Shooting Dad Essay Example for Free

Shooting Dad Essay Sarah Vowell is best known for her smart, witty spoken essays she delivers on public radio. One of her writings called, â€Å"Shooting Dad†, is a view into her, â€Å"lifelong opposition to her father†. In the essay called â€Å"Shooting Dad†, Vowell states that â€Å"during her teenage years she came from a home that was divided†. She compared her home environment to a Civil War Battlefield. Vowell was a gunsmith’s daughter, and her views on the Second Amendment were completely different than her father’s. Vowell shares the story, when her father takes her and her sister, Amy, in the backyard to teach them how to shoot a gun. Vowell and her sister are only six years old, and she recalls how holding the gun made her feel small. She states the sound was big, it kicked her to the ground, and it hurt. After this incident with shooting a gun, Vowell wanted to never touch another gun again. Not long ago, Vowell’s father builds a nineteenth-century cannon, from scratch. She becomes open-minded to the concept, that this is not just a gun to her father. She views the cannon as a â€Å"map of all his obsessions†. Vowell explains that if she was ever going to understand her father then shooting the cannon, with him, was her only chance. Total Word Count: 199 During this experience Vowell realizes that she and her father are not that different at all. She views her father and herself as the same. She refers to her father and herself as, â€Å" smart-alecky loners with goofy projects and weird equipment. Once Vowell begins to open her mind, to the idea that the cannon was not just another gun, she begins to see her father from a different perspective. When Vowell was younger, her view on guns was based off her experience, when she was six years old. She felt it was decided, that guns were not for her. Therefore, this clouded her perspective on guns and all that was associated with guns. Until her father built the cannon and she became open-minded to the idea, her view on guns was distorted. A new idea cannot be grafted on a closed mind, an opening must be made. Vowell’s father building the cannon was her opening. This allowed her, to have the opportunity to view her father in a different way. Vowell viewed the cannon as â€Å"unwieldy and impractical†, just like everything else she cared about. Her view, with the cannon, changes in comparison to what she likes. This shows that she became more open-minded to the concept of her father’s interest in guns. Until Vowell became open-minded, to her father’s view point she could not relate. However, once she could relate, she saw her father in a different light.

Analysis of the Swamp in Psycho

Analysis of the Swamp in Psycho Adrian Secter Murder, Candy and Chains: An Analysis of the Swamp in Psycho â€Å"Show me a sane man and I will cure him for you.† Carl Jung Understanding a swamp is to understand what exists in shadow. Not the shadow of night or shroud, but that of the mute. The marginal. To know the scene in Alfred Hitchcock’s Psycho where Marion Crane’s corpse-filled car is disposed of, is to know the film. Bogs have always been a place in flux, the last remainder of a primordial ooze. They serve as a place where strange organisms, many of which cannot survive elsewhere, can breed and grow. The same holds true for ideas. For a man such as Norman Bates, the swamp affords him (and his mother) the luxury of anonymity. Removed from the scrutiny of dry land, the rigors of reality, Bates’ imagination does as swamp creatures do. It experiments, it mutates and most importantly, it uses its natural habitat to dispose of any outsiders who threaten it. Given that the absorptive nature of the swamp scene is both literal and metaphorical, Michael Fried’s â€Å"Absorption and Theatricality† readily lends itself to this analysis. While Fried ostensibly concerns himself with Denis Diderot and 18th century French paintings, the case he presents all but begs to be deftly applied to film. A plea heard anachronistically by Psycho. This 1960 film is replete with striking scenes, and indeed it could be argued that the movie is comprised entirely of such scenes. It is however, the alluded to â€Å"swamp scene† that is most pertinent. In this scene, Norman Bates (Anthony Perkins) hides the car that his most recent victim, Marion Crane (Janet Leigh). After murdering Crane in her motel room and disposing of all the evidence thereof, Crane’s body and 1957 Ford remain. Cleverly vanishing both corpse and car, Bates wraps Crane in a shower curtain, dumps her in the trunk and rolls the car into a nearby swamp. All of this exposition appears fairly straightforward, and would be, were the film not directed by Alfred Hitchcock. With Hitchcock behind the camera, the scene is elevated beyond mere plot and into a realm worthy of Fried and analysis. The crucial point of this scene is that the only remaining proof of Crane’s murder, the car, does not go quietly into the