Competition Law Essay Example | Topics and Well Written Essays - 1500 words - 1

Competition Law - Essay Example The important objectives of the practice of competition law are to ensure the entrepreneurs by providing the opportunity to compete in the market economy and protect the interest of the consumer welfare. This essay will discuss the purpose of competition law. Competition law is a law that focuses on the control of anti-competitive agreements, monopolies and mergers between organizations. This area of legal firmament also included cartels (LSE 1). Restrictive business practices can often lead to market failures. The failure in the market can be dealt by the competition law. There are several kinds of restrictive business practices that include abuse of dominance, cartelization, tie-in sales, predatory pricing, re-sale price maintenance etc. Before discussing the purpose of the competition law, it is vital to note the origin and history of the law. In the late 19th century and early 20th century, the competition law emerged. The competition law was first enacted in the United States. The Sherman Act of 1890 is the first Federal Statute. This act was enacted to tackle monopolies and oligopolistic cartels. In the wake of Industrial Revolution, the large trusts were formed. This act emerged against the predations and supremacy of the huge trusts. The three major elements of modern competition law are merger control, anti-competitive agreements and abuse of dominance. Other important United States legislations were Hart-Scott-Rodino Act, the Clayton Act, the Robison-Patman Act and the Federal Trade Commission Act. The proliferation of competition law has not been only in North America and Europe but also around the globe. After the enactment, competition law became one of the crucial pillars of a market economy. The main purpose of the law is to maintain market competition and improve economic efficiency. It can be regarded as the force that drives companies to improve their efficiency. After enhancing the efficiency, it drives companies to pass its

Working in the childs best interests

Working in the childs best interests The Child’s Best Interest â€Å"I did everything they asked me† (Bergner, 2006). Abiding by the rules did not by any means help Marie get her children back from state custody. Children are one of the most vulnerable populations so when they are put in situations that can harm them, the state will get involved. The child welfare system bases decisions on what’s in favor of the child’s best interest. In Marie’s case, her mother wasn’t capable of helping to care for the children while she recovered so the state had to take control. She was too unfit to be their â€Å"mother†. The child welfare system is a structured way of dealing with this vulnerable population through the idea of parens patriae and the Adoption and Safe Families Act of 1997 that relates to termination of parental rights (TPR). When the well-being of children is overlooked, the policies that encompass the child welfare system will be enforced. â€Å"Parens patriae is the doctrine that empowers government institutions to venture into the intimate realm of child-rearing and effectively deputizes social workers to knock on the doors of family homes and gain entry† (Bergner, 2006). Under this doctrine, any state worker had the right to enter Marie’s home at any time if they had probable cause to investigate a situation involving children. This government policy came into effect because it literally translates to â€Å"parent of the country† (Bergner, 2006). Parens patriae didn’t start off as what it means in today’s society. Back in the days, children were seen in a different light. They were seen as laborers and not as innocent, helpless individuals who need a voice when faced with unwanted obstacles (Hatcher, 2012, p. 163). The idea that the state is the guardian of these helpless children where state officials, more specifically social workers could assume the roles that a guardian possess es was the real motivation. The societal value behind this policy was that the states were finally recognizing that children had rights that needed to be protected and served (Hatcher, 2012, p.165). In Marie’s case, parens patriae responded to her needs. The social workers did everything in their power to help her get her children back, but it just wasn’t enough. The parens patriae doctrine acknowledging children with rights that need to be tended to paved way for the Adoption and Safe Families Act of 1997. The Adoption and Safe Families Act of 1997 became a policy that plays an important role in the child welfare system because it allows for children to get out of the foster care system and achieve â€Å"permanent placement, whether through reunification or adoption† (Halloran, 2014, p. 53). The act â€Å"links federal money to states’ efforts to move children toward adoption after they have been in temporary care for 15 of any 22 months† (Bergner, 2006). The societal value that led to this policy was catering to the children’s well-being. Children are seen as a worthy category that needs the help they can get when put in situations that are at no fault of their own. This act was created to prevent children from lingering in foster care (Halloran, 2014, p.57) until they were the legal age of 18 where they would technically be able to fend for themselves as adults. Termination of parental is a component to the child welfare system that basically ends legal ri ghts of biological parents to children they have lost to the system. â€Å"Termination criteria lie along a continuous scale where a courts determination of the conditions that justify the termination of parental rights is in degrees of objectivity and subjectivity† (Halloran, 2014, p. 61). In other words, parents go through an evaluation to determine if they are fit or unfit before termination of parental rights occurs. The Adoption and Safe Families Act of 1997 led way to the termination of parental rights. The policies of parens patriae, the Adoption and Safe Families Act of 1997 and termination of parental are all valid policies that respond to the needs of the recipients if the outcomes are in favor of the parents. When things are good and parents prove that they can take care of their children, the policies have no faults to them. The minute the outcomes are not in favor of the parents, the policies do not tend to the needs of the recipients. Overall, there are many pros and cons to these policies. To say that these policies are followed thoroughly and fairly is an understatement. Decisions regarding whether these policies are followed are examined case by case. Each case has their own unique circumstances which in turn will have different results. Policies are put into place so that the results yield the best outcomes. In the child welfare system the main goal is to tend to what is in favor of the child’s interest. It’s the reoccurring theme behind the child welfare system. When you have a case like Marie, where she is doing everything in her power to become this fit mother the policies are not in the best interest for the recipient. Separating mother and child is not a goal in the policies but that is what happened in her case. To fully understand where judgments and decisions are made, one must take into perspective the social control that is behind the social welfare system. It’s all about constructing policies based on what is right and what is wrong. What’s right to one person may not be right to another and what’s wrong to one person can be perceived as not wrong to another. No matter what, government intervention in the child welfare system is something that will always be a part of th e system. References Bergner,D. (2006, July 23). The Case of Marie and Her Sons New York Times. Retrieved from http://www.nytimes.com/2006/07/23/magazine/23welfare.html?pagewanted=all_r=0 Halloran,J.T. (2014). Families First: Reframing Parental Rights as Familial Rights in Termination of Parental Rights Proceedings. U.C. Davis Journal of Juvenile Law and Policy, 18(1), 51-93. Retrieved from http://heinonline.org.ezproxy.lib.uwm.edu/HOL/Page?handle=hein.journals/ucdajujlp18div=6collection=journalsset_as_cursor=0men_tab=srchresultsterms=18|U.C.|Davis|J.|Juv.|L.|Pol Hatcher,D.L. (2012). Purpose vs. Power: Parens Patriae and Agency Self-Interest. New Mexico Law Review, 42(1), 159-202. Retrieved from http://heinonline.org.ezproxy.lib.uwm.edu/HOL/Page?handle=hein.journals/nmlr42div=9collection=journalsset_as_cursor=0men_tab=srchresultsterms=parens|patriae|importancetype=matchall

