed in by the metropolis. ‘[ 5 ]In add-on, a farther lost dream of Willy ‘s has been connected with nature, that of his brother, Ben ‘s, offer to fall in him and do his luck beyond the suburban life Willy has lived: ‘William, when I walked into the jungle, I was 17. When I walked out I was 21. And, by God, I was rich! ‘[ 6 ]For Willy, hence, nature has become a topographic point of lost hope where ‘the grass do n’t turn any longer ‘[ 7 ]; it does non belong and nor does he: ‘A victim of both a hardhearted capitalist society and his ain ill-conceived dreams, Willy ‘s eventual self-destruction is presented with tragic dimensions. His beliefs may be misguided, but he stays true to them to the terminal. Althou gh he has neither societal nor rational stature, Willy has self-respect, and he strives to keep this as his life falls apart around him. ‘[ 8 ] Supplanting is besides a major characteristic of Jean Rhys ‘s novel, Wide Sargasso Sea. First published in 1966, it is a prequel to Charlotte Bronte ‘s Jane Eyre, foremost published in 1847. The fresh uses nature as a agency of developing the narration of Rochester ‘s first married woman, Bertha Mason, here known as Antoinette Cosway, a immature adult female who feels herself displaced following the liberation of the slaves who had worked on her household ‘s plantation. ‘The really word â€Å" topographic point † occurs many times in the novel ‘[ 9 ]and Antoinette seeks consolation in what she sees as an Eden garden, her former place, from which she is cast out: ‘A really of import early set piece is Antoinette ‘s description of the garden at Coulibri, where she was a kid, a garden which was likely based on Rhys ‘s memories of her female parent ‘s household estate at Geneva. It marks childhood as taking topographic po int in a damaged Eden. ‘[ 10 ]The description of the garden is therefore really of import to an apprehension of Antoinette and of the manner Rhys uses her connexion with nature to help her character and thematic development: Our garden was big and beautiful as that garden in the Bible – the tree of life grew at that place. But it had gone wild. The waies were overgrown and a odor of dead flowers assorted with the fresh life odor. Underneath the tree ferns, tall as forest tree ferns, the visible radiation was green. Orchids flourished out of range or for some ground non to be touched. One was serpentine looking, another like an octopus with long thin brown tentacles bare of foliages hanging from a distorted root. Twice a twelvemonth the octopus orchid flowered – so non an inch of tentacle showed. It was a bell-shaped mass of white, mauve, deep purples, fantastic to see. The aroma was really sweet and strong. I ne’er went near it.[ 11 ] The genitive pronoun with which this paragraph opens instantly establishes the duality of Antoinette ‘s state of affairs. This is her place, it should experience like hers but it does non. The ‘beauty ‘ she infers has a ambidextrous luxuriance because it has ‘gone wild ‘ , symbolic of a land which has lost control, albeit for a positive ground. The ‘living ‘ and the ‘dead ‘ mix and encroach upon one another, and there is a snake in the garden in the ‘snaky ‘ orchids. Furthermore, the ‘twisted root ‘ implies a deformation of what was meant to be, metaphorically repeating Antoinette ‘s supplanting. In add-on, this is non the lone illustration of topographic points looking resonant of temperament and/or state of affairs: ‘Places are highly alive in this novel: the menacing, exuberant garden at Coulibri, the cryptic bathing pool at Coulibri, sunset by the huts of the plantation workers, the route fr om the small town of Massacre up to Granbois, the sea and sky at sundown from the ajoupa or thatched shelter at Granbois, the bathing pools at Granbois ( the bubbly pool and the nutmeg pool ) the forest where Antoinette ‘s hubby wanders until he is lost, the route to Christophine ‘s place, the trees and bamboos around the house at Granbois. ‘[ 12 ]Here, Antoinette appears at the same time intoxicated and repelled by the ‘sweet and strong ‘ of the garden, which possibly says something about her similarly ambivalent attitude towards those around her and they to her: ‘The image we now have of Rhys and her heroines is that of a inactive, impotent, self-victimized schizotypal personality who, comfy with failure, wields her weakness like a arm — all every bit natural as being female. You read "Analyzing The Theme Of Nature In Literary Devices English Literature Essay" in category "Essay examples" ‘[ 13 ]The presentation of nature at the â⠂¬Ëœhoneymoon house ‘ is likewise hard to put, looking to be one thing but really being another, but her former place is ‘a sacred infinite where Antoinette hugs to herself the secret hidden in Coulibri ‘ .