swamp. In filming this descent of woma n, Hitchcock positions the car on a controllable platform, allowing him to adjust the speed with which the car is lowered into the murky gloom. The car is swallowed up, but only piecemeal. At first it proceeds smoothly, as the muddy waters seep into the front of the car. Then it stops. Half of a bone-white car still sticks out of the darkness. The trunk, with Crane inside, stares back at a watchful Bates. He stares back, munching on candy corn. The water finds its strength again and consumes more of the car. Then it stops. The trunk lies like a Nile crocodile, its back above the water. On the shore, Bates continues watching. At last, the water covers the trunk and its morbid contents. The camera lingers on the last bubbles, expiring as they flee towards the shore. With this knowledge of the scene itself in hand, it is now possible to delve deeper into the swamp. Fried begins â€Å"Absorption and Theatrically† with an explanation of the prevailing Rococo style which he neatly summarizes as being â€Å"exquisite, sensuous and intimately decorative†. Fried contrasts the ostentatious and often dull (an artistic combination of decided difficulty) Rococo style with its artistic antithesis, the return to imbuing paintings with absorptive qualities. Fried defines absorption as an â€Å"†¦.insistence on the unity of the painting and the insistence on the irrelevance of the beholder (Fried also reminds his readers that the effort to establish the unity of the painting must itself be understood as nothing but an effort to affect the beholder). Reading Fried with Hitchcock’s film in mind results in a fascinating adaptation of Fried’s explanation of relationship between Rococo and absorption. While cognizant of the perils analogies present, a careful cinematic examination of the dynamic between Rococo and Absorptive art sees a similar dynamic in the dynamic of the studio system and Psycho. Psycho follows in the artistic footsteps of painters such as Chardin and thus stands apart from the studio system of classical Hollywood films. On a very practical level, Psycho can also been seen as at odds with the prevailing system. In 1960, Alfred Hitchcock’s Paramount contract guaranteed the studio another Hitchcock film (his previous Paramount film being Vertigo in 1958) but studio executives found Hitchcock’s latest proposal to be repugnant and refused to finance it. Undaunted, Hitchcock produced the movie in cost-cutting black white, using his own television production company and filming at Universal Studios. It is fascinating and relevant to note that reviews of Psycho were decidedly mixed, with the New York Times praising the horror movie’s depiction of â€Å"†¦the little details of ordinary life, a virtue in keeping with the lesser genres†¦Ã¢â‚¬  Or so it would have been had that quotation not pertained to a Baroque critique of Chardin in the 1730’s. Taking quote from art critics in the 18th century and applying them to the Salon of 1960 prompts an examination of the qualities of the film that are reminiscent of Chardin’s â€Å"Soap Bubbles† and thus it’s theatrical and absorptive qualities. The swamp scene is an excellent case study for this as the previously articulated manner in which it is constructed allows the beholder to become a subjective character within the scene. The technique used to achieve this are very similar to those used in â€Å"Soap Bubbles†. Fried identifies this the painters (or directors) â€Å"choice of a natural pause in the action which, we feel, will recommence a moment later†. The result of these choice is paradoxical, as Fried goes on to say that a static painting or a film’s (static in its celluloid repetition) â€Å"stability and unchangingness are endowed to an astonishing degree with the power to conjure an illusion of imminent or gr adual or even fairly abrupt change.† Within the scene currently under analysis, this paradoxical choice is further amplified by the unique way film as an artistic medium can be re-watched. Despite the fact that an aesthete can (and many do) return to a certain museum to view a particular painting as many times as they please, and the fact that viewing and watching are for all intents and purposes synonyms, it cannot and is not said that an individual who has gone to the Louvre to see the Mona Lisa fifty times has â€Å"re-watched† the Mona Lisa, regardless of the pedantic truth of that statement. But film, and Psycho more pointedly, is a â€Å"re-watchable† form of art. It is not a petty quibble over semantics, but rather speaks to the manner in which knowing the inevitability of the outcome mutates the audience’s conscious viewing experience. When the swamp scene is watched for the first time, the viewer is struck with a tense and remarkable feeling. Despite just having witnessed the jarring murder of Crane in the infamously jarring shower, the audience finds itself wanting the car to go into the swamp. Hitchcock masterfully creates a situation