Theoretical And Practical Approach To Theatre Making Theatre Essay

Theoretical And Practical Approach To Theatre Making Theatre Essay This piece uncovers both the physiological and scientific actions behind the presentation of the voice. As an actor, theatre practitioner or theorist, we become aware that the presentation of communication is not a mere ability to speak, but an action from a complex organ which is bound up with our emotions and understanding which directs our physiological reflexes. For Linklater, the conveying of emotion must mean the feeling of emotion since our voice is powered by our very breath. Breath is chemically and physically linked to the bodys capacity and state of serenity. The natural relaxed voice occurs when the body is harmonious, relaxed and warm but any element of stress, excitement distraction can cause breath influxes which create tension and resonance which creates a new tone and inflection. (Linklater, 1976) Linklaters next piece continues that communication with the voice is not always the conveying of speech. However, in Western theatre it is recognised that speech and language is a primary form of expression. The voice and the actor must therefore become one. Both must be in their neutral state but not joined as they are in the actors human life but rejoined, both neutral and aligned to negotiate the new adornment of character in which to convey new expression. In this sense the actors own imagery behind their speech must be put aside and a new imagery must come from the character, this must occur organically, through exercises and development. Only here can the actor and their voice become unique and spontaneous in their role. Furthermore the learning of lines must be absorbed into the heart creating an understanding between the actor and their role. The actor must know more than the character in order to respond instinctively and naturally vocally within the action. (Linklater, 2006) Berry: Vocal Development In this chapter Berry focuses on the theory behind the vocal exercises he developed. These exercises help to convey how Linklaters ideas can be worked. For Berry the voice of the actor must be separated from the voice of the person and preconceived ideas. The way the individual communicates, their own anxieties and tensions must be removed in order to release full vocal potential. Berry laments that one can only get the best vocally if exercises are partaken. There are three stages of development for Berry. The first is relaxation and breathing. In this stage the actor develops the ability for vocal power by increasing the use of the lips and tongue. The second stage is the application of this to the actors role. They must be aware that their own vocal inhibitions are bound up with their acting voice, and that what they hear is not what the audience hears. Relying on their own voice would lead to a predictable style of acting, instead the actor must use these exercise to free the voi ce and allow the emotion of the role to become one with the voice, preventing the need for predictable pushing out and expression of emotions. Finally the third stage is the belief in both the exercises and an understanding of the second stage to create vocal freedom. The development of the voice through these three stages of exercises will create a new freedom, allowing the voice to respond instinctively to the action, beyond thought and technicality of the actors thoughts, but instead naturally and freely. (Berry, 1978) Lecoq: The Art of Mime Contrary to mimes generic image of speechless and silent expression, Lecoqs writings on mime express the important of the voice and indeed the concepts of freedom in movement and vocal as discussed above. Fundamentally Lecoq rejects the notion of mime being the expression of words without sound. The clichà ©d image of the mime, with exaggerated movements and facial expression, Lecoq would suggest fails to convey the practice of mime and its true art form. Mime in its simplest form is the idea of imitation. Here we can understand the art of dramatic mime that Lecoq discusses. This is creation of a theatrical situation with the body, often involving the impersonation of peoples. Such artists create the illusion of the person they mimic, vocally, in body and action. Their art lies in the ability to be this person in alternate scenarios. The actor must feel the movement, gestures and emotions as if they are their own, only the theatrics occurs when the addition of the actors true self i s added, their ownership of the movements produces the essence of mimicry. Symbolic mime requires the actor to partake in absolute mime, creating the environment and opening the audiences imagination. This requires a consistency of action, an understanding of the weight, placement and true abilities of the objects in the illusion. Finally there is the use of plastic mime, the use of the body as a language perhaps used with the constraints of face masks. The body must convey the story whilst the face illuminates the emotion. Lecoq theories a system for conveying mime through exercises designed to able the body. However, Lecoq laments that this system of exercises once used must be discarded of a true and spontaneous performance is to be conveyed. The body moves spontaneously, with reflective action and the system of exercises must not prevent this. All rhythm is organic and no two rhythms are the same and this is key to the creation of the art of mime. (Lecoq, 2006) Jos Houben: The Neutral Mask Once again this piece focuses on the freedom of expression necessary in acting. Through mask work, Shrubsall speaks of Houbens techniques, as inspired by Mosho Feldenkrais and Jacques Lecoq. The ability to separate and un-clutter ones own psychology which lays behind all our human movement, readying the body for meaningful spontaneous movement using techniques such as understanding the relationship between different parts of the body and their related movements. This is conveyed in the important of the mask in acting. The mask will only exist if there is a connection between the actor and the mask. They must become the mask. When the actor looks to the sky, the mask must convey this use of sight, his head expressing the movement and his back and shoulders responding as such. This piece is about the use of organic and functional movement, free from judgement and prior interpretation. (Shrubsall, 2002) Murray: Practical Exercises In this chapter Murray attempts to produce a series of exercises in which to share the experience of Lecoqs theatre and understanding how to prepare ones body for theatre as expressed by Lecoq. Murray defines the fundamental principles behind Lecoqs theories and hence his exercises. It is the idea that essentially movement provokes emotion and the body remembers this. This chapter focuses mainly on the teaching of these actual exercises rather than the theory behind but considers most primarily the bodys relationship between push and pull, balance and imbalance in the creation of Lecoqs work on tragedy, melodrama the neural mask and commedia delarte. (Murray, 2003) Conclusion There is a theme within these readings, that of body and movement in space and time incorporating ideas of freedom without influence. In order to grasp this freedom the readings suggest that the use of exercises is of prime importance for the natural, free vocal and bodied actor. The muscles of the mind and body must be warm and content in order to open up the actors full potential. There is the suggestion that acting without such consideration is meaningless and insincere. That to act is to be free from our human constraints.

