Amy Tan’s Use of Prologues to Bridge the Gap Between Chinese and American Culture - Literature Essay Samples

Cultural divides are difficult to overcome in storytelling, because readers must both re-orient their largest cultural assumptions and understand the ideas of specific, unique characters. However, in The Joy Luck Club, Amy Tan effectively makes much of Chinese culture comprehensible to American readers. In describing a culture that is exceedingly different from the American way of life, Tan presents both cultures side by side in order to draw attention to their differences. One way she accomplishes this task is through the use of prologues that frame each of the four sections of the book. Each prologue gives the reader a cultural perspective, which allows for better interpretations of the book’s sections. These prologues unite the short story sections and as the prologues themselves come together to form one story, they bring the collection together as a whole to form an in-depth look at Chinese culture’s survival in American society. Amy Tan uses section prologues to e stablish viewpoints from which to observe and interpret each section while establishing general conflicts facing the characters in the short story collection; the prologues progress from identifying the problem to suggesting the continuance of cultural heritage, they help to bridge the cultural gap between the mothers and daughters in the story. The prologue for â€Å"Feathers from a Thousand Li Away† depicts the relocation of a woman to a new country and the resulting cultural problems this type of relocation entails, which turns out to be the main conflict of Tan’s short story collection. The story in the first prologue recounts a woman’s immigration from China to America. She voices her optimism about America and the wonderful life it will give her daughter. The swan she is traveling with symbolizes both her life in China and the hope she has for her daughter in the New World. However, the swan is taken from her as she goes through customs, leaving her with only a feather to pass on to her daughter. This exhibits the loss of culture that takes place during relocation and identifies the reality facing the Chinese mothers in the book: â€Å"Tans structural narrative opening marks the way ‘America’ strips the woman of her past, her idealized hopes for the future in the United States, and ex cludes her from an ‘American’ national identity† (Romagnolo 270). This prologue enlightens an American audience on the dilemmas faced by immigrants in order to garner sympathy for the mothers in the story who could be misinterpreted without this background information. In the end of the story, the woman is left with only a feather to pass on to her daughter, which calls the reader’s attention to the feeble connection between Chinese-born parents and American-born children. This insufficient connection or inability to pass on culture and history to their daughters is what the mothers of the story fear. In this sense, the prologue establishes the stereotypical Chinese-born mother and the following set of four chapters elaborates on this model by illustrating both the fear of the mothers for their daughters and their troubled pasts that have led them to pursue better lives for their daughters. With the prologue’s depiction of a mother’s fear of cultural disconnect, the chapters comprising â€Å"Feathers from a Thousand Li Away† confirm the existence of such fear among the mothers, which in turn establishes the mothers as sympathetic characters and gives an emotional curve by which the reader can judge them. In this section, as Jing-mei comes to terms with the death of her mother, she consequently realizes how far removed she is from her culture and heritage. After her mother’s death, Jing-mei is expected to take her place at the Joy Luck Club, and she realizes she is ill equipped to do so. On top of feeling distanced from the other women, she feels she cannot take her mother’s place in the family. She is told about her mother’s quest to find her daughters and that she must carry on this duty and educate them on who their mother was to which Jing-mei replies, â€Å"What can I tell them about my mother? I dont know anything. She was my mother† (Tan 31). This admission conveys Jing-mei’s disconnect from her culture and appalls the other mothers because they fear the same attitude is present in their own daughters. An-mei exclaims, â€Å"Not know your own mother? †¦ How can you say? Your mother is in your bones!† (Tan 31). This passage â€Å"articulates the anguish of the forgotten and obliterated, of not having progeny who would look back at ancestral ties with the past. All the mothers, Suyuan Woo, An-mei Hsu, Lindo Jong, Ying-ying St. Clair, fear this genealogical obliteration† (Zenobia 254). This section illustrates the generational disconnect predicted in the prologue and establishes the main conflict of the collection: the cultural gap between Chinese-born mothers and American-born daughters. After the establishment of the story’s main conflict, the prologue to the â€Å"Twenty-Six Malignant Gates† section shows the nature and extent of the cultural gap between Chinese mothers and their American-born daughters while garnering sympathy for the daughters in the story. The mother attempts to instruct the daughter by interpreting a Chinese book titled Twenty-Six Malignant Gates. The use of a Chinese text to justify a strict parenting style reveals the typical mothering technique among Chinese mothers, which could appear a bit overbearing to an American reader. This is an important cultural difference to address because â€Å"an American reader is less likely to grant those mothers their due without understanding that Asian mothers normally behave in a more heavy-handed manner than their American counterparts† (Souris 137). However, the effect of this prologue is twofold. The overbearing nature of the mother also establishes the view from which to examine the daughter’s attitude and actions, which translates to the examination of each daughter in the main narrative: â€Å"If the first preface prepares us to be sympathetic towards the mothers, this second preface prepares us to be sympathetic towards the daughters as we read each monologue against that preface as a backdrop† (Souris 129). As the prologue prepares the reader for the stories of the daughters, it establishes a tangible cultural gap rather than the anticipated one referenced in the first prologue, which cements the rising conflict. The next anticipatory action is at the end of the second prologue when the daughter goes against the