of such deft tenseness that the audience is placed in the same mindset they have when watching a hero character disarm a bomb (always with one second left). The mastery of this scene is that it takes that expression of bomb-disarming relief and channels it for the benefit of a man who just brutally murdered a woman. A woman whose death has now been covered up, to the relief of the audience. In this crucial moment, the viewer does not want Bates to be caught. Upon re-watching the movie, and armed with knowledge of absorptive techniques, theatricality and French paintings of the mid-18th century, Hitchcock’s masterpiece offers up even more. Gazing (but never re-watching) paint ings such as Jean-Baptiste Greuze’s â€Å"La Pià ©tà © Filiale† with the Bates’ Motel’s swamp in mind, one realizes that they are lost in the scene because of the manner in which Norman absorbs himself in his task. Much like Greuze’s painting, wherein Fried says that â€Å"the primary emphasis is no on the variety and multiplicity of individual responses to a central event so much as on the merging of those response in a single collective act of heightened attention†, the audiences’ and Norman’s responses to the slow descent of a hearse into the swamp merge into an â€Å"act of heightened attention. Fried illustrates what is at the heart of the â€Å"absorptive state†. It creates and maintains a fiction, a fiction the beholder, the viewer, the audience, call it what you will does not exist at all. Both the family in Greuze’s painting and the candy-corn eating Bates are depicted in such a way that they not only forget themselves, they forget us too. Furthermore, there is a direct relationship between the degree to which the fiction of the viewer is omitted and the ability of the actual viewer to emerge themselves in the world of the art. In turn, the reality created by Greuze or Hitchcock sees more real because it seems to be, regardless of whether or not it is being beheld. But at the same time, the tension that manifests itself in aligning with Norman results from not being absorbed. This is in line with â€Å"Absorption and Theatricality† as the very same tension that absorbs the audience also results in the problems Fried makes out for Parisian salons in the 1750 and 60s’ when he says that the â€Å"illusion of negating the spectators presence creates both the absorption and the undermining of the images reality.† For the Salons, Fried makes the case that the fact that the absorption was being admired by critics made the illusion of negation increasingly difficult. However, for Psycho’s swamp scene, the latter effect serves to prod the viewer into realizing they were enthralled by the film’s antagonist, one who had dispatched the supposed protagonist not a third of the way through the film. It is fitting to being to draw this examination to a close the way that Hitchcock brings Psycho to a close. At the end of the movie, it is not the penetratingly insane stare of Norman Bates the audience is left with, but rather a shot of car being pulled out of the swamp with chains. It is only right that as the viewer was pulled into the film watching the car sink deeper into the swamp, that they should be returned to their world as the car is pulled out of the swamp. While Psycho may appear to conclude with a bland and straightforward explanation of Bates’ psychotic condition by a psychologist, appears can be, and frequently are deceptive. Receiving a medically valid reason behind the events that they have beheld is a poor balm on the confusion and terror they have absorbed. Hitchcock is fully aware of this and it is the primary reason why the film does not fade to black after the doctor’s rational explanation. The last fleeting moments of the film are reserved for the swamp. The re-introduction of the swamp, and the rising of the car, with all its macabre and money contents, raises introspective questions for the audience. While the police will undoubtedly open the trunk to find Marion and most of the stolen cash, the audience is faced with the prospect of opening their own conscious self to examination. Through the use of Michael Fried’s â€Å"Absorption and Theatrically† and a subsequent examination of the parallels between the Rococo and the studio, the absorptive and Psycho, this analysis has taken the crucial scene following Marion’s murder and used it demonstrate the manner in which the film’s audience becomes a subjective role in the film. The residual horror of the film is not merely the product of jarring murders but rather showcases the power of the absorptive technique in creating within the viewer shifting identification with the film’s characters. Ultimately, the audience is left with haunting questions regarding their own motives for things such as wishing the swamp would cover the car fully. And as the above analysis concludes, the answer can be a bit unsettling. But there is no need to upset. After all†¦ we all go a little mad sometimes.