A Manager’s Performance and Success

Knowledge about organisational behaviour has become very important to a manager's performance and success. Therefore, it is not surprising that writers often claim to have the information that managers need if they are to excel in their jobs. In Search of Excellence is one of the most well known books of this type. In the book, Peters-and Waterman outlined seven principles that they claimed to be excellent management tactics and a â€Å"7-S Framework.† In Search of Excellence is a book dealing with many different principles of economics and what makes big business' excellent. The first idea that the author discusses is his chart of the 7-S Framework. The graph is very simple but the ideas are fairly complex. In their research, they found that their concepts were too hard to explain and easily forgettable. They made this framework to deal with strategy, structure, style, systems, staff, skills, and shared values. This has 7 S's and a graphical representation to visualize. This shows the businessman that problems can be managed. For example, anyone assuming that a new manager of a Macdonald†s will perform exactly as the old manager did is ridiculous. The workers must adjust and adapt to the new manager's way of business. The first principle is a bias for action. This is basically saying â€Å"Stop talking and do something about it.† When Macdonald†s has a rush of customers and their supplies for making food are low, they (usually) don't say â€Å"You know what, I have no more cheese† or â€Å"Could someone get me some more cheese?† They take action and get the cheese, make it if necessary, and get the problem solved as quickly as possible. The second Principle they deal with is to be close to the customer. This means good service and listening to what the customer has to say. If the producer, Macdonald†s, is not in touch with what the customer wants to eat, then the business will most likely fail. Although it also refers to customer satisfaction; quality food made right and good service, â€Å"Have a nice day and enjoy your meal!† The third basic principle is productivity through people. This deals with the individual as the best means for efficiency improvement rather than capital investment. If Macdonald†s could put everyone in the area of work they most enjoyed (drive-thru, washer,†¦) then they could produce more food and maximize their business. The forth basic principle is hands on, value driven. This is the standard setting and enforcing values in a company. This is keeping the boss in touch with the assembly line worker and projecting the company's original ideas, instead of an image of some suited businessman who confines himself in an office. The fifth and often obvious principle is to stick to the knitting. The basically says that if a company is in the food business, it should not branch off into the computer business unless they have no where else to expand in the industry they are already in. The sixth basic principle is a simple form, lean staff. This means leaving few people up top to manage a company and keep the form of management simple. The seventh and final basic principle is simultaneous loose-tight properties. This is another value-based principle. This could be described as the ability for a worker of Macdonald†s to do his/her job in his/her own way as they incorporate the company's values and concepts into their work. These values demonstrate that they don't just work because they work, but rather because they just make sense. In search of excellence shows that the excellent companies had been based on the basics. The companies had to try to keep things simple. Sometimes, to a big business, it might seem logical that business should be run more complex the larger it is. From research, this is usually not true. Ignoring the seven principles above would be foolish in the business world.

