An Economic Analysis of Oregon’s 2007 Road User Fee Pilot Program Essay

I. Introduction and Background The gasoline tax has provided revenue for the Federal and State Highway Trust Fund (HTF) for decades; however, the tax rates have remained stagnate leading to the funds depletion. The HTF is responsible for funding highway and mass transit projects and also maintenance of those projects at the Federal and State level. In 2005 around 80 percent of funding for all projects came from the gasoline tax (Kim, Porter, Whitty, Svadlenak Lareson, Capps, Imholt & Person 2008, pg. 37). Thus, it is vital for the HTF to be a revenue collecting system that can replace the gasoline tax. Oregon has recently begun testing an alternative revenue collection program to fund their HTF. Currently, State gasoline tax is set at 24 cents per-gallon and that is on top of the Federal gasoline tax of 18.4 cents, which only, 18.3 cents is used for roads, the total tax equals to 42.4 cents per-gallon (McMullen, Zhang, & Nakahara, 2010, pg. 360) (Austin & Dinan, 2012 pg.2). The gasoline tax has not been raised in years and is unable to keep up with fuel-efficient technologies. Consequently, the Federal government has had to allocate funds to States HTF for projects along with States having to borrow money form their other accounts. Therefore Oregon proposed the 2007 Road User Fee Pilot Program to test if a vehicle mileage traveled (VMT) tax is a feasible solution to the gasoline tax. Oregon’s propose program is in response to new fuel-efficient vehicles and corporate average fuel economy (CAFE) standards that have forced the automotive industry to rise miles-per-gallon in new vehicles to help combat climate change. It is estimated that CAFE standards have lower the gasoline tax revenue around twenty percent (Austi... ... Evaluation of Oregon's Vehicle-Miles-Traveled Revenue Collection System." Transportation Research Board 2079: 37-44. Print. McMullen, Starr, Lei Zhang, and Kyle Nakahara. "Distributional impacts of changing from a gasoline tax to a vehicle-mile tax for light vehicles: A case study of Oregon." Transport Policy 17: 359-366. Print. Rufolo, Anthony, and Thomas Kimpel. "Responses to Oregon's Experiment in Road Pricing ." Transportation Research Board 2079: 1-7. Print. Thomas, Michael , and Kevin Heaslip. "Technological Change and the Lowest Common Denominator Problem: an Analysis of Oregon's Vehicle Miles Travelled Fee Experiment ." Journal of City and Town Management 2: 1-23. Web. 6 May 2014. Whitty, James. "Oregon's Mileage Fee Concept and Road User Fee Pilot Program: Final Report ." Oregon Department of Transportation 1 Nov. 2007: iv-92. Print.

Internship Paper Essay

My role with the _____ County circuit courts varies pretty much daily. Originally I was assigned to circuit court three. As it turns out though, they have had a high school intern coming since the beginning of the semester also, who is interning for a class she has. I believe she comes in three times a week. In addition to this, they have a â€Å"floater† who rotates through all of the courts, there are seven, so they have more than enough help in their court. Most days when I go in, I start in court three, and then end up going to court services to help the ladies out there. When I am in court three, I basically do the filing that has accumulated throughout the day. Depending on the day, and if the other intern or the floater has been there, there might be anywhere from ten minutes to an hour’s worth of filing to do. After this is done, I might â€Å"pull the mail,† meaning pull any files that correspond with mail the court has received. These might be warrants, certified mail, requests to continue, follow up letters referencing a court case, etc. A few times, when there has been a computer available, I have been able to enter information into the JUSTIS system, mostly through certified mail cards. Sometimes I would enter information for small claims cases, and then if the attorney or plaintiff/defendant would need copies of the information, I would mail those out. I would say the majority of my time spent at the courts was spent in court services though. Here I would do a lot of work for Mary, who is in charge of juvenile cases. A few weeks ago, I did many spreadsheets with data about juveniles who were either in detention centers, or placed in treatment centers, ranging from 1998-2002. She has to have record of this and needed the material in an organized data format, so I did a lot of that. I’ve also made many calls to agencies to see their â€Å"per diem† rates, or rates for those placed in those facilities per day that they stay. Another project I have done for Mary was tracking her mileage as she has traveled from facility to facility to visit the juveniles placed there. These facilities are located in various other places around the state, so  she often has to travel long distances to make these