[ 14 ]It is, so, these secrets in isolation, echoed in the descriptions of Antoinette ‘s fatherland that make the representation of nature in Wide Sargasso Sea so clearly an jussive mood of the text: Equally long as Antoinette can retrieve and order the events of her memories into a temporal or causal sequence, make even an semblance of sequence and keep a mensural sense of infinite and clip, so she can keep her life and ego together. Her act of narrative becomes an act of avowal and coherence, a nod to the universe and its conventions, an effort to forestall herself from fade outing. When, in Part Three, Antoinette lies encaged in Thornfield Hall ‘s dark, cold loft, the togss that hold her to the world that the universe perceives as saneness eventually interrupt. These togss are the elements of conventional narrative: additive chronology, sequence, narratorial clarity, distance. She herself admits at this point that ‘time has no significance ‘ ; sequence disintegrates into a confusion of present and past and finally into a dream which narrates her hereafter.[ 15 ] This has been quoted at length because it addresses many of the literary devices that the novelist, as opposed to the dramatist or poet, can utilize to develop a subject. With respect to nature, it is used by Rhys, as suggested above, to make a temporal infinite for Antoinette that is symbolic of the individuality she has lost. The abandon which is infringing upon the Eden of the garden, subsequently to be wholly destroyed, is an illustration of the manner in which the novelist can utilize one strong image to take into another, both being resonant of the yesteryear. Indeed, once more as stated above, the act of stating the narrative creates the character in the head of the reader and the locations in which she is placed are connected to that, as is the temporal disruption which memory green goodss and which is frequently, as with Antoinette, declarative mood of her province of head. The evocation of nature as a turbulent and affectional presence adds to this, with the sea as the ulti mate semiotic of challenge, pandemonium and disruption. Grace Nichols ‘ 2nd aggregation of poetry, The Fat Black Woman ‘s Poems, published in 1984, besides uses nature to arouse a peculiar image. However, as this is poesy, the lingual and literary devices used are really different from either those of the dramatist and/or novelist. ‘Nichols grew up in Guyana ‘[ 16 ]but has made her life and calling in England, ‘she has lived and worked in Britain since 1977 ‘[ 17 ], and this cross-cultural jussive mood is really much evident in her work: ‘her poems often acknowledge the foreigner clime, geographics, and civilization of England ‘s metropoliss ‘[ 18 ]Within The Fat Black Woman ‘s Poems, Nichols seeks to arouse a different perceptual experience of beauty from that which is shown in white Western civilization: ‘Nichols besides deploys the fat black adult female as a powerful challenge to the dictatorship of Western impressions of female beauty ‘[ 19 ]and therefore ‘ engender a new heroine, a adult female who revises the aesthetic of female beauty. ‘[ 20 ]One of the techniques Nichols employs to make this is uniting nature with an facet of the physical ego, as here in ‘Thoughts floating through the fat black adult female ‘s caput while holding a full bubble bath ‘ : Steatopygous sky Steatopygous sea Steatopygous moving ridges Steatopygous me[ 21 ] The unfamiliar word, ‘steatopygous ‘ ( intending holding to the full rounded natess ) is repeated for accent and juxtaposed with images of nature so as to bring forth an emblem of the black adult female as stopping point to nature, her organic structure shaped like the sky, moving ridges and sea. Nichols is authorising black adult females in image by making this as she does by giving the black adult female her ain alone voice: ‘In doing the fat black adult female the speech production topic of many of these verse forms, Nichols signals her refusal to busy the topic ( erectile dysfunction ) place designated for the black adult female by history and to take a firm stand on more complex subjectivenesss. ‘[ 22 ]Nichols is besides concerned that the voice should look realistic and hence the natural images perform yet another map: ‘Like many Afro-Caribbean authors, Nichols infuses her poesy with the religious energy of the tradition of adult females before her , a tradition that has little written record. ‘[ 23 ] In another verse form from the aggregation, ‘Beauty ‘ , this reproduction of a different image of physical entreaty can besides be seen to be connected with nature: Beauty is a fat black adult female walking the Fieldss pressing a breezed hibiscus