Integrated Plant Survey - 7255 Words

Introduction The integrated plant survey was conducted at King James Processed Meat Products located at Pinalad Road in Pasig City.The off campus Integrated Plant Survey was conducted to expose a group of students assigned to the company, on the various managerial aspects of actual meat processing operations and enable them to apply the theories and principles of the four core managerial functions learned in the 20 weeks training program. With this in mind, the students realizes the value of an Integrated Plant Survey, specifically the opportunity to broaden ones knowledge on the various aspects of the meat processing through an exposure to a plant operations survey. Purpose of the report This report primarily aims to apply and†¦show more content†¦3. Lack of information with regards to the operational standards and procedures. No written guidelines as to the processes and methods in place in the plant. The group only relied on interviews with the owner and the operations manager. 4. Lack of information with regards to human resource management. There were no written policies and guidelines, which should have been the bible of the management and the employees. Company Background Name Of Company: King James Processed Meat Products Address: San Juan Street, Pinalad Road Centenial II Brgy Pinagbuhatan, Pasig City Industry Meat Processing Products Fresh Processed Meats Brief History King James Processed Meat Products is a family owned and managed enterprise engaged in meat processing business. The owner Mr. James M. Labuga, started working at the age of 14 in a meat processing plant in Mandaluyong and was assigned in the line operation of the company, there where he learned the basic procedures and operation of running a meat processing plant. In 1994 he started the business as a sideline â€Å"negosyo† while working in FTI Taguig. He, together with his wife, formulated an original mixture for tocino and longanisa which are being sold initially to their officemates and subsequently to some friends and neighbors. In 1999, the owner was laid off from his job in FTI. Armed with determination and innate skills, he started what was used to be aShow MoreRelatedEnterprise Resource Planning ( Erp ) Technology, Sales Demand, Manufacturing And Market Interface1492 Words   |  6 Pagesdistribution specialist who is expected to provide the materials departments with updates. Companies have been spending large amounts of money on systems that integrate SDMM, making it possible to survey the success of an IT-based strategy to address this challenge. By its nature, ERP is a well-integrated, cross-functional system which lends itself to the types of functions required for integration of the three business functions, demand, manufacturing, and marketing. (Sharma, 2013). 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Safeguarding Dementia Patients - Free Essay Example

Sample details Pages: 8 Words: 2354 Downloads: 8 Date added: 2017/06/26 Category Medicine Essay Type Research paper Level High school Did you like this example? Introduction All nurses have a duty of care to their patients (Brooker and Waugh, 2013). Nurses are expected to play a safeguarding role, recognising vulnerable patients and protecting them from harm, abuse and neglect. Elderly patients are at especial risk due to their poor health, disabilities and increased frailty (de Chesnay and Anderson, 2008). Don’t waste time! Our writers will create an original "Safeguarding Dementia Patients" essay for you Create order Of concern here, is the higher than average incidence of abuse in elderly people with dementia (Cooper et al., 2008). Nurses play an important role in recognising signs of abuse and acting as advocates for their dementia patients. Here, the principles of safeguarding and how they are applied in dementia nursing are presented. Dementia: Cause of Vulnerability Dementia is a group of symptoms that are associated with declining functionality and physical health of the brain (NHS Choices, 2015). This decline in mental function makes a person increasingly vulnerable (de Chesnay and Anderson, 2008). Dementia is typically seen in elderly people with one in every three people over 65 having dementia, and two-thirds of these will be women (Alzheimers Society, 2014). The signs and symptoms of dementia demonstrate how this condition makes someone vulnerable to harm, abuse or neglect (Hudson, 2003) as they include: memory loss, reduced thinking speed, reduced mental agility, language difficulties, lower levels of understanding and reduced judgement. Furthermore, as dementia develops people become more apathetic and isolated as they lose interest in socialising, putting them at increased risk. Dementia can alter a persons personality (Hudson, 2003). They may find it difficult to control their emotions and hard to empathise. They may appear more s elf-centred, suffer from hallucinations and even make false claims or statements. All of these factors make it difficult for relatives and carers to interact with the dementia patient especially when offering very personal care (Adams and Manthorpe, 2003). Dementia reduces a persons ability to live independently and, as the condition progresses, they will increasingly need support and assistance. Their lack of mental capacity makes dementia patients vulnerable to the actions of others (Hudson, 2003). They will require assistance with decisions and gradually lose their autonomy as the dementia progresses, eventually relying on others for even the most simplistic decisions. Depending upon the stage and severity of their dementia, they may be living at home with support from relatives, or they may be in residential care. Safeguarding: Duties and Expectations Safeguarding adult patients means to protect those at risk of harm from suffering any abuse or neglect (Tidy, 2013). The CQC (2015) defines safeguarding people as protecting peoples health, wellbeing and human rights, and enabling them to live free from harm, abuse and neglect. Safeguarding is seen as an essential component of high quality health and social care. The healthcare provider is expected to minimise the risk of any abuse or neglect befalling a patient, identifying any potential causes and taking steps to mitigate them. A patients right to live safely and free from