Relational Model Defined By Codds Twelve Rules Computer Science Essay

Relational Model Defined By Codds Twelve Rules Computer Science Essay This report tries to explain what Codds Twelve Rules means. And by comparing MySQL with relational model as defined by Codds Twelve Rules, this report also gives an abstract view on how MySQL comply with Codds Twelve Rules. This report is based on MySQL 5 InnoDB engine. Edgar F.Codd is famous for his contribution to relational model of database in 1970s. However, in 1980s the term relational was used by many database vendors to describe their database products which may not comply with the model that Edgar F.Codd has proposed. In order to clarify his model of relational database, and provide people a simple standard that can indicate to what extent a database software conforms to his model, the Codds Twelve Rules were propose. There are 13 rules in Codds Twelve Rules. Our textbook omits the first one,rule 0, so this report will start from the second one in Codds rules, rule 1. Rule 1: The Information Rule This rule requires all data in relational database management system(RDBMS) should be stored as values in tables at logical level. Some DBMS use Key-Value to store data, Redis for example, which contradict the Information Rule, so these DBMS will not be regarded as relational DBMS. MySQL dose store all data in the form of tables with values in columns of rows. Users can only access to values that are stored in tables. Even the data descript the database itself is store in tables, i.e. table tables in Information schema stores the description of all the tables that have been created. So, MySQL meets the requirement of rule 1. Rule 2: The Guaranteed Access Rule Users must be able to access to values by providing table name, the value of primary key and the name of the columns. In another word, the DBMS should support primary key in tables and enforce each tables contains primary key in order to prevent data duplication. MySQL does support to define primary key in tables. Yet, users can also create tables that dont have it. For example, create one table has columns a and b without primary key. In that circumstance, there may be several rows that has the same value in column a , preventing users to access to the value of column b in the row he want. So, MySQL does not fulfill the requirement of Rule2 and it gives user more flexibility by accepting tables without primary key. Rule 3: Systematic Treatment of NULL Values: The database must support NULL as a value other than 0 or empty string, as a representation of data missing or inapplicable. And the database can provide systematic way to manipulate NULL value. MySQL fulfill this requirement by supporting NULL value and treat it in a systematic way. In MySQL, NULL is supported and is regarded as missing data following ANSI/ODBC SQL standard. MySQL implements ternary logic. Users can not compare values with NULL, even NULL with NULL by using =, because NULL is missing data. The results of those compares are unknown. MySQL provides IS NULL and IS NOT NULL statement in order to treat the compares with value NULL. Rule 4: Active online catalog based on the relational model Data dictionary of one DBMS should be stored as ordinary data in the form of tables. Authorized users must be able to using the query language (SQL for example) that they used to query ordinary data to access to database catalog or structure. MySQL stores database catalog data using tables the same way it store ordinary data. These tables are in system database such as Information_schema. For example, table tables in Information_schema contains information about all tables in MySQL, like TABLE_NAME, TABLE_TYPE. Authorized users can use SQL to query this table in order to access to data catalog of current tables. So, MySQL well implements this Rule. Rule 5: Comprehensive data language The DBMS must support at least one language that can be used directly by users or within application queries. This language must also supports all aspects of database use including data (view) definition, data manipulations, integrity constraints, securities and transaction managements. SQL is a language that is comprehensive enough to support all these requirements. So, any DBMS that implements ANSI/ODBC SQL will comply with this rule. MySQL follows the ANSI/ODBC SQL standard, yet there are several differences between them in several cases. The difference can be seen in documents of MySQL. All these differences are just about statement syntax, i.e MySQL doesnt support select à ¢Ã¢â€š ¬Ã‚ ¦ into table, users should using Insert into à ¢Ã¢â€š ¬Ã‚ ¦ select to do the same works. But after all, all database use in MySQL can be implemented by using SQL regardless of whether the syntax is different from standard SQL. So, MySQL fulfills Rule 5. Rule 6: View Updating This rule means that the alteration that user makes in a view will result in the alteration of tables from which the view is created, if this view is theoretically updatable. In