to her cheek while the Sun lights up her pess Beauty is a fat black adult female siting the moving ridges floating in happy limbo while the sea turns back to embrace her form[ 24 ] Again, the adult female is juxtaposed with nature, supplying a integrity between the character and her milieus which is both actual and metaphorical. Repeat is used one time more by the poet to underscore the connexion between the subject of the aggregation and beauty in abstract. Indeed, the word ‘Beauty ‘ , the merely capitalised word in the verse form, is set entirely on a line, as is ‘hibiscus ‘ , as if to emphasize its importance as an emblem or iconic of what Nichols says is an imperative i.e. that this is what beauty unambiguously is. There is a common embracing between the adult female and nature, she ‘pressing ‘ the ‘hibiscus/to her cheek ‘ and ‘the sea bend [ ing ] back/to hug her form ‘ . It is as if Nichols is proposing that the ‘fat black adult female ‘ who is ‘riding the waves/drifting in happy limbo ‘ is in unison with nature and recognised by it as being so. All of nature, so, like â⠂¬Ëœthe Sun [ that ] lights up her pess ‘ is lauding her and she it. There is no punctuation in the poetries, underscoring the smooth, natural flow of the descriptions and the manner in which they are intended to connote all that is inherently natural. As Nichols writes in ‘The Assertion ‘ , ‘This is my birthright ‘[ 25 ]and therefore the probe of beauty within the verse forms becomes a socio-political jussive mood, excessively. In decision, all three texts – Miller ‘s Death of a Salesman, Rhys ‘s Wide Sargasso Sea and Nichols ‘ The Fat Black Woman ‘s Poems – all use nature as a manner of enlarging upon and more efficaciously showing their cardinal concerns. An of import component of this is the manner in which hapless false belief is used by the writers, i.e. nature reflecting and/or proposing a temper or subject. As the three texts discussed here are from different genres, they of class usage nature in different ways, using different literary devices, as has been shown. However, for each of the writers nature is singularly of import and enriches the single texts immeasurably. In the concluding analysis, hence, it might be suggested, so, that nature itself becomes about a communicative character within each of the really different plants discussed within this essay, as its importance to the creative activity and communicating of each can non be overestimated. How to cite Analyzing The Theme Of Nature In Literary Devices English Literature Essay, Essay examples

Liability of Mid Winter Show Organizers †MyAssignmenthelp.com

Question: Discuss about the Liability of Mid Winter Show Organizers. Answer: The question that needs to be decided in the present case is related with the liability of Mid Winter Show organizers regarding the injuries that were suffered by Yiming when she fell off the Chair-o-Lift. Now the organizers of the show are claiming that they cannot be held liable due to the exclusion clause, that was mentioned on the back of the ticket given to Yiming and according to which the patrons entered the Chair-o-Lift at their own risk. On the other hand, Yiming and her friend Fatima never saw or read the exclusion clause that was written at the back of the ticket and also on the faded notice. Generally in the course of business transactions, one party tries to insert an exclusion clause as such party is not willing to accept its liability for breach of contract/negligence on its part. The law allows the parties to insert a clause in the contract to exempt or limit the liability for breach of contract/negligence. But the party can be allowed to depend on the clause by law only if (i) the clause has been properly integrated in the contract formed between the parties and similarly if (ii) as a matter of construction, it extends to the laws in question. Therefore, it is also necessary that the clause ought to be legal. According to the first requirement, when a person wants to depend on an exclusion clause, such person has to set up that the clause has become a part of the contract. For this purpose, the law provides that an exclusion clause can be integrated by signature, by notice or by course of dealing. The law provides that when a document is designed by the parties which have contractual effect and at the same time, such document contains an exclusion clause, but clause will automatically be added to the contract and the parties will be bound by its terms, including the exclusion clause. This will be the case even if the other party claims that it has not read the documents or it does not understand the document (L'Estrange v Graucob, 1934). But even a document signed by the parties can also