mother’s warnings and ends up falling. This foreshadows the negative consequences this gap between the two generations will have for the daughters in the story. The sympathy garnered for the daughters in the story aides the interpretation of the â€Å"Twenty-Six Malignant Gates† section, where the daughters assume control of the narrative and exhibit both their disregard for the wisdom of their mothers as they deal with hardships. Rose mentions the book referenced in the prologue and claims that the book shows â€Å"that children were predisposed to certain dangers on certain days, all depending on their Chinese birthdate†¦ And even though the birthdates corresponded to only one danger, my mother worried about them all† (Tan 131-132). Rose is using this observation to establish her mother’s overbearing nature. However, in the same way that the prologue’s effect is twofold, Rose’s observation both criticizes her mother’s parenting strategy and reveals the cultural roots for such a parenting method. With the mention of the Chinese book, An-mei’s overbearing nature as a mother is tied to her Chinese culture, which paints children as prone to danger and in need of strong parental guidance. With this distinction, Rose’s observation of her mother reveals her parenting method to be more protective than oppressive. This realization is aided by both preceding prologues because the first one garners sympathy for the mothers, which causes an American audience to look beyond the overbearing Chinese mother, and the second prologue garners sympathy for the daughters in the story, which causes the reader to understand the attitudes of the daughters. This type of misunderstanding is the root problem of the short story collection: â€Å"The story is a tragedy of incomprehension resulting from a clash of cultural values and generational divide. The mother belongs to the old world order and believes in the inalienable right of the mother to regulate and run the life of the daughter† (Priya). Following the juxtaposition of the Chinese opinions of the mothers and the conflicting American views of the daughters, Amy Tan sets the scene for the â€Å"American Translation† section by giving the reader a parable that identifies the details of the disconnect between the mothers and daughters. She does this by illustrating the difference between the American and the Chinese viewpoint. Harold Bloom illustrates the purpose of this prologue by observing, â€Å"The prologue sets the tone and the reasons for the tensions and conflicts in the mother-daughter relationship† (7). In the parable, the mother and the daughter gaze into a mirror. The mother, who symbolizes the Chinese way, exclaims, â€Å"In this mirror is my future grandchild, already sitting on my lap next spring† (Tan 159). Her eyes are set on the future and the continuation of her family. The daughter looks into the mirror and simply sees â€Å"her own reflection looking back at her† (Tan 159). This conveys the American worldview, which focuses on the present and the individual alone. Tan uses this mirror symbolism again when Lindo Jong is in the salon with her daughter. When she sees her daughter in the mirror, she sees herself and her own mother. With this reflection showing the past and the other story’s reflection showing the future, the Chinese worldview is illustrated in its entirety because it focuses on both the past and future with little regard for the present, which is the focus of the American worldview. This dynamic carries through the entire story as the mothers, who were raised the Chinese way, watch their daughters grow up in the American way. Ying-Ying describes this as a difficult way to raise a child by stating, â€Å"I raised a daughter, watching her from another shore. I accepted her American ways† (Tan 286). Their daughters grow up with a different focus in life and therefore become strange to their mothers because of the different worl dviews. However, the recurring idea in the book is that â€Å"if you are Chinese you can never let go of China in your mind† (Tan 203). While this sentiment is confusing to the daughters in the beginning of the book, the mothers know it to be true, and the daughters slowly come to believe it as well. After the establishment of the cultural gap and the stress it has on the mother-daughter relationship, the â€Å"American Translation† section of the book, which is narrated by the daughters, exemplifies the conflict between American and Chinese viewpoints and begins to move towards a solution through nature imagery. In â€Å"Without Wood,† Rose embodies this conflict. Ted takes advantage of Rose and makes her feel insignificant. After their separation, she goes out to view the garden in the yard and remembers how Ted would tend to the garden constantly and control every aspect of the planting and maintenance. He arranged them in different boxes, which allows plants to grow only under his controlling supervision. As she overlooks the overrun garden, Rose recalls something she read in a fortune cookie: â€Å"When a husband stops paying attention to the garden, he’s thinking of pulling up roots† (Tan 215). This is significant because with the way Ted gardene d, with the plants in different and specific boxes, the root systems and the plants themselves would have been tame and easy to pull up. This is meant to convey the American way of life, which sees little connection with the past, making it easy to change and leave. However, Rose realizes this inconsistent way of life creates an unstable foundation on which to stand. As she views the overgrown garden with its strong, interconnected roots, she decides she prefers this to the well-kept garden because there is â€Å"no way to pull [the roots] out once they’ve buried themselves in the masonry; you’d end up pulling the whole building down† (Tan 218). With its interconnected and grounded roots, the garden symbolizes Rose’s Chinese heritage, which provides her a sound foundation on which to stand. With this newfound strength, she stands up to Ted and demands the house in the divorce rather than letting him simply throw her out. Because of the prologue, this even t is classified as a return to her Chinese heritage or the Chinese mindset as her American view centered on the present is widened to include her past. This strengthens her because she realizes she has a strong Chinese identity and, as a result, obtains a new sense of self. Once the specific conditions of disconnect between the two generations have been set down, the next preface illustrates a passing of the torch to the daughters in the story while voicing uncertainty for their preparedness for such a burden. In the prologue to â€Å"Queen Mother of the Western Skies,† a grandmother is seen voicing her parental uncertainties to her granddaughter. This prologue produces an effect similar to that of the first prologue: â€Å"Very sympathetic to the mother, this preface prepares us to organize the monologues we are about to encounter in a manner that is sympathetic to the mothers† (Souris 130). The grandmother claims she has raised her daughter the way she was raised in order to properly prepare her, but she questions whether or not this was correct or if it has truly prepared her daughter. The baby laughs at her musings, which causes the grandmother to scold her: â€Å"You say you are laughing because you have already lived forever, over a nd over again?