Unbroken :: essays research papers

Unbroken I wouldn't know how to describe a painting or a sonata, but I can tell someone how I feel, though they rarely know what I mean. Words fail me often, but nobody notices. They aren't listening anyway. One person knows me. When I talk to him I feel like a knife in a drawer, because my words have power. The possible damage would be irreparable. He and I are like a house falling apart. Our sidewalk is askew and our mailbox is missing. It is painted pink and yellow. We love it, it's unique. Last night I stomped my feet through the floorboards because I wanted to feel my toes in the earth. I pushed my hands through the ceiling and kicked down the walls. I know he wonders why I do things like that. I just wanted to let some air in. I said, "Look hon, now we can see the stars." He brushed off the debris and put me to bed. He won't sleep tonight. His thoughts stay up with the moon trying to exercise the demons in his mind. Too intelligent, too spiritual for his own peace. A shaman, unstuck in time. A stroke of genius and a slap in the face of this world. Always restless, searching for answers. Impulsive and inspired, writing down his thoughts. Funny stories about Elvis and his followers, the Elvi, or dirty poetry. Painting his visions on sheets that hang from the eaves or painting me with psychedelic designs. It doesn't matter which. All of it makes me want him more. Some things I say to him are like sour notes played too often. I'm out of tune. He always sings along. Our waltz is better than most, I suppose. We know the steps by heart. The world moves quickly around us and our quiet drunken pace, but we don't care. Our minds move quickly despite this world's petty distractions. It's us and them, and we're the only two sane people left. He makes me nervous, still. His dreams are bigger than both of us. When we speak the words fall from my lips. They aren't enough to explain who I want to be. I am so flawed. He says, "Sometimes people have imperfections that are worth living with. You're a little eccentric. It's part of your charm." This man knows me, and loves me anyway. He is crazier than I am. Eight years might as well be a thousand where we're concerned. History has roots that go deep. They go to the center of the earth and back and wrap