abuse or neglect must be protected, and their wellbeing promoted with ample consideration for their own views and beliefs. The overall responsibility for safeguarding vulnerable adults lies with Adult Social Care (Dementia Partnerships, 2015). They receive and process and safeguarding issues from their partner agencies. However, each partner agency is expected to have its own procedures and practices to reco gnise and respond to any safeguarding alerts. This means that all staff employed by a health or social care provider has a duty to identify and report any safeguarding issues. Nurses caring for patients with dementia therefore have a duty to identify and report any signs of abuse or neglect (Hudson, 2003). Furthermore, they must have the knowledge and skills necessary to provide quality care to these patients with reduced mental capacity. Abuse of a vulnerable adult can occur anywhere: at their home, in a hospital or a residential care setting (Tidy, 2013). Abuse can include physical actions, sexual abuse, mental or emotional abuse, neglect and also financial abuse. Often, the abuser is well known to the victim (de Chesnay and Anderson, 2008). They could be a neighbour, relative or friend, carer, nurse or social worker, a fellow resident or service user. The adults most at risk of abuse are the frail elderly people who either live alone, or live in residential care, but without a ny family support (Mandelstam, 2008). In terms of suffering physical harm, the most at risk are those adults with mental or physical disabilities. Dementia Specific Issues Dementia patients are vulnerable adults, their degree of vulnerability dependant on the stage and severity of their condition (Tidy, 2013). The Department of Health describes vulnerable adults as those who are unable to take care of themselves, or who are unable to protect themselves from harm (DH, 2000). People with care and support needs require help and assistance from both the nursing and social care disciplines. Part of the nurses duty is to safeguard their vulnerable patient from abuse and neglect (SCIE, 2015). The Care Act (HM Government, 2014) requires local authorities to perform safeguarding duties. This stipulates a multiagency approach where any safeguarding concerns are recognised, acknowledged and addressed. Dementia patients are especially vulnerable as they increasingly lack the mental capacity to participate in the decision-making process that will ultimately protect and promote their own interests (BMA, 2011). This means that any decisions made regarding their car e or treatment are made on their behalf. This loss of autonomy disempowers them and makes them subject to others will. Coupled with the ageing process, declining physical health and increased frailty, this puts dementia patients in a highly vulnerable position. Steps a Nurse Can Take: Identification Safeguarding adults with dementia is a difficult task. It is widely acknowledged that it is difficult for the nurse to spot signs of abuse in dementia patients due to similarities between signs of abuse and symptoms of their underlying condition. General signs of abuse can include frequent arguments between the caregiver and the patient, and changes in the dementia patients personality or behaviour (Tidy, 2013). Yet, as noted above, these are also signs and symptoms of the progressive disease. Furthermore, spotting such trends requires the nurse to have good knowledge of both patient and carer. Recognised signs of emotional abuse such as rocking, sucking and/or mumbling to themselves are also dementia-like (Tidy, 2013). Often professionals can only detect the signs of physical abuse and neglect by way of a detailed physical examination. The nurse should look for signs of physical and sexual abuse such as physical injury, bruising and bleeding. These may seem more easily detectable, but can be concealed or explained away as accidents. Signs of neglect, including weight loss, dirty living conditions, poor personal hygiene and untreated physical problems, should be identified by the nurse. Again, factors associated with dementia such as increasing apathy, reduced taste / appetite may be the underlying cause and will need to be explored. Effective safeguarding requires the nurse needs to get to know their patient, discussing all aspects of their well being with them and/or their carer. People with dementia are especially vulnerable to abuse being less able to remember or describe what has occurred (Alzheimers Society, 2014). Victims, whether they have dementia or not, find it difficult to tell anyone what has happened. Added to this general reluctance, are issues specific to dementia: patients may feel that they will not be believed, have difficulties recalling and communicating events. The distress caused by the abuse may exacerbate these difficulties. Dement ia patient are often not believed, being discredited and thought of as confused and unreliable. Therefore, to protect their patients and best represent their interests it is essential that the nurse understands them and establishes a good trusting relationship. Dementia patients are also at increased risk of financial abuse. This can include sales-people taking advantage of them, relatives or carers accessing their bank details or causing them to alter their will and/or gain power of attorney (Adams and Manthorpe, 2003). Yet, the nurse should remember that some of these actions may be necessary steps so as to provide care to elderly dementia sufferers. For example, a carer may need to pay for some goods or services for the patient, and, in cases of significant reductions in mental capacity, power of attorney has to be awarded to ensure that all aspects of the dementia patients life are managed. Nurses should be aware of the Mental Capacity Act (HM Government, 2005). This was intr oduced to help protect the rights and wellbeing of those who lack capacity. It governs the responsibilities and jurisdiction of those making decisions on anothers behalf. It aims to ensure that peoples autonomy is protected, but where they cannot make a decision, they are not ignored and any actions are in their best interest (Adams and Manthorpe, 2003). The demanding care needs of dementia patients can result in high levels of carer stress to be experienced by relatives and friends. This may cause that