† (Tan 239). She sees in her granddaughter another American-born child who will refuse to listen to her mother and will believe she knows better. The grandmother scolds her for this perceived insult. This questioning of her own parenting skills and seeing the future of her own daughter as a mother signifies the grandmother passing the torch to her daughter. It is now up to the daughter to raise her child and carry on tradition, no matter how ill-equipped the grandmother may think the daughter is at doing so. This torch carries with it a new level of responsibility for the daughter generation in the book. This passing of the torch and the effects of this new cultural responsibility bridges the gap between the two generations as symbolized at the end of the book by the jade pendant that Suyuan passed down to Jing-mei. Suyuan Woo gives her daughter a jade pendant and tells her, â€Å"I wore this on my skin, so when you put it on your skin, then you know my meaning. This is your life’s importance† (Tan 235). The necklace symbolizes her Chinese heritage, which is why Jing-mei does not wear the necklace until after her mother’s death. She lives the Americanized way of life until the death of her mother, after which she feels a need to understand and return to her Chinese roots. She recalls her mother’s words about the jade as she contemplates its meaning: â€Å"This is young jade. It is a very light color now, but if you wear it every day it will become more green† (Tan 235). This charge for her to wear the pendant every day is Suyan’s attempt to c onstantly remind Jing-mei about her heritage. Because of the prologue, the reader perceives this as a passing of the torch where it is now up to Jing-mei to carry on Chinese culture. In describing the process of darkening the jade with wear, Suyan is conveying that the future is just as important as the past. Jing-mei needs to remember the past and the heritage she stands on, but she also needs to darken the necklace, which symbolizes building upon her heritage in order to pass on a stronger foundation to her children. Therefore, Suyan’s description of the necklace as â€Å"life’s importance† bears the Chinese worldview, which is described in the third prologue as having the past and future as the main focus of everyone’s lives. The fact that Jing-mei chooses to wear the necklace after her mother’s death shows that, like Rose, she has returned to her heritage and the ways of her mother. With this decision, she quells the fears of the lady in the pr ologue, who seems unsure of her results as a parent and the resulting ability of her daughter to carry on her culture. In the end, Jing-mei returns to her heritage and understands her mother as well as she can. Despite the changing viewpoints in her book, Amy Tan conveys these stories in sections with thematic explanations in the form of prologues, creating an in-depth view into both Chinese culture and the effect of immigration on it. Each prologue prepares the reader by establishing the situation of Chinese Americans, which is something that would be foreign to a wide range of readers. They also aid the reader in understanding Chinese culture as a whole, which otherwise could seem harsh to the average reader. It establishes a viewpoint from which to observe and judge each set of stories. It is important to have a cultural background for these stories in the same way that it is important for the daughters in the story to have their mothers’ cultural backgrounds to facilitate understanding: â€Å"Incomplete cultural knowledge impedes understanding on both sides, but it particularly inhibits the daughters from appreciating the delicate negotiations their mothers have performed to sus tain their identities across two cultures† (Hamilton 196). The cultural gap between the reader and the characters in the story must first be closed in order to perceive the closing of the cultural gap within the story. Tan accomplishes this task with the four prologues. In the end, the prologues tie the stories together. When viewed chronologically, the prologues can be observed as one parable surrounding two characters: an immigrant mother and an American-born daughter. In the same way that the prologues can be joined as one story, the stories within the collection can be united in order to portray a multifaceted image of Chinese culture and the stresses that face immigrants attempting to find their identity somewhere between the two cultures. Works Cited Bloom, Harold. Blooms Modern Critical Interpretations: The Joy Luck Club. Bloom’s Literary Criticism, 2009. Blooms Modern Critical Interpretations. Hamilton, Patricia L. Critical Readings: Feng Shui, Astrology, and the Five Elements: Traditional Chinese Belief in Amy Tans The Joy Luck Club. Critical Insights: The Joy Luck Club, Jan. 2010, pp. 196-222. EBSCOhost, dsc.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=trued b=lfhAN=48267633site=eds-livescope=site. Priya, Lakshmi. Cultural Barrier through Communication as Explained in Amy Tans The Joy Luck Club. Language in India, vol. 12, no. 1, Jan. 2012, pp. 70-76. EBSCOhost, dsc.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=truedb=ufhAN=71958480site=eds-livescope=site. Romagnolo, Catherine. Critical Readings: Narrative Beginnings in Amy Tans The Joy Luck Club: A Feminist Study. Critical Insights: The Joy Luck Club, Jan. 2010, pp. 264-289. EBSCOhost, dsc.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=truedb=lfhAN=48267635site=eds-livescope=site. Souris, Stephen. CRITICAL READINGS: ‘Only Two Kinds of Daughters’: Inter-Monologue Dialogicity in The Joy Luck Club. Critical Insights: The Joy Luck Club, Jan. 2010, pp. 113-144. EBSCOhost, dsc.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=trued b=lfhAN=48267630site=eds-livescope=site. Tan, Amy. The Joy Luck Club. Ivy Books, 1995.