trips, and needs to track her mileage for record and compensation. These records also went back to I believe 1998 or 1999, and were recorded to the present date, so there was much tracking I had to do to figure out her total mileage per day, and then per year. I’ve also worked several times with Lisa helping her. She is in charge of jurors and jury duty. She sends out notices once a month to those who are being called for jury duty for that month. I have helped her sort these names, put together the notices, and get them sent out to the potential jurors. This is a big job, as when it comes time to do it, she usually has boxes and boxes of notices needing to be sent out. Something else I have done for court services would be to take their daily outgoing mail and run it through the postage machine to be sent out. This must happen about 5-6 times a day would be my guess. I have only done this a few times, but each time I have gone back, there was a replenished supply to be sent out. Also, sometimes I would take documents that needed to be mailed out from circuit court three to court services and put them in their corresponding lawyer’s mail slots, or send them out with the outgoing mail. Also, a few times I have had to take packages or documents for someone in court services down to the courthouse. I have really enjoyed working in the court system, both in circuit court three and in court services. As a criminal justice major I think it has been a really good experience for me. I plan on graduating in December, and am hoping to go into Federal Investigations. Another interesting aspect of the internship where I did it was that I got to work somewhat along side of a fellow criminal justice major that I have known since our freshman year. She and I have had every criminal justice class together except for P100. We both applied for the internship, but never knew we would end up in the same place, since there were quite a few options of places to work! Also, my resident assistant from freshman year also works part time in the court system, so I was kind of â€Å"reunited† with  her, which was quite a coincidence, considering how big this campus is! Last page: The last page of the paper is supposed to be additional comments about our good experiences and shortcomings of the internship. My good experiences would definitely be the people that I met and worked with there. They are a wonderful group of people, from the few I already knew, my fellow CJUS major and my R.A from freshman year, to everyone that I got to know and work with there. And Mary was wonderful especially. I felt like I could talk to her about â€Å"school stuff† since she graduated from IU also, whether it be to gripe about classes or get advice about the major/future plans. I think the shortcoming I can think of would be that I ended up being an intern for circuit court three, not because I didn’t like it, just for the fact that they already had a high school intern and a floater, so there really was not much for me to do there at all. I literally would go in court three for about a half hour or so and then spend the rest of my time in court services. Honestly I wish I could have been a general intern for court services or a second intern to Mary. Court services was where I spent the majority of my time and I loved it. I also was told when I did my orientation that I would probably get to sit in on court a few times and observe. To date I have not been able to do that. I don’t know if the time hasn’t worked out for when I’ve been working, or if there just hasn’t been much I’d be able to sit in on. I remember Mary telling me that court three did have drug court, which I have heard them talk about a few times, and I would have loved to sit in on this, because the Drug Enforcement Agency is one of the Federal agencies I’m very interested in. I would have definitely liked to participate in this aspect more than I was able to. I would say this has definitely been my toughest semester. I ended up dropping a class early in the semester because I was trying to take 19 hours, including the internship, so it was really even more since I had to  dedicate 10 hours a week to being there. At the beginning of the semester I thought I could handle all 19 hours and the internship, but I really felt like I didn’t have time to even sleep, let alone study, so something had to go. I was literally booked solid all week as I worked most of the day Mondays, Tuesdays and Thursdays I had class from 8-5 and then Wednesdays I would work all day also. And while I didn’t have classes on Fridays, I worked in my hometown at the job I have been working at for the past few summers; they let me come in part time and holidays so I can make some money. It was hard to juggle school, the internship, and my family situation this semester, but I’m glad I was given the opportunity for the internship, I really do believe it was beneficial.