Achilles

* Wrath in its fullest potential can fuel the most heated of battles, but it can also corrupt and destroy the rational mind. In Homer’s, Iliad, wrath is a key component to understanding Homer’s input of emotion on the battlefield of Troy. Achilles creates this emotion throughout the epic. He shows his anger in three ways. First, he leaves command with his soldiers. Second, he curses the Greeks. And finally he kills Hektor to avenge Patroklos. He is justified in revenge because Agamemnon dishonored him by taking his concubine.He has a right to get revenge and reclaim his honor because he is a superior fighter. Achilles, however, was taken over by anger and acts dishonorably in this haze of emotion. * The beginning of Achilles’ wrath begins when he becomes infuriated by the way Agamemnon has publicly humiliated and dishonored him. Achilles feels that he is a greater warrior than Agamemnon and deserves more than he is rewarded after battles because he shows more hon or and bravery than any other man.After being publicly humiliated and dishonored, Achilles is pushed to the edge of anger and announces, â€Å"So must I be called out every order you may happen to give me. Tell other men to do these things, but give me no more commands, since I for my part have no intention to obey you. And put away in your thoughts this other thing I tell you. With my hands I will not fight for the girl’s sake, neither with you nor any other man, since you take her who gave her. † Achilles leaving with his soldiers is dishonorable because he must fight to fulfill his fate and he cannot gain any glory by not fighting.Achilles inhibits his destiny to leave after he is humiliated by Agamemnon and striped of his concubine Briseis. If Achilles does not fight in Troy, he will not be able to fulfill his destiny of bringing honor and having his name live on forever. This state of wrath he feels inside almost destroys his path to destiny by bringing him away f rom battle. As he leaves in his rage, he sends a prayer to his mother asking that the Trojan armies defeat his fellow Achaians to bring shame on Agamemnon, which is a result of his wrath.As the war rages on, the Trojans have pushed the Achaians back to their ships. This is a huge turning point in the war for the Trojans, because if they are able to set fire to one ship, they could destroy the whole camp, leading to a swift defeat of the Achaians, thereby fulfilling Achilles prayer. Achilles cursing the Greeks is somewhat justified because he is using tricks to gain honor. Lendon takes this theory of trickery and expands saying the smartest and strongest warrior will bring gain the most honor.Achilles’ act of ensuring the Greeks will be brought to the edge of defeat will ensure that he will be able to come in at the end when all hope is lost and save the day by fighting to the death, making him the greatest warrior of all time and carving his name into immortality. When Achill es hears of his beloved friend, Patroklos’ death he weeps, tearing his hair and throwing himself to the ground. This sets the tone of revenge in his heart, as he decides to enter the war, and slay Hektor and twelve Trojans at the funeral prye of Patroklos.Homer brings to this scene the fury of a man who has lost everything that he held dear to his heart. His king stripped his honor, his lover was taken away from him, and now his closest friend was brutally killed by Hektor. Achilles rage and wrath become so great in this book that he accepts his fate of entering the war, and gaining the glory and honor he deserves by ultimately dying in the war. This act of extreme lament and sadness shows how much Achilles truly cared and respected Patroklos as a person. He becomes enraged from the loss of his ally, and swears to have Hektor slain.Revenge is a way of honor in the Greek culture. If a father is slain in battle by someone, it is usually the son’s mission to revenge kill the person who had slain his father. In this case Achilles was going to slay Hektor to make right what happened to Patroklos. As the battle rages on, Achilles slays many Trojans. His honor comes into question, as his wrath is so overwhelming he kills opponents before they even have time to announce themselves. Achilles’ honor is somewhat lost as he disrespects the bodies he has slain, by filling up the River Xanthos with blood.The disrespect of the bodies even angers the river god, who chases Achilles across the battlefield. As his wrath reaches its climax Achilles finally finds Hektor and faces him in combat, killing him in the process. Achilles’ honor comes into question again as he maliciously drags Hektor’s body around the Trojan wall. Achilles is justified in killing Hector to avenge Patroklos, but he acts dishonorably when he defiles Hector’s body. By killing Hektor, Achilles has restored honor to his dead friend Patroklos by revenge killing Hektor. In the heat of the moment Achilles becomes overwhelmed with wrath and drags Hektor’s body around the walls of Troy. He greatly dishonors the body by letting it get eaten by dogs, and by not giving it to Troy for a proper burial. His wrath at this point has reached its climax, until the old king of Troy, Priam, snaps him out of his wrath by reminding him of when he yearned to have a proper burial for his father. As he becomes remorseful, he becomes ready for the final chapter of his life and Troy falls and his death becomes eminent.When you look at how Achilles acted on the battlefield, with his bravery and anger, the feeling seem must be mutual for other Greeks. As the readings Achilochus of Paros and Tyrtaus show that Homer’s views changed dramatically in the Archaic age. These views of the Archaic age changed so drastically due to the formation of the phalanx style of war, by bringing single fought combat to a larger scale combat where honor was gained by killing one person, but holding your line in the phalanx and protecting your brothers you were fighting with.Achilochus first poem states that cowardice is acceptable as long as you survive battle. This goes against every moral fiber of a Homeric point of view. In Homer’s view this would be a sign of great shame and dishonor. His second poem is about how leaders should be experienced in battle and not fresh out of training. This agrees with Homer’s view of how the greatest warriors have been in the most battles. Tyrtaus poem states that holding the line in a phalanx is honorable, while in Homer’s view Achilles gained the most honor, by acting alone and fighting for his own personal glory.These views of the Archaic age changed so drastically due to the formation of the phalanx style of war, by bringing individually fought combat to larger scale combat where honor was gained by not necessarily by killing, but holding your line in the phalanx and protecting your brothers you were fighting with. Wrath in its fullest potential can fuel the most heated of battles, but it can also corrupt and destroy the rational mind. He became justified in revenge because Agamemnon dishonored him by taking his concubine.He reclaimed the honor of his fellow friend. And he ultimately slain Hektor and brought forth his of his name living forever. Achilles, however, was taken over by anger and acts dishonorably in this haze of emotion. Bibliography Homer, Illiad, translated by Richmond Lattimore (Chicago: TheUniversity of Chicago Press 1951) Lendon, J, Solders & Ghosts (New Haven: Yale University, 2005) ——————————————– [ 1 ]. Lendon, J, Solders & Ghosts (New Haven: Yale University, 2005)