MySQL, many theoretically updatable views can be updated, yet, there are many limits. For example, due to the documentation of MySQL, delete and update cannot be used to update a view that has more than one underlying table. So, MySQL does not fulfill this rule. Rule 7: The RDBMS may handle individual records but it must primarily handle sets of records This rule means users can use one single command to query, insert, delete and update sets of values in multiple rows or multiple tables. MySQL can handle operation of multiple rows in one table. Because it uses SQL, that has commands that can handle operation of sets of records, as its data language. For example, MySQL can insert multiple records with this statement, INSERT INTO table_name (a,b,c) VALUES (3,4,5), (6,7,8)à ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦. But MySQL cannot handle operation of sets of records that are from different tables in one command. But users can also handle this issue by using transaction that containing a series of SQL commands. So, MySQL implements this rule by allowing user to operate command on multiple rows in one table, while does not support operation of multiple tables in single command. Rule 8: Physical Data Independence This rule means that alterations that have been made to database in physical level, for example, export one database, and open it in another computer will not result in the changes in logical level. And users can still access to the data without altering their commands. MySQL can export one database by creating back up file. This file can be restore by MySQL in another computer. The physical underlying of this database has changed while the table structure will not be changed and users can access to this restored one without any adjustment on their queries. So, MySQL does provide some extent of physical data independence in InnoDB engine. However, if users want to change the store engine of a table from transactional one to non-transactional, the logical level will also change. In sum, MySQL provide physical data independence in InnoDB engine, but changing the store engine may result in change in database logic. Rule 9: Logical Data Independence This rule means that the changes of logical level in the database will not lead to changes of queries that based on former structure. For example, users can split one table into two, while use the same query as before. In MySQL, adding columns to a table will not require changes in application or queries that are base on the structure of this table. However, other changes of logical level, such as combine two tables into one, may call for an alteration of the application based on the structure. So, MySQL does not comply with this Logical Data Independence rule. Rule 10: Integrity Independence This means that integrity definition of data in one DBMS should be regarded as one part of data dictionary, and be stored in the same form as ordinary data. This also requires that this integrity definition can be access by users using language, SQL for example, to query, define or alter the integrity independence. MySQL fulfills this rule. It stores data dictionary in tables in information schema. For example, the column COLUMN_KEY in the table COLUMNS defines whether this column is primary key or has other constraints. And KEY_COLUMN_USAGE table defines which key columns have constrains. Users can access to integrity definition data by query these tables using ordinary SQL statement. Rule 11:Distribution Independence Today, many DBMS introduce the function to using distribute data in different locations. However, due to this rule, where this data be distributed and how DBMS manage them should not be visible to users. Users can use the data in the same way as they use data that been stored in one place. The InnoDB engine does not provide the ability to store data in different locations. MySQL has a distributed engine called MySQL Cluster. In InnoDB engine, MySQL introduce XA Transaction which is based on X/Open XA specification since 5.0.3. This specification provides users the ability to employ multiple resources in one transaction. However, users must know the underlying works, and if the structure of the distributed DBMS changes, the XA Transaction statement may also need to be adjusted. So, MySQL does not comply with the rule 11. Rule 12: The Nonsubversion Rule Sometime the DBMS provide API or other low-level interface for users to handle complicated transactions. However, those interfaces must not break all the rule above and bypassing integrity constraints and security. MySQL provides APIs for different applications or programming languages as low-level interface. There are back doors in them, custom command SHOW for example. However, these backdoors are only maintained for the compatibility with the former edition. Summary In Sum, due to the comparison between MySQl and Codds rules, MySQL implement most of these rules, though there are still some limitations. It can be regarded as a DBMS that is relational.