Letter of Advice - Free Essay Example

Sample details Pages: 8 Words: 2306 Downloads: 1 Date added: 2017/06/26 Category Law Essay Type Narrative essay Tags: Advice Essay Did you like this example? Dear Sir, RE: ADVICE ON ALLEGATIONS MADE AGAINST YOU. We have received your email on17th December 2014 and are now pleased to advise you on the matter. 2.0MATERIAL FACTS 2.1That you had received a document from a man in uniform due to the complaint made against you by the public for causing a nuisance while you are busking at Central Market. 2.2You were instructed to leave KL Sentral by another man in uniform as you were alleged to violate the Legislation of the Railways. 2.3You have made known to us that you received a letter by a group of purity appraising that your music diluting the cultural norms of Malaysia as jazz was American in origin and it assassinating the minds of Malaysian classical music. 2.4You had recorded some of performance in KL Sentral digitally and your recording company had made an arrangement for that music to be released in EP format via iTunes. Subsequently, two musicians claimed that you stole their music as you had plagiarized their tunes for the EP and they are now wanting a share of the profits. 2.5You had received a complaint letter that some viewers of your live performance video in KL Sentral on YouTube had sustained serious personal injury, i.e sprained ankles, bruising and small cuts due to your failure to put the disclaimer not to try the dance at home or in confined space without proper equipment. 2.6That AMRSVT is claiming for loss of profit as they claimed that your performance had attracted the crowd, which made it difficult for other passengers to move around and visit their stalls and shops. 3.0LEGAL ISSUES 3.1Whether there is any permit required to busk? 3.1.1You have mentioned that you had not obtained any permit to perform in Central Market and KL Sentral. In our opinion, a permit is essential to be obtained from the municipal council. In this case, since you perform in the district of Kuala Lumpur, a permit should be obtained from the DBKL. The Early in the ye ar 2013, DBKL has implemented that all street entertainers are required to apply for a permit in order to perform in public. The aim of the permit is to be obtained to regulate the street buskers. Hence, a permit from DBKL is required. 3.1.2Since you had not obtained any permit, no issue on remedy available to you under this issue. 3.2Whether you can be liable for nuisance? 3.2.1You have mentioned that that certain member of the public made a complaint against you for public nuisance. 3.2.2Public nuisance arises when an act materially affects the reasonable comfort and convenience the life of a class of the society. In the case of Majlis Perbandaran Pulau Pinang v Boey Siew Than Ors [1979] 2 MLJ 127, only a person who has suffered special damage can claim for damages for public nuisance. The Plaintiff has to prove that he has suffered damages or injury over and above the ordinary convenience suffered by the public at large. 3.2.3The followings are to determine the ex istence of special particular damage: (i) the type or extent of damage is more serious, The Plaintiff must suffer more than what is suffered by other persons who are exposed to the same interference. (ii) The damage must be a direct consequence and is substantial. In the case of Pacific Engineering v Haji Ahmad Rice Mill Ltd [1966] 1 LNS 128, the Plaintiff had proved that they suffered personal discomfort and injury to property thereby satisfying the requirement special damage. An injunction preventing the Defendant from burning rice husks in the compound of their premises was granted. The court held that in action for public nuisance, a Plaintiff may institute proceeding without obtaining prior consent from the Attorney General (AG) if he suffered special damage. 3.2.4If no special damage suffered by any particular individuals, section 8(1) of the Government Proceeding Act 1956 provides that the AG, or two or more persons who have obtained written permission from the AG, may ins titute a suit in public nuisance for a declaration a injunction or for such other relief as may be appropriate to the circumstances of the case. In Koperasi Pasaraya Malaysia Bd v Uda Holdings Sdn Bhd [2002] MLJU 521, it was held that in action for public nuisance, consent must be first obtained from the AG. 3.2.5 By applying the law to your situation, you have mentioned that the certain member of the public was the AMRSVT who lodged a report against you.They claimed that they suffered loss of profit as your busking had attracted the crowd which made it difficult for other passengers and passerby to move around and visit their stalls and shops. You also mentioned that you managed to get the people to dance for your live performance at KL Sentral. Hence, the allegation of the AMRSVT is in line since your performance fascinated the crowd which caused them to suffer a direct consequence and a substantial damage. Hence, we are of opinion that they might be successful in their action against you. 3.3Whether you can be liable for a violation of railways legislation? 