Apollo Theatre

Jose 1 Janelle Jose Professor Pappas AAS 254 16 April 2008 â€Å"Our Theater: The Hey Dey of the Apollo Theatre† Apollo was the Greek God of music, Poetry and the arts. His temple was at Delphi and was known to be a place of purification. There is a temple of a different that bears the name of the Greek god and its at 253 West 125th Street Harlem in New York City. The Apollo Theater would become as famous as the temple at Delphi. The Apollo Theaters home was in Harlem. Harlem is known worldwide as a major African-American cultural and business neighborhood.It wasn’t always the Harlem we know today. Harlem didn’t become an African American neighborhood until the Great Migration. During the first decade of the 20th century, Growing unemployment and increasing racial violence encouraged blacks to leave the South. The way they came up north was by working for northern manufacturers who had recruited the southern black workers to fill factory jobs. So from 1910 to 193 0 between 1. 5 million and 2 million African Americans left the South for the industrial cities of the North.By 1930 more than 200,000 blacks had moved to New York. As black communities in Northern cities grew, black working people became the patrons for an expanding black professional and business class, gaining in political and economic power. As more and more educated and socially conscious blacks settled in New York’s neighborhood of Harlem, it developed into the political and cultural center of black America. During the 1910s a Jose 2 new political agenda advocating racial equality arose in the African American community, particularly in its growing middle class.A black middle class had developed by the turn of the century, fostered by increased education and employment opportunities. There was something emerging in the midst of social and intellectual up rise in the African American community in the early 20th century. Harlem Renaissance was the name of the African Amer ican cultural movement of the 1920s and early 1930s that was centered in the Harlem. The Apollo Theater has been the most lasting legacy of the Harlem Renaissance. The Apollo grew to prominence during the Harlem Renaissance of the pre-World War II years.By the time the Apollo had open its doors the Harlem Renaissance was coming to a close. The Apollo Theater that we know today didn’t start out that way. It began as a all white music hall and burlesque theatre. It gained fame a Hurtig and Seamon’s Burlesque in the twenties and early thirties. The 125th street Apollo Theater didn’t open until January 1934. This is when they started showcasing black entertainment. The Apollo theatre was originally owned by Sidney Cohen. After Sydney S. Cohen's death, Morris Sussman and Frank Schiffman got together.Schiffman ran the Harlem Opera House and a merger between the two theaters was formed. Schiffman is credited with guiding the Apollo Theater to greatness. Schiffman's mot ivation for featuring black talent and entertainment was not only because the neighborhood had become black over a two hundred year period of gradual migration, but because black entertainers were cheaper to hire, and Schiffman could offer quality shows for reasonable rates. For many years Apollo was the only theater in New York City to hire black talent. Jose 3With black performers as the main entertainment in the Apollo came an important facet of American life that has been dominated by blacks. That is jazz. In jazz the black man stands supreme. The products of his creative energies are sought after by musicians and listeners of every background. Jazz didn’t start in the Apollo theatre. It didn’t start in Harlem either. The roots of jazz lie deep in the history of New Orleans, Kansas City, Chicago, and New York. The true ancestral roots are buried even deep in the music traditions of West Africa and Latin countries.But the Apollo was one of the places that provided a home and a receptive atmosphere in which jazz practitioners felt at ease, where their art could thrive and flourish. Although jazz was a true American genre of music it was formerly held in relatively low class by certain intellectual. Many believe the reason for the low appraisal of jazz’ value was made because most of the jazz practitioners were black and the critics were white. Although the Apollo Theater was essentially a black theater, the main interest was always in quality rather than color.Even though jazz was predominantly the creation of black musicians, the amount