Short Story Analysis/ Civil Peace

â€Å"Once you allow your foundation to be restored, not a small or quick task, you will be able, with God's help, to build the life He always intended you to have† (Sandra Celeste). Chinua Achebe, the author of â€Å"Civil Peace,† writes about a stereotypical life in Africa, from struggles to miracles, the story is focused around the main character, Jonathan Iwegbu's, point of view. The main conflict is the bittersweet fact that Civil War has come to an end, but many African families have lost everything they have ever known. Jonathan, is surprised to see that his house is still standing when other structures around it are demolished.The author uses motifs, characterization and plot to further echo conflict through the entire piece. A quote that is repeated throughout â€Å"Civil Peace† is that, â€Å"Nothing Puzzles God† (Achebe 359). This motif helps support the characters, which further helps support the conflict. This recurring quote helps support the theme by giving characteristics to Jonathan. He is being blessed over and over again, and remains humble. At the end of the Civil War, his bike is kept safe and he is able to sell, and then afford a taxi drive back to Enugu to search for his home.In that whole experience, he does nothing but say that God is limitless, â€Å"But, needless to say, even that monumental blessing must be accounted also totally inferior to the five heads in the family. This newest miracle was his little house in Ogui Overside. Indeed nothing puzzles God! † (Achebe 359). This quote gives support to the motif, which then is portrayed as the theme. The motif is also the main supportation for the main character, Jonathan. In the â€Å"Civil Peace,† Achebe describes the main character, Jonathan, as a humble African man, who experiences difficulties after the Civil War.He is directly supported by the theme that, â€Å"Nothing Puzzles God,† because of the amount of times he is heard saying it. Characterization is a big part in this story, and it is used to support the theme, which is the direct backbone to the main conflict. The conflict is based around Jonathan and his struggle to rebuild his home and his life. Through Jonathan the journey is not hard to read, due to the complete humble nature of him and his life. â€Å"I count it as nothing,' he told his sympathizers, his eyes on the rope he was tying.‘What is _egg-rasher_? Did I depend on it last week? Or is it greater than other things that went with the war? I say, let _egg-rasher_ perish in the flames! Let it go where everything else has gone. Nothing puzzles God† (Achebe 364). Even in his worst times, when all he had earned for his family after the war was taken away, he still praised God and put it into a completely different viewpoint. Jonathans character is a great use of conflict supportation, but his character also enhances the plot, which in the end directly reflects the main theme.The plot o f any story is the foundation and the base for all characters, themes, or motifs. Plot is used to portray action throughout the story. In the â€Å"Civil Peace,† the author uses the plot to intensify Jonathans character and magnify the main conflict. The two most important conflicts that happen throughout the story are when Jonathan travels to Enugu and discovers that him and his family will be forced to work and rebuild their home and lives, and when Jonathan has worked and earned money but gets robbed and is left with nothing once again.The plot emphasizes these points when, â€Å"Jonathan and his family were now completely paralysed by terror. Maria and the children sobbed inaudibly like lost souls. Jonathan groaned continuously† (Achebe 362). The author uses syntax and diction in this excerpt, to support the plot. He used words like, â€Å"inaudibly† and, â€Å"paralyzed with terror,† which is called imagery and helps the readers have a direct connect ion to the plot. In many ways plot is used to further the conflict.In many ways the author, Chinua Achebe, uses a motif, theme, characterization through the main character Jonathan, and plot, to support the main conflicts. These literary devices are key factors in the story of the â€Å"Civil Peace. † By examining the authors purpose of writing this piece, it is made clear that the intended theme is that, â€Å"Nothing Puzzles God. † Knowing that this is the theme and the authors purpose is important in determining the conflict and the reasoning behind it. In this case, the author uses the literary devices to further and extend upon the conflict.