3.3.1According to section 59 (a) of the Railways Act 1991 (RWA), any person who behaves in a disorderly or offensive manner or commits any nuisance on a railway coach or upon any railway premises; or assaults, hinders or obstructs a railway officer in the execution of his duties, shall be guilty of an offence and shall on conviction be liable to a fine not exceeding one thousand ringgit or to imprisonment for a term not exceeding three months or to both. 3.3.2You had mentioned to us that you have managed to attract the crowd and not only that, the crowd even dance when they watched your performance at KL Sentral. As discussed above, your acts may constitute a nuisance to the public. You mentioned that you had refused to leave the place when you were told to by the officer of the KTMB. Hence, we are afraid that you have violated the regulation of the RWA when you committed the act of nuisance and impeded the instruction of the officer to leave the place when he was in the execution of his duties as a railways officer. Hence, you may be exposed to a fine not exceeding one thousand ringgit or to imprisonment for a term not exceeding three months or to both. 3.4Whether the group of that person has right to stop you from playing your music in public as they alleged your music diluting the cultural norms of Malaysia? 3.4.1You have mentioned that you had received a letter from Purity to stop you from playing in public. They alleged your playing diluting the cultural norms of Malaysia because the jazz was American in origin. They also alleged that you are poisoning the minds of the youths by playing unstructured music which is contrary to the rigid structure and discipline of Malaysian classical music. 3.4.2We are advising that until to date, there is no provision under the law or legislative body authorized by the government of Malaysia declaring the technical natured to cultural norms for Malaysia. As far as we concerned, your performance was simply to reach the public with the nature of the music. It may depend on the content of the lyrics. The accusation on influencing the minds and cultural norms of Malaysia and Malaysia classical music cannot stand on its own since jazz music has been accepted in Malaysia without restriction. Hence, we are of view that the Purity has no cause of action against you. 3.5Whether you can be liable for plagiarism as alleged by Mdm Anna Leese Laniza Achmed? 3.5.1 By virtue of section 13 of the Copyright Act 1987 (CA), in order to establish a claim of copyright infringement the plaintiff need to prove: (1) that the Plaintiff own the copyright in his work; (2) that the Plaintiff work is original; (3) that the defendant copied the work; (4) that there is substantial similarity between the Plaintiffà ¢Ã¢â€š ¬Ã¢â€ž ¢s work and the defendants work; and (5) that the part copied by the defendant was a substantial part of the Defendantà ¢Ã¢â€š ¬Ã¢â€ž ¢s work. 3.5.2 Section 26A of the CA provides once notification of copyright has been recorded in the Register, the onus of disproving that copyright subsists in the work shifts to the alleged infringer. 3.5.3As to requirement (1), Mdm Anna Leese and Laniza Achmed basically acquire the copyright in the song if they have put it into a fixed form, e.g. In writing or in a recording. Registration and other formalities are generally not necessary to acquire the copyright. However, registration of the copyright will come in useful as evidence to show the ownership of the copyright. Hence, if there is notification of copyright has been recorded by them, the onus of disproving that copyright subsists in the work will shift to you. As to the requirement (2), originality simply means that the song must have come from them and that they must have put some effort into it. On to requirement (3) they need to prove to the court that you have access to t he music. Substantial similarity in requirement (4) means that there should be a high degree of similarity between the two songs which is more likely to be the result of copying rather than mere coincidence. In considering whether there is substantial similarity, features that are commonplace, and unoriginal are usually disregarded. In Requirement (5) as long as the part the music is distinctive enough that it is recognizable as their song, therefore, that amounts to a substantial part the length does not matter as long it is sufficiently similar and the reasonable people would notice the similarities between the music. We are of opinion that if they are claiming that you had stolen their music is difficult to be proved unless they can prove that they are protected under the law of intellectual property. 3.6Whether you can be liable for the injuries of the YouTube viewers? 3.6.1 You have mentioned that a class action lawsuit filed against you by YouTube viewers from New York w ho watched the video of your live performance on YouTube and followed suit by dancing in their room sustained serious personal injuries. They claimed that you should put a disclaimer of à ¢Ã¢â€š ¬Ã…“Do not try this at home or in a confined space without proper equipmentà ¢Ã¢â€š ¬Ã‚ . 