individual to do abusive things and behave out-of-character. Nurses should recognise that carers of dementia patients experience greater strain and distress compared to carers of other elderly people (Alzheimers Society, 2014). The enforced change of lifestyle resulting from caring full time can manifest as resentment and dislike. External pressures and stress can make people abuse others, as can a history of being abused themselves, previous violent or antisocial behaviour. Nurse s should endeavour to develop a good relationship with both patient and carer(s). They should seek to establish trust and empathy and learn about the people behind the condition. This will enable the nurse to offer high quality care as described in the next section. Steps a Nurse Can Take: Prevention Nurses should recognise that abuse can take place in all settings and be performed by all people (Tidy, 2013). Abuse of dementia patients in formal residential or hospital care settings is usually a sign of an overall poor quality of care. It signifies that staff are not appropriately trained and skilled in dementia care. They do not understand the complex needs of these patients and therefore cannot adequately address them. Thus, where a nurse identifies abuse at an organisational level, the situation should be reported so the necessary systems and training can be put in place. Remedial action on this scale is outside the scope of this essay, but where a colleague or individual carer acts inappropriately, the nurse can intervene to educate and train them. The communication difficulties posed by dementia patients does mean that it is more difficult to offer person-centred care. This results in an individuals needs not being met. This is further exacerbated where the dementia pat ient exhibits behavioural and psychological symptoms such as restlessness, shouting and aggression. These can result in the patient being restrained or medicated inappropriately. Therefore, nurses should ensure that they have the knowledge and skill to work with dementia patients so as to act in their best interests. On occasion, the requirements of the Mental Capacity Act are not followed appropriately: Staff assume that all dementia patients lack capacity and therefore dont involve them in decisions. Nurses should be aware of, and understand, the Act. They should know how to implement it and where to gain advice if necessary. Ideally, there should be continuity of care. The same nurse should work with the patient and their carer(s) throughout the progression of the condition. By knowing the patient well, they will be better able to facilitate person-centred care, upholding the patients interests and best representing their views. The nurse also has safeguarding duties with rega rds to home-based care. Improving the emotional and practical support given to family carers of dementia patients is recognised as key to safeguarding patients. These carers have little or no training and often do not feel adequately prepared (Alzheimers Society, 2014). They often find the situation stressful and demanding: circumstances that could lead to abuse or neglect. The nurse should therefore ensure that they are approachable and inspire confidence in the patient and carer. They should provide education and advice to carers and ensure that back-up support and resources are available to those who need it at all times. Developing a good relationship between all parties is essential in preventing abuse from occurring, ensuring the patients needs are met and their interests respected. Conclusion Nurses play a key role in protecting dementia patients from abuse. In order to effectively safeguard their patients, it is essential for nurses to understand the types of abuse, how and why it may occur. Dementia patients are at especial risk due to their declining mental capacity and reliance on others. Nurses are well placed to identify and prevent abuse through establishing close, open and trusting relationships with both patient and carer. Nurses can act as advocates for their patients, representing their best interests and facilitating person-centred care. Through providing education and support for carers, nurses can ensure that all the dementia patients needs are met. References Adams, T., Manthorpe, J., (2003). Dementia Care: An evidence based textbook. Boston, CRC Press Alzheimers Society, (2014). Dementia 2014 Infographic [on-line]. London, Alzheimers Society via: https://www.alzheimers.org.uk/infographic BMA, (2011). Safeguarding Vulnerable Adults à ¢Ã¢â€š ¬Ã¢â‚¬Å" A toolkit for general practitioners. London, British Medical Association Brooker, C., Waugh, A., (2013). Fundamentals of Nursing Practice: Fundamentals of Holistic Care. New York, Elsevier Cooper, C., Selwood, A., Livingstone, G., (2008). The prevalence of elder abuse and neglect: A systematic review. Age and Ageing, 37(2): 151-160 CQC, (2015). Safeguarding People [on-line]. London, Care Quality Commission https://www.cqc.org.uk/content/safeguarding-people de Chesnay, M., Anderson, B.A., (2008). Caring for the Vulnerable: Perspectives in Nursing Theory, Practice and Research. London, Jones and Bartlett Learning Dementia Partnerships, (2015). Safeguarding vulnerable adul ts [on-line]. Ashburton, Dementia Partnerships https://www.dementiapartnershipd.org.uk/archive/primary-care/primarycaretoolkit/1-dementia-care/managing-a-long-term-condition/safeguarding/ DH, (2000). No Secrets: guidance on developing and implementing multi-agency policies and procedures to protect vulnerable adults from abuse. London, Department of Health HM Government, (2014). The Care Act. London, The stationary office HM Government, (2005). The Mental Capacity Act. London, The stationary office Hudson, R., (2003). Dementia Nursing: A guide to practice. Oxford, Radcliffe Publishing Mandelstam, M., (2008). Safeguarding Vulnerable Adults and the Law. London, Jessica Kingsley Publishers NHS Choices, (2015). Dementia [on-line]. London, Department of Health https://www.nhs.uk/Conditions/dementia-guide/Pages/about-dementia.aspx SCIE, (2015). Adult Safeguarding [on-line]. London, Social Care Institute for Excellence https://www.scie.org.uk/adults/safeguarding Tid y, C., (2013). Safeguarding Adults. Leeds, Emergency Medical Information Service

Analysis Of Masolino And Masaccio s Depictions Of Adam...