Turning a Lifes Work into a Book †By Sallyann Della Casa

Turning a Lifes Work into a Book - By Sallyann Della Casa Turning a Life's Work into a Book - An Interview with Sallyann Della Casa Literary pursuits and social action come together naturally  in  Sallyann Della Casa's world. Being a pioneer in using the written word to draw attention to her entrepreneurial work, she has unique lessons to share. We were very excited to find out more about her decision to work with Reedsy editors while being associated with a traditional publishing house. Whether you're a writer or a business leader looking for interesting ways to talk about what you do, there's a lot here for everyone.  Hi Sallyann, thanks for being with us today! You are the author of Who Will I Become, and the founder of the Growing Leaders Foundation. Can you tell us a bit about the book,  and its link to the foundation?The book, WHO WILL I BECOME, is a visual roadmap of the Foundation’s leadership work to  date. This first edition focuses on the Caribbean region where the Foundation started (my place  of birth). The 2nd edition will focus on the Middle East region. The photography and inspi ring  words are meant to incite storytelling between youths and adults as they explore instances  where the directed and thought provoking words may apply or could apply to their own lives,  past and future.The concept of the book has existed since 2010 when I created the Foundation. I wrote the  Love Letter to a Leader of Tomorrow back then, and it has never changed, meaning the entire  book is designed around this love letter we all deserve to receive in our lifetime.Books have always been my most reliable, consistent mentor. I wanted to create one that  could give the wisdom of generations to youths and adults who may have lost their way, from all  cultures. This is why there will be 7 versions of the book to represent various regions of the  world as I explore their cultures and what leadership feels and looks like for each. "Books have always been my most reliable, consistent mentor."@SallyannDC Author Sallyann Della Casa holding her book Who Will I BecomeComing from a tiny Caribbean island, Trinidad and Tobago, with only 1.3 million people and a  limited budget, a book is a terrific way to create a legacy for the Foundation, secure an income  stream (we are a social enterprise and not donor dependent) and also continue our impact -   each book gives the reader access to our leadership lessons through a unique code which they  can utilize on their own to help us grow leaders in their own communities.You’ve embraced the concept of a â€Å"book as a business card†, how did it work out for  you? What impact has the book had so far on your foundation?I recently wrote an article about this in Arabian Business, i.e. a book being the new business  card. I think in the world we live in today, we are super keen to learn more about the texture of  others; their worldview, their value system, etc. It is for this reason that we have such a huge  infatuation with each other’s content through social media, blogs and all. There is no better way to transfer your knowledge, experiences and/or diverse content other than through a book. There is just something about a book that gives roots to what you need to say to the world, how  you feel, who you are and what you stand for. I think everyone is a biography and a book waiting to happen and if we live our lives knowing this... just imagine the possibilities for each  and every one of us.With regards to me personally, the fact that I am now a published author is rewarding on so  many levels. As a lover of books, having my own is mind boggling. I also get photos and emails  from all over the world about how my book has changed someone’s life or impacted someone  else. You cannot even imagine what that feels like to read one of those emails. "I think everyone is a biography and a book waiting to happen" @SallyannDC Recently, I went on a book tour and visited classrooms in the Caribbean using the book and the  kids went berzerk, asking me for autographs not only on their books, but all over their clothing  and school bags, sweaters etc. It truly is the most powerful feeling ever to spark something  deep within another that awakens their potential. How blessed am I really to be the chosen  vehicle for a book that does this really magical thing?In terms of the Foundation, the book not only generated steady income but I have literally now  allowed anyone who purchases the book to access our leadership lessons for youths and  adults. This allows them to light their own candles in the world and allows the Foundation to  increase the outcome of our work tenfold by empowering others with our tools.What would be your top tips for other business or foundation owners when it comes to  writing a book (or having it ghostwritten) and publishing it?We all have something to teach and/or a story to tell... so share it out loud in a book. I say this  especially to those of us in the area of making this world a better place. You simply do not know how what you are doing or what you know can lift up another, give knowledge or inspire courage. In today’s publishing world, you can easily design, write and publish a book on your own. The traditional publishing way of needing an agent and a publisher has been turned on its head There are so many resources to help you do it right.I am now working on my second book, a 50,000+ word full manuscript which is very different  from my first book. To say it is hard, especially given I have no writing experience whatsoever,  would be an understatement. But I was really fortunate in that a publisher, Jaico Books, noticed  my work and approached me to write an adult audience leadership book. So I encourage you to  keep writing and putting your content out there in the world since you never know who may  notice.So you’re with a traditional publisher, but you still came to Reedsy to find an  independent editor to work with. What was the reason for that?Yes, normally a traditional publisher does all the editorial reviews for a book; especially if they  approached you to write it. In my case I came to Reedsy for three reasons.First I wanted a different persp ective on my book. My publisher is focused on the Indian market  but I want my book to have international appeal, so I was looking for diverse feedback.  