3.6.2 In the case of Palmco Holding Bhd v Sakapp Commodities (M) Sdn Bhd Ors [1988] 2 MLJ 624, in order to succeed in a representative action, the plaintiff must satisfy three requirements. They are: (1) the plaintiff and those represented by it are members of a class and that these members have a common interest; (2) the plaintiff and those it represents have a common grievance; (3) the relief sought is in its nature beneficial to them all. 3.6.3In the present case, the plaintiffs and those represented by it have satisfied all three requirements hence the representative action of the Plaintiff might be successful. However, the viewer may not have privileges to take action against you becaus e the terms and conditions only apply between you and YouTube. YouTube makes no warranties or representations about the accuracy or completeness of this sites content or the content of any sites linked to this site and assumes no liability or responsibility for any personal injury or conduct of any third party. Therefore, we are in view you will not liable for not inserting the disclaimer in the video. 3.7Whether you are liable for the loss of profit suffered by AMRSVT? 3.7.1 Based on your letter, we have understood that AMRSVT are claiming for loss of profit as they claim that Miloà ¢Ã¢â€š ¬Ã¢â€ž ¢s busking had attracted them crowd, which made it difficult for other passengers and passerby to move around and visit their stalls and shops in Central Market and KL Sentral. We have understood that AMRSVT is claiming liability from you for loss of profit. Generally, pure economic loss is recoverable under the law. However, the extent of the negligent act should be assessed with c aution to determine the liability of the defendant. This means that the companyà ¢Ã¢â€š ¬Ã¢â€ž ¢s claim would depend on (1) whether there is sufficient proximity between the Plaintiff and the Defendant and (2) whether the pure economic loss was reasonably foreseeable as mentioned in the case of Steven Phoa Cheng Loon V Highland Properties Sdn Bhd [2003] 1 MLJ 567. 3.7.2We are of the view that for AMRSVT claims to be successful, the burden of proving such allegations lies on him. Therefore, he must first satisfy the court that there is an appropriate proximity between you and him. An appropriate proximity is determined to see whether it was indeed the act of the defendant that had caused the pure economic loss. As discussed above, you might be liable for nuisance for attracting the crowd to watch your performance. Should AMRSVT prove that there is a negligent act done by you which had caused the pure economic loss to the them. However, if they can prove there is negligence on you r part, his claim for damages as a result of his loss of business being affected by your act attracting the crowd however it is too remote and is not foreseeable. It is not foreseeable that such act would have caused loss to their business as the crowd logically would have been their prospect. Thus, this claim may be deemed as too remote. Therefore, it can be said that the claim by AMRSVT might not be successful in his claim unless they can prove otherwise. 4.0CONCLUSION 4.1We shall be pleased to represent you in any legal action filed by the above parties and also to file a defence on your behalf if you wish to take the matters to the court. We hope that our advices are sufficient for your present needs. If you have any further inquiries, please do not hesitate to contact us. Yours sincerely, à ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦ à ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦. (NABILA BINTI MOHD NOORDIN) For and on behalf of Tetuan Haziq Hafidz Rakan-Rakan. Don’t waste time! Our writers will create an original "Letter of Advice" essay for you Create order

George Orwell s Animal Farm - 1984 Words

In the novel Animal Farm, by George Orwell, and the film Elysium, directed by Neill Blomkamp, the authors present a world where inequality between different social classes is evident. Both Orwell and Blomkamp explore the idea of inequality by setting their text in a society where the weak are oppressed by the strong who have power and authority over them. In Animal Farm, Napoleon takes over the farm and becomes a dictator, setting a hierarchy of power to sustain power. Whilst in Elysium, Max, the main protagonist, fights back against the authority of Elysium and sacrifices his life to ensure free healthcare for all back on Earth. To explore the idea of inequality, both authors uses symbolism to explore the theme of oppression, the†¦show more content†¦The seven commandments in Animal Farm are initially made to ensure that all animals are equal and have no connection to humans at all. However, over time Napoleon through his assistant Squealer manipulate the seven commandme nts, taking advantage of the fact of that most animals are Illiterates. The pigs distort the commandments to suit their own selfish interests, like when Napoleon changes the commandment about drinking. Changing it from ‘No animal shall drink alcohol,’ to ‘No animal shall drink alcohol to excess,’ which oppresses the other animals, as the subtle changes to the commandments allow the pigs to manipulate and control the other animals without any protest, as the new laws allow the pigs to do whatever they want. The pigs’ superior intelligence and education allow them to bring the other animals into submission through the use of propaganda and revisionism of the seven commandants. However in Elysium, security robots made by the company Armadyne, can be seen as the main symbol of oppression in the film. The security robots are made to keep the peace however use unnecessary force to subdue people. Security robots are programmed to maintain the earth-bound populace and stopping them from reaching Elysium. Security robots are equipped with batons and advance weaponry and a variety of combat skills. The Mise en scene reveals that