This assignment considers Masolino and Masaccio’s depictions of Adam and Eve as part of a ritual complex that communicated expectations of feminine-gendered behavior. Beginning with an analysis of both images, the text continues by briefly contextualizing the images within the Brancacci chapel. Masolino’s Adam and Eve: The Fall materially approximates â€Å"mankind’s earliest and most far-reaching act of selfishness† to the female body. In this segment of the entrance archway, Eve has presumably bitten - or is about to bite into – the forbidden fruit of the tree of knowledge, coaxed by the figure of the Serpent. The biblical couple stands naked, uncovered, and unashamed while this anthropic snake contours the tree and Eve’s arm, gazing at the scene from above. As discussed in lecture, this compositional proximity weighs Eve as responsible for the Fall. The flat backdrop, once host to healthful, abundant vegetation, has today faded to the original nero vite as a result of surface abrasions. This considered, the artist rendered a naturalistic depiction of the scene, looking to Classical precedents in the posture of both human figures. Keeping in with the time’s conventions of painting, Eve is painted in a paler tint than Adam. The Serpent’s human face above Eve shares her pigmentation, gendering the compound creature as feminine. It should be noted that this shared coloration is not incidental, but rather a deliberate gesture on behalf of the artist: these characters’

Ready to Eat Food Free Essays

NEW ERA OF INDIAN READY TO EAT FOOD (RETORT FOOD – Having shelf life up to 18 months) Sanjeev Bhanga BRIEF India has made lot of progress in agriculture food sectors since independence in terms of growth in output, yields and processing. It has gone through a green revolution, a white revolution, a yellow revolution and a blue revolution. Today, India is the largest producer of milk, fruits, cashew nuts, coconuts and tea in the world, the second largest producer of wheat, vegetables, sugar and fish and the third largest producer of tobacco and rice. We will write a custom essay sample on Ready to Eat Food or any similar topic only for you Order Now Now the time is to provide better food processing its marketing infrastructure for Indian industries to serve good quality safest processed food like ready to eat food. It is opening a new window in world scenario as far as taste acceptance is concerned. Therefore, Indian Government is providing more infrastructure for this sector. Excise duty is now ZERO % on RTE and 100 % tax deduction for the first 10 years for new units. This allows manufactures to bring down their prices spreads its flavors to the world. The retort processed foods do not require rehydration or cooking and can be consumed straight from the pouch with or without pre-warming, depending upon the requirement of the users and the weather conditions. These foods meet the specific needs of convenience, nutritional adequacy, shelf stability, storage, distribution to the centers and have become very popular after the Year 2002. Some of the mouth-watering dishes in retort pouches include sooji halwa, upma, chicken curry, mutton curry, fish curry, chicken madras, chicken kurma, rajma masala, palak paneer, dal makhnil, mutter paneer, potato-peas, mutter mushroom, vegetable ulav chicken pulav, and mutton pulav, etc. The pioneer introduction of retorting technology has made the sale of ‘Ready-to-Eat’ food products commercially viable with great taste. CONCEPT †¢ Ready to Eat Meals like already cooked or prepared lunch dinner are relatively new products which came in market only a few years back and are now sold t hrough retail general stores in especially made sealed aluminum laminates. †¢ The retorting or sterilization process ensures the stability of the Ready-to-Eat foods in retort pouches, on the shelf and at room temperature. The application of sterilization technology completely destroys all potentially harmful micro-organisms, thereby making sure that the food product has a very long shelf life of over 12 months and needed no refrigeration. †¢ When customer needs to eat, the food item pouch is either put in microwave oven to warm it or keep in heated water for a few minutes and then serve to eat. †¢ Such ready to eat meals have been especially given to soldiers in army of many countries who require carrying their rations while on war front or while located far away from their main unit. The advertisements like, â€Å"Hungry Kyaa† are adding zest to the market by popularizing such food items which are precooked and free from any preservative, and yet have a long shelf life of over 12-months. These food items are normally selling in pouches, well packed in cardboard printed boxes of small book size and carry about 300 grams of cooked food at a price of about Rs. 40 to 200 in foreign marke t depending upon the type of dish packed. One packet of vegetable dish is normally sufficient for one meal for three persons and therefore falls in economic zone of consumer’s preferences. WHY READY TO EAT FOOD Globalization of Indian food and its culture are the core factors for popularization of ready to eat foods. Main motivation for these ready to eat foods is fast growing foreign market. Retail outlet culture is now growing rapidly in India. Shelf life of these foods are at least 12-18 months. Quality, Taste and Flavor of these foods remains as good as fresh up to the expiry date. Women wanting to spend more time out of the kitchen. More working bachelors staying away from homes. Cost effective in comparison to the Indian cuisine served by the restaurants in foreign countries. TYPES OF READY TO EAT FOOD Veg Food Alloo Matar Palak paneer Sarso Ka Saag Chana Masala Kadi Pakora Cheese Tomato Dal Makhani Rajma Masala Non Veg Food Chicken Curry Butter Chicken Karahi Chicken Mughalai Chicken Mutton Masala Mutton Korma Karahi Mutton Mutton Biryani Deserts Gajar Ka Haluaa / Sugi Ka Haluaa / Milk Kheer PLAYERS IN READY TO EAT FOOD MTR Kohinoor Foods ITC Haldiram Tasty Bites RETORT ITS PACKAGING The water RETORT is an equipment or vessel or sterilization module through which steam (at 130 degree centigrade for 25 minutes) is applied on food products packed in retort pouches. The retorts use water or steam/air combination as processing medium to heat the container/packages. Compressed air or additional steam is introduced during the processing cycle to provide the