Also, I have to admit I was a bit insecure about some of my writing. Before submitting some  chapters to my publisher, I chose to get a lot of help and feedback from my Reedsy editors. It was super affordable and I figured I had nothing to lose to get a next set of eyes on my work.I was very open to my publisher about having outside editors looking at my work. And they  actually noticed and complimented me on the huge difference in the chapters being submitted;  so it really worked out for me.Most importantly, my confidence is up and I have found my mojo and grit to keep writing away  to complete this second book within the next month so we can see it on bookshelves in 2017. "The three reasons why I came to Reedsy while working with a traditional publisher" @SallyannDC You’ve hired two editors through Reedsy: Maria D’Marco and Dick Hill: did you notice  any differences in their methods, or in the things they picked up?Dick and Maria are both wonderful and different as night and day in their approaches. Dick is  very methodical doing word ­-for-word editing. He does not touch the shape of the work but he  cleans up the grammar so it all makes perfect sense i.e. he has been super helpful in clearing  up what I want to say without disturbing my work. He is also very professor- ­like and I almost feel  like I have a babysitter that keeps me writing.Maria is extremely different in that she confidently pokes holes in the work and makes  suggestions or asks questions. She causes you to wonder if the shape of your work is correct or  if it should be round or square in certain parts. She forces you to think through what you are  writing or meaning to say. This is super helpful to me since she adds light and allows air into the  work. I am saving a lot of her comments for my final manuscript where I will have the full  editorial review from my publisher. I have a feeling this is where I will get a full appreciation of  how brilliant Maria actually is. Maria is also so positive and encouraging... she actually made me feel like I am writing a bestseller of sorts!We know you cannot wait, get yourself a copy of  Who Will I Become here.Did Sallyann's experiences seem familiar to you? Let her know, join the conversation by leaving your  thoughts, comments, or questions below.

Motorcycle Boy Essays - English-language Films, Films, Rumble Fish

Motorcycle Boy Essays - English-language Films, Films, Rumble Fish Motorcycle Boy Number of Pages:122 I believe that the story "Rumble Fish" has a very plausible plot because it's about a boy who is a former gang member and always gets into fights. The boy's name is Russel James, he is fourteen, he likes to fight, he always gets in trouble, and isn't very smart. The boy gets into trouble by fighting, getting drunk, and stealing, throughout the story, but instead of realizing he has got to stop and change his life around, he get in more and more trouble. In my opinion the story is plausible because the boy is telling the story and he mentions things such as drugs, fights, stealing, gangs, and drinking and smoking. Which is very present in our society today. I would have to say that if anything this story was sad, because at the end of the story Russel's older brother, the Motorcycle Boy, was shot when he tried freeing the Rumble Fish from the pet store. That would probably be the main reason the story was sad, besides the fact that Russel's friend Steve had his mother put in the hospital after she became ill. I didn't really like the book because of the fact that there was no real big action in the story. Not to mention, that the Motorcycle Boy was one of the strangest characters I had ever read about. He was so weird that no one in the story really understood the way he thought. He was like an outsider. I think there was good character development in the story because the author wrote the story so that the main character (Russel) often explained to the reader about things that happened in the past to both him, and the other characters. There was realistic character action in the story because the characters didn't do things like fly around in the clouds, or see through walls, they did normal stuff that anyone I know could do. If you don't like or don't care if there's alot of action in a book then I would recommend this book to you. On the other hand , if you like a lot of action, and don't like book without action, then I would not recommend this book for you. i think the most effective port of the story was when the Motorcycle Boy was shot. This event shocked me and totally caught me off guard. If anything I would expect Russell to get shot. Probably because Russell seems to be more of a trouble maker than Motorcycle Boy. I thought the book was alright but the one thing I didn't like about the book was that the action wasn't there. I like books with a lot of action, but this book didn't have it.