Online Privacy at What Cost Essay -- Essays Papers

Online Privacy at What Cost When the constitution was written over two hundred years ago, our founding fathers probably did not have the Internet in mind. Since then, United States citizen along with their elected officials have tried to keep the rights of each American sacred, no matter what the cost. The major right that has been fought over since the dawn of the USA, has been that of the freedom of speech. Now, with the beginning of the twenty-first century, a new freedom of speech is again being examined. This newest freedom of speech is that of Internet privacy, more directly; how much privacy is too much privacy when on the Internet? To explore this question I will be looking at three areas; the freedom of speech of American citizens, the protection of children, and the protection of the United States' government. Should the freedom of speech protect the users of the Internet to write and print whatever they want? The Internet is a great place to interact with the world, since we are all connected as one and have the ability to share our unique cultures with each other with just a type of the keyboard. As long as the material being written is to help enlighten and learn about other places and peoples, then the Internet is a marvelous place for learning. It is when the Internet is used for more perverse propaganda like the neo-Nazi regime or pornography sites that use underage children to arouse its user. When the Internet is perverse with such corrupt material, this is when the Internet should be reexamined as if it should still retain the right of free speech. The privacy of the user into such inflammatory propaganda sites as the 'Aryan Nation Will Rule America', should be monitored, for it is no longer a question o... ...en our children and our national security, there should be none. Today, there are millions of web sites with millions people logging onto them for everything from information to entertainment. The Internet can be a great source of connection with the outside world, but when it contains such inflammatory articles like how to build a nuclear bomb and where would the best place to set it off to cripple America, then it is a matter of protection that the net is monitored. Otherwise, America may wake up one too late, to terrorist at all fronts knowing our secrets, and ready to takeover. Works Cited The Watchman by Jonathan Littman. Little Brown and Company Limited: 1997. Anarchy Online by Charles Platt. HarperCollins Publishers New York, NY: 1996. Cyberwars by Jean Guisnel. Plenum Trade New York: 1997. epic.org www.privacyrights.org www.privacy.org

Free Essays - Dead Man Walking :: Dead Man Walking

Dead Man Walking The motion picture Dead Man Walking provided a non-fiction insight into the world of crime, justice, and capital punishment. The film cast several characters from different backgrounds and opinion sets in direct conflict with one another. Several small topics and one major topic, capital punishment, were explored over the duration of the movie. While the opinions and reactions of people to Dead Man Walking may vary, the one constant is that people will have a reaction. Sister Helen Preje, the Catholic nun, appeared to be a genuinely concerned person who took a real interest in the condemned prisoner. She came from a strong background but chose to "give back" to others. Sister Helen explained her need to "give back" during the film and appeared to be completely serious about her commitment to helping others. Sister Helen did not wear her habit during the course of the film. Many people have a stereotypical vision of Catholic nuns: the habit, seemingly out-of-touch thoughts and ideals, and older and/or without any vitality. Sister Helen showed what being a Catholic and a Catholic nun is truly about. She accepted a call for help from a complete stranger. Instead of turning away or giving up, she persisted, showing what love and, in a way, courage could do under such dire circumstances. Through it all, she did it with spirit, life, vitality, and strength. Her relationship with the convict, Matthew Poncelet, was on two levels. The first was as a friend and confidant. Sister Helen was the first to truly explore Matthew for Matthew. Others tried to learn about him, but only to vilify or condemn him. The second level was as a messenger of religion, a messenger of God. For the very first time, Matthew was given the opportunity to realize his worth as a human, and his worth in the eyes of God. Through this understanding, he was able to realize the value of all human life, including those who he murdered. Sister Helen's relationship with the families of Matthew and the victims was honest and up-front. She approached each with a hopeful attitude, trying to understand them while also trying to give them peace. In each instance, she was

Notes for Top Girls