overpressure (any pressure supplied to the retort in excess of that which can be normally achieved under steam at any given retort temperature). Overpressure is important in preventing package damage or loss of seal integrity (like bursting), during the heating process. Retort pouches is a flexible packaging material that basically consist of laminates or bounded layers of different packaging films of Polyster-Nylon-Aluminium-polypropylene that can withstand high process temperature pressure. Their most important feature is that they are made of heatresistant plastics unlike the usual flexible pouches. This makes the retort pouches unique which are suitable for the processing of food contents at temperatures around 120 degrees Celsius. That is the kind of ambient temperature prevalent in the thermal sterilization of foods. There is lesser time to spend in cooking food themselves and so ready to eat foods are preferred. To get the food of different cultures, taste etc, it is important that food has good shelf life so that it can be made available at far off places too and then can be conveniently consumed also. ADVANTAGES OF RETORT PACKAGING †¢ Pouch laminates permits less chance to overcook during the retorting thus products having better color, texture less nutrients loss. †¢ It requires less energy for sterilization. †¢ It requires less disposal storage space. †¢ Low oxygen moisture permeability. Shelf stable for longer time requires no refrigeration. †¢ Sun light barrier, light weight, easy to open. MARKET ITS GROWTH The popularity of ready to eat packed food now is no longer marks a special occasion. Peoples want value for time, money in terms of quality and variety. The food processing industry is one of the largest industries in India and it is the ranked fifth in te rms of Production, Consumption, Export Expected growth. Processed food market in India accounts for 32% that is Rs. 1280 billion or 29. 4 billion US $ in a total estimated market of Rs. 990 billion or 91. 66 US $. Euromonitor International, a market research company says that amount of money Indian spend on ready to eat snacks food is 5 billion US $ in a year while on abroad Indian or Indian subcontinents spend 30 billion US $ in a year. Ready to eat packaged food industry is over Rs. 4000 crore or 1 billion US $ and it is growing at the rate of 20 % per annum. Ready to eat food market is developing specifically in UK, USA, Canada, Gulf South Asian Countries with the growth rate of over 150 % per annum. FREQUENTLY ASKED QUESTIONS What is retort packaging? Retort packaging is a self stable flexible package What is the shelf life of retort food? – The shelf life of a retort package is a year plus. What are the shipping advantages? – A retort package will not break or dent and weigh less. Where do you display the package in the retail store? – You can display at room temperature at any corner of the retail store What are some of the main reasons, a packager of consumer products would like to go from a conventional package material to a flexible retort pouch? – The package provides a flat surface for graphics and text, needs no refrigeration and is microwave compatible. What’s the difference between foil and non-foil retort structures? – Non-foil retort packaging can be put in the micro wave. What about taste of products in a retort package? – People say that products packaged with retort material taste fresher and maintain a more natural flavor. What about shelf appeal? – Retort pouches are more space efficient and provide a larger surface for graphics and text. What kind of food products can be packed in retort packaging ? – All kind of veg Non- veg food products Email: sanjeevbhanga@rediffmail. com How to cite Ready to Eat Food, Papers

The poem reflects Essay Example For Students

The poem reflects Essay After a Journey is a lament at the loss of Thomas Hardys wife, reflecting in both its structure and tone, Hardys feelings of sadness and regret. The language used in the opening stanza immediately conjures imagery relating to loss and despair. Up the cliff, down, till Im lonely lost line 3, is a direct reference to Hardys state of mind. His feelings of loss and a searching for answers are powerfully highlighted both in the idea of the unseen waters line 4 and of being lonely lost line 3. Hardy compounds the feelings of grief by making it clear the places he is currently in only serve to heighten his feelings of loss whilst his references to haunts line 9 and haunted line 19, only reinforce the notion of a man grieving for and being haunted by, the memories of his dead wife. We will write a custom essay on The poem reflects specifically for you for only $16.38 $13.9/page Order now However, though there is undoubtedly a proliferation of bleak and despondent imagery used in the opening half of the poem, Hardy uses more positive language in the descriptions of his wife, With your nut-coloured hair line 7 and When you were all aglow line 24. The beautification of his lost love, in the context of the poem, hints at the devotion he felt for his companion and serves to reinforce the idea of a man suffering the effects of extreme loss. It is also interesting that it reflects a more general statement as to the nature of grief, that human nature almost always forces those left behind, to focus on the positive aspects of those they have lost . It is telling that whilst Hardy alludes to the fact that their relationship was sometimes strained, Things were not lastly as firstly well line 15, the idea that he still imagines his wife in her most perfect state, says as much for the human spirit at times of grief as it does for Hardy himself. The structure of the poem itself reflects the phases of the grieving process. The dark imagery of the opening paragraph is part of a greater whole. Each stanza that follows reflects a different aspect of Hardys grief and partial healing. The second stanzas, Summer gave us sweets, but autumn wrought division line 14 and But alls closed now line 17, gives the impression of Hardy feeling reflective, but at the same time despondent, as the language used is one of regret and sadness. The thirds stanzas more upbeat tone is reflected in the use of more positive language and imagery, Above the mist-bone shone line 20 and When you were all aglow line 24. This again, highlights another stage of grief and allows the reader to not only understand Hardys state of mind