A Brief History of Chinese Opera

A Brief History of Chinese Opera Since the time of the Tang Dynastys Emperor Xuanzong from 712 to 755- who created the first national opera troupe called the Pear Garden- Chinese opera has been one of the most popular forms of entertainment in the country, but it actually started nearly a millennium before in the Yellow River Valley during the Qin Dynasty.   Now, more than a millennium after Xuanzongs death, it is enjoyed by political leaders and commoners alike in many fascinating and innovative ways, and Chinese opera performers are still referred to as Disciples of the Pear Garden, continuing to perform an astonishing 368 different forms of Chinese opera. Early Development Many of the features that characterize modern Chinese opera developed in northern China, particularly in the Shanxi and Gansu Provinces, including the use of certain set characters like Sheng (the man), Dan (the woman), Hua (the painted face) and Chou (the clown). In Yuan Dynasty times- from 1279 to 1368- opera performers began to use the vernacular language of the common people rather than Classical Chinese. During the Ming Dynasty- from 1368 to 1644- and the Qing Dynasty- from 1644 to 1911- the northern traditional singing and drama style from Shanxi was combined with melodies from a southern form of Chinese opera called Kunqu. This form was created in the Wu region, along the Yangtze River. Kunqu Opera revolves around the Kunshan melody, created in the coastal city of Kunshan. Many of the most famous operas that are still performed today are from the Kunqu repertoire, including The Peony Pavilion, The Peach Blossom Fan, and adaptations of the older Romance of the Three Kingdoms and Journey to the West. However, the stories have been rendered into various local dialects, including Mandarin for audiences in Beijing and other northern cities. The acting and singing techniques, as well as costumes and makeup conventions, also owe much to the northern Qinqiang or Shanxi tradition. Hundred Flowers Campaign This rich operatic heritage was almost lost during Chinas dark days in the mid-twentieth century. The Communist regime of the Peoples Republic of China- from 1949 to present- initially encouraged the production and performance of operas old and new. During the Hundred Flowers Campaign in 1956 and 57- in which the authorities under Mao encouraged intellectualism, the arts and even criticism of the government- Chinese opera blossomed anew. However, the Hundred Flowers Campaign may have been a trap. Beginning in July of 1957, the intellectuals and artists who had put themselves forward during Hundred Flowers period were purged. By December of that same year, a stunning 300,000 people had been  labeled  rightists and were subjected to punishments from informal criticism to internment in labor camps or even execution. This was a preview of the horrors of the Cultural Revolution of 1966 through 1976, which would imperil the very existence of Chinese opera and other traditional arts. Cultural Revolution The Cultural Revolution was the regimes attempt to destroy old ways of thinking by outlawing such traditions as fortune telling, paper-making, traditional Chinese dress and the study of classic literature and arts. An attack on one Beijing opera piece and its composer signaled the start of the Cultural Revolution. In 1960, Maos government had commissioned Professor Wu Han to write an opera about Hai Rui, a minister of the Ming Dynasty who was fired for criticizing the Emperor to his face. Audiences saw the play as a critique of the Emperor- and thus Mao- rather than of Hai Rui representing disgraced Minister of Defense Peng Dehuai. In reaction, Mao performed an about-face in 1965, publishing harsh criticism of the opera and of composer Wu Han, who was eventually fired. This was the opening salvo of the Cultural Revolution. For the next decade, opera troupes were disbanded, other composers and scriptwriters were purged and performances were banned. Until the fall of the Gang of Four in 1976, only eight model operas were allowed. These model operas were personally vetted by Madame Jiang Qing and were entirely politically innocuous. In essence, Chinese opera was dead. Modern Chinese Opera After 1976, Beijing opera and the other forms were revived, and once more placed within the national repertoire. Older performers who had survived the purges were allowed to pass on their knowledge to new students again. Traditional operas have been freely performed since 1976, though some newer works have been censored and new composers criticized as the political winds have shifted over the intervening decades. Chinese opera makeup is particularly fascinating and rich in meaning. A character with mostly red makeup or a red mask is brave and loyal. Black