Adequate Nutrition in Vegetarian Diets Essay - 2999 Words

Vegetarians have diets as safe and nutritious as non-vegetarian diets. Whether someone chooses a vegetarian diet to preserve animal rights or to improve his health, his diet can be planned and maintained. Every vegetarian diet is different from another, but as long as a vegetarian learns what foods to include in his diet, he can meet all his nutritional needs contrary to common misconceptions. With careful planning, a vegetarian diet can provide all the nutrients a human body needs. First of all, to study vegetarianism everyone must have a basic understanding of the different types of vegetarians. Although every book and article discusses the categories of vegetarians slightly differently, a few large classifications remain†¦show more content†¦The Vegetarian Sports Nutrition Guide by Lisa Dorfman states that â€Å"Animal products contain all essential amino acids, while plant products may be limiting in one or two. Most people don’t even realize that grains vegetables, soy, and nuts contain protein. That’s why the first question a meat eater asks when meeting a vegetarian is, ‘How do you get enough protein?’ (Dorfman 72). Many non-vegetarians would be surprised to find that vegetarians can consume enough protein in foods coming from plant sources because they assume everyone meets their protein needs by eating meat. Vegetarians need to become aware of the risks involved in protein deficiencies and where to find alterna tive protein sources so that they can add enough protein to their diets. Every vegetarian needs to make sure to consume enough protein because of the devastating effects of a protein deficient diet. A protein deficiency, according to Dixie Farley in an May 1994 issue of FDA Consumer Magazine, â€Å"†¦in children can impair growth and in adults can cause loss of hair and muscle mass and abnormal accumulation of fluid† (Pluses 2). 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Conduct a Marketing Audit Major Assignment - 10193 Words

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Jetblue Mission/Vision Satatement free essay sample

JetBlue’s Mission Statement JetBlue currently files its mission statement under an annual report heading of â€Å"Our Value Proposition. † This mission statement appears as more of a slogan and is quickly dispensed in one sentence: â€Å"Our mission is to bring humanity back to air travel† (â€Å"JetBlue Annual Report, 2010). However, as the expanded mission description and incorporated vision attest, successive statements further expand on the corporate goals. These four statements read as follows: †¢ High Quality Service and Product †¢ Low Operating Costs †¢ Brand Strength †¢ Strength of Our People The company has never formalized a standard vision plan or traditional vision statement, as noted in the 2003 interview with Nigel Adams, Vice President of Customer Service. â€Å"One of our values is fun,† Adams said, â€Å"Were allowed to have fun, were supposed to have fun, and that comes from the top† (Judd, 2003). JetBlue replaces a formalized mission statement with five core values: safety, caring, fun, integrity, and passion (Judd, 2003). We will write a custom essay sample on Jetblue Mission/Vision Satatement or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page These five values are deemed so significant that they are printed on every paper paycheck JetBlue issues (â€Å"Effectively Managing,† 2004). These values also provide the framework for the company’s culture, as noted by Chief Security Officer, Usto Schultz. Adams agrees, and posits that once a company’s values are framed, the company’s culture carries itself (Judd, 2003). As the annual report (2005) states, JetBlue looks â€Å"enhance the JetBlue experience to further differentiate our company from the competition. † JetBlue’s culture embodies what it considers the crucial â€Å"three Ps† that are introduced by high-level offers to each new employee on his or her first day of orientation: people, performance, and prosperity. Founder David Neeleman stated in 2004 that he attends a portion of the multi-day orientation program, and he speaks to staff regarding how customers (passengers) are to be treated. â€Å"It is vital that everyone understands and believes in our philosophy about treating people,† he says (Ford, 2004). JetBlue teaches its staff that each of the three Ps has measurements associated with it that help JetBlue translate the essential core values into quantifiable terms (â€Å"Effectively Managing,† 2004). Although the three Ps have associated, measurable subtopics, one usual corporate objective is lacking: growth. 