but also generates a more positive feel to the poem. It is this structure which is perhaps the most understated aspect of Hardys work. It cleverly envelopes the reader, taking them on a journey, from the bleak opening section to the progressively more positive ending. This clever structuring is highlighted perfectly in the contrast between the opening and closing verses. The final stanza subtly hints at a notion of closure and acceptance at the loss of his wife. Trust me, I mind not line 30 and bring me here again line 31, perfectly illustrate the idea that Hardy, whilst not yet completely past the process of grieving, is far more able to dwell on the memories of his wife and their life together. Though the structure of the poem reflects the grieving process, there are other, more subtle, reflections of Hardys mood and state of mind. The random punctuation prevalent throughout reinforces the idea of Hardys psyche racing through memories and emotions. The use of semi colons in lines 1, 9 and 10 and exclamation marks in lines 25 and 31, force a stop start rhythm on the reader, giving the poem a rhythmic flow of quick pace and jarring stops. .u32890380cc97c632b104705430774741 , .u32890380cc97c632b104705430774741 .postImageUrl , .u32890380cc97c632b104705430774741 .centered-text-area { min-height: 80px; position: relative; } .u32890380cc97c632b104705430774741 , .u32890380cc97c632b104705430774741:hover , .u32890380cc97c632b104705430774741:visited , .u32890380cc97c632b104705430774741:active { border:0!important; } .u32890380cc97c632b104705430774741 .clearfix:after { content: ""; display: table; clear: both; } .u32890380cc97c632b104705430774741 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u32890380cc97c632b104705430774741:active , .u32890380cc97c632b104705430774741:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u32890380cc97c632b104705430774741 .centered-text-area { width: 100%; position: relative ; } .u32890380cc97c632b104705430774741 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u32890380cc97c632b104705430774741 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u32890380cc97c632b104705430774741 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u32890380cc97c632b104705430774741:hover .ctaButton { background-color: #34495E!important; } .u32890380cc97c632b104705430774741 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u32890380cc97c632b104705430774741 .u32890380cc97c632b104705430774741-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u32890380cc97c632b104705430774741:after { content: ""; display: block; clear: both; } READ: American Beauty vs. The Sound And The Fury EssayIt allows Hardy to cleverly toy with the speed and rhythm of the passages, reinforcing the notion of a desperate searching for answers and of thoughtful controlled reflection. The use of questions only serves to heighten a feeling of a man lost and alone, searching for meaning, will its whim now draw me? line 2 and wherein I have lacked you? line 13. It is interesting to note, however, that though these questions are aimed squarely at Hardys dead wife, they have the secondary effect of drawing the reader into the text and in doing so personalises the entire poem. Hardy is also clever in using the notions of past and present to further reinforce the ebb and flow of the poem. The reference to the past, you are leading me on to the spots we knew line 18 19 and to the present, the dawn whitens hazily line 29 gives the poem a tidal like quality that seems to carry the reader on a journey back and forth through Hardys mind. The reference to the seasons, Summer gave us sweets, but autumn wrought division? line 14 only serves to underscore the feeling that the reader is being transported back and forth from memory to memory, past and present, whilst line 8, coming and going, almost single-handedly defines the underlying nature of the poem. The rhyme prevalent throughout the piece further heightens the notion of a man desperately trying to make sense of his feelings and memories, particularly in the opening two stanzas, a voiceless ghost line 1 and Im lonely lost line 3. The rhyme is ever so slightly erratic, which undoubtedly reflects Hardys mood and state of mind at that point, however, as the poem continues and Hardy begins to show signs of coming to terms with his loss, the imagery in the rhyme is softer and less bleak. seals flop lazily line 27 and the dawn whitens hazily line 29 generate almost dreamlike images in the mind of the reader and create an ambiance of calm and reconcilement. It is also important to realise that by using a strong rhyme set throughout, Hardy gives the poem an almost melodic quality, which in turn makes the piece highly memorable and extremely poignant. Throughout the poem there are numerous references to nature, which, for the most part, simply serve to reinforce the changes Hardys mood, Up the cliff, down, till Im lonely lost line 3 and At the then fair hour in the then fair weather line 21. There is, however, a subtle change in the use of the references to nature in the third and fourth stanzas. The waked birds preen and the seals flop lazily line 27 not only describes the scene that Hardy finds himself in, but also hints at a realisation that whilst he is, understandably, dwelling on the past, nature is simply continuing its normal timeline. This is notable, not only for the dream like imagery that it conjures in the reader, but also because Hardy is perhaps using it to comment on himself, that he too must continue to live his life and that as nature ultimately continues to live so can he. The use of metaphor and simile in lines 29, For the stars close their shutters and 22, And the cave just under, with a voice still so hollow, only serve to reinforce the link between Hardys humanity and nature itself. After a journey, cleverly works on more than one level. Whilst it is undoubtedly Hardys personal eulogy to his wife and in turn is possibly a form of therapy, a way of reconciling his feelings of loss and guilt, it also so much more. At times it seems to be an overview of the grieving process itself, a blueprint, if you will, of the stages of grieving and subsequent healing that most people go through when faced with loss. It is this which is perhaps its most powerful legacy, that those who have experienced loss can gain some comfort from his work and ultimately, like Hardy himself, begin the healing process for themselves.