symbolizes boldness and impartiality. Yellow denotes ambition, while pink stands for sophistication and cool-headedness. Characters with primarily blue faces are fierce and far-seeing, while green faces show wild and impulsive behaviors. Those with white faces are treacherous and cunning- the villains of the show. Finally, an actor with only a small section of makeup in the center of the face, connecting the eyes and nose, is a clown. This is called xiaohualian, or the little  painted  face. Today, more than thirty forms of Chinese opera continue to be performed regularly throughout the country. Some of the most prominent of which are the Peking opera of Beijing, Huju opera of Shanghai, the Qinqiang of Shanxi, and Cantonese opera.   Beijing (Peking) Opera The dramatic art form known as Beijing opera- or Peking opera- has been a staple of Chinese entertainment for more than two centuries. It was founded in  1790 when the Four Great Anhui Troupes went to Beijing to perform for the Imperial Court. Some 40 years later, well-known opera troupes from Hubei joined the Anhui performers, melding their regional styles. Both the Hubei and Anhui opera troupes used two primary melodies adapted from the Shanxi musical tradition: Xipi and Erhuang. From this amalgam of local styles, the new Peking or Beijing opera developed. Today, Beijing Opera is considered  Chinas  national art form. Beijing Opera is famous for convoluted plots, vivid makeup, beautiful costumes and sets and the unique vocal style used by performers. Many of the 1,000 plots- perhaps not surprisingly- revolve around political and military strife, rather than romance. The basic stories are often hundreds or even thousands of years old involving historic and even supernatural beings.   Many fans of Beijing Opera are worried about the fate of this art form. The traditional plays make reference to many facts of pre-Cultural Revolution  life and history that are unfamiliar to young people. Furthermore, many of the stylized movements have particular meanings that can be lost on uninitiated audiences. Most troubling of all, operas must now compete with films, TV shows, computer games, and the internet for attention. The Chinese government is using grants and contests to encourage young artists to participate in Beijing Opera. Shanghai (Huju) Opera Shanghai opera (Huju) originated at about the same time as Beijing opera, around 200 years ago. However, the Shanghai version of opera is based on local folk-songs of the Huangpu River region rather than deriving from Anhui and Shanxi.  Huju  is performed in the Shanghainese dialect of Wu Chinese, which is not mutually intelligible with  Mandarin. In other words, a person from Beijing would not understand the lyrics of a  Huju  piece. Due to the relatively recent nature of the stories and songs that make up  Huju, the costumes and makeup are comparatively simple and modern. Shanghai opera performers wear costumes that resemble the street clothing of ordinary people from the pre-communist era. Their makeup is not much more elaborate than that worn by western stage actors, in stark contrast to the heavy and significant grease-paint used in the other Chinese Opera forms. Huju  had its heyday in the 1920s and 1930s. Many of the stories and songs of the Shanghai region show a definite western influence. This is not surprising, given that the major European powers maintained trading concessions and consular offices in the thriving port city, prior to World War II. Like many of the other regional opera styles,  Huju  is in danger of disappearing forever. Few young actors take up the art form since there is much greater fame and fortune to be had in movies, TV, or even Beijing Opera. Unlike Beijing Opera, which is now considered a national art form, Shanghai Opera is performed in a local dialect and thus does not translate well to other provinces. Nevertheless, the city of Shanghai has millions of residents, with tens of millions more in the near vicinity. If a concerted effort is made to introduce younger audiences to this interesting art form,  Huju  may survive to delight theater-goers for centuries to come. Shanxi Opera (Qinqiang) Most forms of Chinese opera owe their singing and acting styles, some of their melodies, and their plot-lines to the musically fertile Shanxi province, with its thousand-year-old Qinqiang  or  Luantan  folk melodies. This ancient form of art first appeared in the  Yellow River  Valley during the  Qin Dynasty  from B.C. 221 to 206 and was popularized at the Imperial Court at modern-day  Xian during the  Tang Era, which spanned from 618 to 907 A.D. The repertoire and symbolic movements continued to develop in Shanxi Province throughout the  Yuan Era  (1271-1368) and the Ming Era (1368-1644). During the Qing Dynasty (1644-1911), Shanxi Opera was introduced to the court at Beijing. The Imperial audiences so enjoyed Shanxi singing that the form was incorporated into Beijing Opera, which is now a national artistic style. At one time, the repertoire of Qinqiang included over 10,000 operas; today, only about 4,700 of them are remembered. The  arias  in Qinqiang Opera are divided into two types:  huan  yin, or joyous tune, and  ku  yin, or sorrowful tune. Plots in Shanxi Opera often deal with fighting oppression, wars against the northern barbarians, and issues of loyalty. Some Shanxi Opera productions include special effects such as fire-breathing or acrobatic twirling, in addition to the standard operatic acting and singing. Cantonese Opera Cantonese Opera, based in southern China and overseas ethnic Chinese communities, is a very formalized operatic form that emphasizes gymnastic and martial arts skills. This form of Chinese Opera predominates in Guangdong,  Hong Kong, Macau,  Singapore,  Malaysia, and in Chinese-influenced areas in western countries. Cantonese Opera was first performed during the reign of the Ming Dynasty Jiajing Emperor from 152 to 1567. Originally based on the older forms of Chinese Opera, Cantonese Opera began to add local folk melodies, Cantonese instrumentation, and eventually even Western popular tunes. In addition to traditional Chinese instruments such as the  pipa,  erhu, and percussion, modern Cantonese Opera productions may include such Western instruments as the violin, cello, or even saxophone. Two different types of plays make up the Cantonese Opera repertoire- Mo, meaning martial arts, and  Mun, or intellectual- wherein the melodies are entirely secondary to the lyrics.  Mo performances are fast-paced, involving stories of warfare,  bravery  and betrayal. The actors often carry weapons as props, and the elaborate costumes may be as heavy as actual armor. Mun, on the other hand, tends to be a slower, more polite art form. The actors use their vocal tones, facial expressions, and long flowing water sleeves to express complex emotions. Most of the Mun stories are romances, morality tales, ghost stories, or famous Chinese classic tales or myths. One notable feature of Cantonese Opera is the makeup. It is among the most elaborate makeup systems in all of Chinese Opera, with different shades of color and shapes, particularly on the forehead, indicating the mental state, trustworthiness, and physical health of the characters. For example, sickly characters have a thin red line drawn between the eyebrows, while comic or clownish characters have a large white spot  on  the bridge of the nose. Some Cantonese Operas also involve actors in open face makeup, which is so intricate and complicated that it resembles a painted mask more than a living face. Today, Hong Kong is at the center of efforts to keep Cantonese Opera alive and thriving. The Hong Kong Academy for the Performing Arts offers two-year degrees in Cantonese Opera performance, and the Arts Development Council sponsors opera classes for the citys children. Through such concerted effort, this unique and intricate form of Chinese Opera may continue to find an audience for decades to come.

Risk Management in Panama Canal Essay Example | Topics and Well Written Essays - 250 words

Risk Management in Panama Canal - Essay Example The papers highlight different risk analysis techniques that are applicable in analyzing risk, in Panama Canal. Risk analysis techniques used in forecasting are categorized in either qualitative or quantitative method. Qualitative techniques base their finds and conclusions on opinions and feelings of individuals. These include opinions and judgments of experts, consumers or scholars. Quantitative methods of risk analysis are based on numerical records over in the period. Quantitative analysis of different categories of project requirements and resources are recorded in the paper. The analysis includes meaning, standard deviation and means of all categories of resources, possible risks, costs, and conditions necessary for the Panama Canal project.The paper comprises of different steps and procedures taken in the development of the Panama Canal as highlighted by Kendrick (2006). Identification of the work and deliverables was the first step carried out in Panama Canal. Secondly, there was the organization of project work and clear determination of work breakdown structure on the Panama Canal project. Most of Stevens’s effects were utilized in the preparation of the initial work on the canal. Work breakdown structure is then decomposed into lower-level components that would be functional. These components are assigned identification codes. Lastly, examination of decomposition is carried out to assess whether the decomposed components are complete and clear.