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Values could be separated by making the five core omponents bullet points. A new version could read as follows: JetBlue strives to put the customer’s care first in its efforts to retain humanity in air travel. We stress the following core values, on which every JetBlue employee is trained: †¢ Safety †¢ Integrity †¢ Passion †¢ Caring †¢ Fun JetBlue’s employees work as team players to ensure customers are more than passe ngers shuttled about. We want our customers to find our low fares and extra-mile employee service to be such an accommodating blend that they choose JetBlue time and again. We will continually revamp our Customer Bill of Rights so all air travelers can be assured of JetBlue’s ongoing commitment to fair treatment and good value. JetBlue’s Potential Vision Statement This segment details JetBlue possibly formalizing a vision statement in 2011. JetBlue’s 2005 annual report features a quotation from then-CEO David Neeleman that serves as a summation of company vision: â€Å"As JetBlue continues to grow, we know our commitment to friendly, helpful service, combined with amenities customers want, will continue to keep JetBlue #1 in the eyes of our customers† (â€Å"JetBlue Annual Report,† 2005). That statement reads well within that six year-old annual report. JetBlue has grown substantially since 2005 and Neeleman since has been replaced by Dave Barger as CEO (â€Å"JetBlue Annual Report,† 2010). Barger could expand on the Neelman’s vision and offer the following vision in 2011: JetBlue’s vision is one of continual emphasis on providing competitive rates for customers for all of our destinations. We will strive to maintain our industry-standard lowest cost-per-mile, and will continually seek new strategies and technologies that keep down the costs for every one of our flight routes. We foresee JetBlue as a value-driven leader, understanding that as a lower-cost carrier we will surpass customer expectations by offering noticeable amenities such as wider seats and satellite radio channels to improve the in-flight journey. As JetBlue continues to expand into new regional markets, it won’t need to change its vision or mission statements so long as the company remains true to being a low-cost carrier that strives to provide on-time service with the most competitive airfares in the industry. References

Differential Equation free essay sample

Assume that the resulting system is linear and time-invariant. x[n] O + r0n] D y[n] +1 3 -2 Figure P6. 5 (a) Find the direct form I realization of the difference equation. (b) Find the difference equation described by the direct form I realization. (c) Consider the intermediate signal r[n] in Figure P6. 5. (i) Find the relation between r[n] and y[n]. (ii) Find the relation between r[n] and x[n]. (iii) Using your answers to parts (i) and (ii), verify that the relation between y[n] and x[n] in the direct form II realization is the same as your answer to part (b). Systems Represented by Differential and Difference Equations / Problems P6-3 P6. 6 Consider the following differential equation governing an LTI system. dx(t) dytt) dt + ay(t) = b di + cx(t) dt dt (P6. 6-1) (a) Draw the direct form I realization of eq. (P6. 6-1). (b) Draw the direct form II realization of eq. (P6. 6-1). Optional Problems P6. 7 Consider the block diagram in Figure P6. 7. The system is causal and is initially at rest. r [n] x [n] + D y [n] -4 Figure P6. 7 (a) Find the difference equation relating x[n] and y[n]. (b) For x[n] = [n], find r[n] for all n. (c) Find the system impulse response. P6. 8 Consider the system shown in Figure P6. 8. Find the differential equation relating x(t) and y(t). x(t) + r(t) + y t a Figure P6. 8 b Signals and Systems P6-4 P6. 9 Consider the following difference equation: y[n] ly[n 1] = x[n] (P6. 9-1) (P6. 9-2) with x[n] = K(cos gon)u[n] Assume that the solution y[n] consists of the sum of a particular solution y,[n] to eq. (P6. 9-1) for n 0 and a homogeneous solution yjn] satisfying the equation Yh[flI 12Yhn 1] = 0. (a) If we assume that Yh[n] = Az, what value must be chosen for zo? (b) If we assume that for n 0, y,[n] = B cos(Qon + 0), what are the values of B and 0? [Hint: It is convenient to view x[n] = Re{Kejonu[n]} and y[n] = Re{Yeonu[n]}, where Y is a complex number to be determined. P6. 10 Show that if r(t) satisfies the homogeneous differential equation m d=r(t) dt 0 and if s(t) is the response of an arbitrary LTI system H to the input r(t), then s(t) satisfies the same homogeneous differential equation. P6. 11 (a) Consider the homogeneous differential equation N dky) k~=0 dtk (P6. 11-1) k=ak Show that if so is a solution of the equation p(s) = E akss k=O N = 0, (P6. 11-2) then Aeso is a solution of eq. (P6. 11-1), where A is an arbitrary complex constant. (b) The polynomial p(s) in eq. (P6. 11-2) can be factored in terms of its roots S1, ,S,. : p(s) = aN(S SI)1P(S tiplicities. Note that S2)2 . . . (S Sr)ar, where the si are the distinct solutions of eq. (P6. 11-2) and the a are their mul ­ U+ 1 o2 + + Ur = N In general, if a, gt; 1, then not only is Ae a solution of eq. (P6. 11-1) but so is Atiesi as long as j is an integer greater than or equal to zero and less than or Systems Represented by Differential and Difference Equations / Problems P6-5 equal to oa 1. To illustrate this, show that if ao = 2, then Atesi is a solution of eq. (P6. 11-1). [Hint: Show that if s is an arbitrary complex number, then N ak dtk = Ap(s)te t + A estI Thus, the most general solution of eq. P6. 11-1) is p ci-1 ( i=1 j=0 Aesi , where the Ai, are arbitrary complex constants. (c) Solve the following homogeneous differential equation with the specified aux ­ iliary conditions. d 2 y(t) 2 dt2 + 2 dy(t) + y(t) = 0, dt y(0) = 1, y'() = 1 MIT OpenCourseWare http://ocw. mit. edu Resource: Signals and Systems Professor Alan V. Oppenheim The following may not correspond to a partic ular course on MIT OpenCourseWare, but has been provided by the author as an individual learning resource. For information about citing these materials or our Terms of Use, visit: http://ocw. mit. edu/terms.