of interracial jazz was relatively small thought the history of early jazz. It wasn’t because of discrimination from the performers but rather the performers were keeping up with the climate of the times. Many white musicians were accepted with respect and affection by Apollo audience. The first show was called â€Å"Jazz a la Carte†. All the proceeds of this show were donated to the Harlem Children's Fresh Air Fund. Since then the Apollo Theater is known for starting careers of many music pioneers. In 1934, it introduced its regular Amateur Night shows.Billing itself as a place â€Å"where stars are born and legends are made,† the Apollo became famous for launching the careers of artists such as Ella Fitzgerald, Billie Holiday, James Brown, Diana Ross ; The Supremes, Gladys Knight ; The Pips, The Jackson 5, Patti LaBelle, Marvin Gaye, Luther Jose 4 Vandross, Stevie Wonder, Aretha Franklin, Ben E. King, Mariah Carey, The Isley Brothers, Lauryn Hill, and Sarah Vaughan. The Apollo also featured the performances of old-time vaudeville favorites like Tim Moore, Stepin Fetchit, Godfrey Cambridge, Dewey â€Å"Pigmeat† Markham, Moms Mabley, Marshall â€Å"Garbage† Rogers, and Johnny Lee.The Apollo didn’t only make careers but they also had big name artist. By the mid-thirties, the era of the big band was in full swing. Of all the personalities we ever played at the Apollo, none were as vibrant as Fats Waller. There was never any question about Fats playing the Apollo. It was a semi-annual engagement, which he never missed. The Luis Russell Band was a band that was put together to showcase the talent of Louis Armstrong. They played a 1937 engagement at the Apollo without Louis, who had left the band by then.They band did include clarinetist Barney Bigard, who later starred with Ellington; Big Sid Catlett, who also played with Hines, on drums; and trumpeter Henry â€Å"Red’ Allen. Duke Ellington and Louis Armstrong are probably two of the most influential men in the history of jazz. Louis Armstrong played with them all because they all wanted to play with the master. In 1949, Louis’ band in an Apollo show included such legendary figures as trombonist and vocalist Jack Teagarden, drummer Cozy Cole, clarinetist Barney Bigard, pianist Earl Hines, and bassist Arvel Shaw.A jazz lover could only be at awe at this line up. Louis influences everyone, even the singers. Billie Holiday once spoke about how she wanted to sing exactly as Louis played his horn. The fun-loving genius had vocal trick of finishing his songs with â€Å"Oh Yeah†. In 1939 Duke Ellington played the Apollo. He had played there and at the Harlem Opera House and the Lafayette and, of course, was legendary figure at the old Cotton Club. He played the Apollo again, again, and again. He was one of the Jose 5 giants and one of the transcending figures in jazz history.You can’t talk about Duke Ellington musical genius without talking about the incredible number of compositions that he penned. Probably in the whole history of music no one has composed more songs the Ellington. There is said to be over two thousand songs. Women were also very popular in the Apollo Theater. Most of the women were singers, the major exceptions being pianists Mary Lou Williams and Hazel Scott. They were the International Sweethearts of Rhythm . Another talented jazzwoman was Blanche Calloway, sister of Cab Calloway.Although she frequently copied Cab’s style as a leader, she was a serious musician. Later Blanche ran a club in Washington and brought us Ruth Brown, who became a major Apollo attraction. In addition to introducing a vast number of rising stars, the Apollo quickly became a vital stop for any black entertainer, and virtually every major African American musical act performed there at least once as did several white acts, who often were booked because they were assumed to be black. The management maintained a policy of alternating live stage shows with B movies.The Apollo was the pinnacle of the â€Å"classic circuit† of venues including the Regal Theater in Chicago and the Howard Theater in Washington, D. C. that catered to African American audiences. As a show of respect for its legacy, the building was left untouched during the riots of the 1960s. In 1977 the shows were discontinued, and the the atre was operated as a movie theatre. A year later the building was closed. Purchased by investors in 1981, the Apollo received landmark status in 1983, was renovated, and was reopened to the public in 1985. | | | | | | | |