become wholly or partly ineffectively if it is claimed by the other party that a misrepresentation was made about the effect of the term (Curtis v Chemical Cleaning Co., 1951). An exclusion clause will be present in an unsigned document like a ticket or a notice. Therefore in such cases, the legal requirement is that the other party should have been provided reasonable and sufficient notice about the exclusion clause (Thornton v Shoe Lane Parking Ltd., 1971). This requirement can be satisfied if (i) the exclusion clause is present in the contract under contractual document, that is the document that would be reasonably assumed by any reasonable person to contain the terms of the contract and not in a document that only acknowledges the payment like a receipt (Parker v SE Railway Co., 1877). (ii) the law also requires that the presence of exclusion clause in the contract should be brought to the notice of the other party before such party has entered into a contract or when it is going to enter the contract (Olley v Marlborough Court 1949) (iii) the presence of exclusion clause needs to be brought to the other party's notice. In such cases, the requirement is not of actual notice but of reasonable notice (Thompson v LMS Railway, 1930). In such cases, what can be described as reasonable notice differs in each case and the circumstances of the parties. However, the courts have repeatedly mentioned that the attention of the other party should be drawn towards the presence of the exclusion clause in clear words and on the front of any document that is given to the printed. For example, it can be written on such document, "For conditions, see back". The degree of notice, that needs to be given to the other party increases in accordance with the unusualness of the exclusion clause. Another way to add an exclusion clause in a contract is to get the signature of the other party on the contract carrying the clause. The law provides that when a person has signed the contract, including the exclusion clause, such person will be bound by the clause. Even if such person claims to have not read the clause or he did not understood the clause. Another way of incorporating the exclusion clause in the contract is no reasonable notice. The law provides that an exclusion clause can also be present in an unsigned document like a ticket or a notice. However, in such cases, it is the legal requirement that sufficient and reasonable notice needs to be given to the other party during the presence of the exclusion clause. In order to satisfy this requirement is necessary that the exclusion was to be present in a contractual document, or the document that would be assumed by any reasonable person to contain the terms of the contract and not in a document that only acknowledges the payment by the other party, like a receipt (Parker v SE Railway Co., 1877). In the present case, two friends, Yiming and Fatima had gone to attend the midwinter show. There was a temporary ride at the show, known as chair-o-lift that was also a part of the show during the previous year. Yiming recognized the ride and asked Fatima to go on with him. However, the attended forgot to tell them that the conditions related with the use of the ride have been printed at the back of the ticket although both of them had signed the ticket. At the same time, there was a sign placed on the central pylon on the middle of the ride that also contained the terms and conditions but this notice was faded and moreover, it was obscured by some advertising posters and grafitti. While riding the chair-o-ride Yiming's foot got caught in the strap of the seat, and therefore he fell nearly 2 meters off the platform. He cracked his teeth and also suffered fractures in his hand and arm. When Yiming right to sue the organizers of Mid Winter Show for the injuries suffered by him, the org anizers claimed that they cannot be held responsible as a result of the exclusion clause that was present on the back of the ticket according to which the owners and operators of the ride. Accept no liability for the injuries that may be suffered by the patrons howsoever caused. In view of the above discussion, the exclusion clause can be considered as a part of the contract. Therefore, the organizers of midwinter show cannot be allowed to rely on the exclusion clause. Hence, Yiming may successful sue the organizers of Mid Winter Show for the injuries suffered by him. References Curtis v Chemical Cleaning Co [1951] 1 KB 805 L'Estrange v Graucob [1934] 2 KB 394 Olley v Marlborough Court [1949] 1 KB 532 Parker v SE Railway Co (1877) 2 CPD 416 Parker v SE Railway Co (1877) 2 CPD 416 Thompson v LMS Railway [1930] 1 KB 41 Thornton v Shoe Lane Parking Ltd [1971] 2 QB 163