Top Girls by Caryl Churchill Copyright Notice  ©1998-2002;  ©2002 by Gale Cengage. Gale is a division of Cengage Learning. Gale and Gale Cengage are trademarks used herein under license. For complete copyright information on these eNotes please visit: http://www. enotes. com/top-girls/copyright eNotes: Table of Contents 1. Top Girls: Introduction 2. Summary  ¦ Act 1 Summary  ¦ Act 2 Summary 3. Caryl Churchill Biography 4. Characters 5. Themes 6. Style 7. Historical Context 8. Critical Overview 9.Essays and Criticism  ¦ The Importance of Angie in Top Girls  ¦ Feminist Drama: The Politics of the Self: Churchill and Keatley  ¦ De-realised Women: Performance and Identity in Top Girls 10. Compare and Contrast 11. Topics for Further Study 12. What Do I Read Next? 13. Bibliography and Further Reading Introduction Since its earliest productions, Caryl Churchill's Top Girls was regarded as a unique, if difficult, play about the challenges working women face in the contemporary b usiness world and society at large.Premiering on August 28, 1982, in the Royal Court Theatre in London before making its New York debut on December 28, 1982, in the Public Theatre, Top Girls won an Obie Award in 1983 and was the runner-up for the Susan Smith Blackburn Prize. The play is regularly performed around the world and has quickly become part of the canon of women's theater. Top Girls helped solidify Churchill's reputation as an important playwright. Critics praise Top Girls for a number of reasons.Churchill explores the price of success paid for by the central character, Marlene, while using unusual techniques including a nonlinear construction, an overlapping dialogue, and a mix of fantasy and reality. The last occurs at a dinner party celebrating Marlene's promotion, which is attended by five women from different times in history, literature, and art. The dinner party is the Top Girls 1 first scene of the play and, to many critics, the highlight of Top Girls. Churchill br ings up many tough questions over the course of the play, including what success is and if women's progress in the workplace has been a good or bad thing.While many critics compliment the play on its handling of such big ideas in such a singular fashion, some thought Top Girls was disjointed and its message muddled. As John Russell Taylor of Plays & Players wrote, â€Å"Like most of Churchill's work, it is about nothing simple and easily capsulated. † Summary Act 1 Summary Act 1, Scene 1 Top Girls opens in a restaurant where Marlene is hosting a dinner party for five friends. She has recently been promoted at work. The five guests are all women that are either long-dead or are fictional characters from literature or paintings.The first to come are Isabella Bird and Lady Nijo. Nijo and Isabella discuss their lives, including their families. Dull Gret and Pope Joan, who was elected to the papacy in the ninth century, appear. The conversation wanders between subjects, including religion and the love lives of Nijo and Isabella. Isabella goes on about her travel experiences. Joan talks about dressing and living as a male from the age of twelve so that she could further her education. Marlene proposes a toast to her guests. They, in turn, insist on toasting Marlene and her success. Joan relates her disturbing story.While she enjoyed being the pope, she also had a discreet affair with a chamberlain and became pregnant. In denial about her state, she gave birth to her child during a papal procession. Joan was stoned to death, and her child, she believes, was also killed. While Joan relates her story, Nijo talks about her four children being born, and only being able to see one of them after having given birth. Isabella talks about how she never had children. Marlene wonders why they are all so miserable. The final guest arrives. She is Patient Griselda, a character in Geoffrey Chaucer's The Canterbury Tales.Griselda tells her story. Though she was a peasant gir l, she was asked to be the wife of a local prince, but only if she obeyed him without question. Griselda agreed, though it later meant losing the two children she bore him—they were taken from her as infants. Then Griselda was sent back to her father with nothing but a slip to wear. Her husband called her back to help him prepare for his next wedding to a girl from France. The girl was her daughter—all this was a test of her loyalty. He took Griselda back, and the family was reunited. Marlene is upset by Griselda's tale.Nijo is also perturbed because her children were never returned to her. Gret finally speaks up about her journey through hell, and how she beat the devils. The scene ends with Isabella talking about the last trip she took. Act 1, Scene 2 The scene opens in the Top Girls employment agency in London. Marlene is interviewing Jeanine for possible placement. Marlene tells Jeanine that if she is to be sent on a job with prospects, she must not tell them that she is getting married or might have children. Marlene evaluates Jeanine and suggests jobs based on her perception of Jeanine's future.Act 1, Scene 3 This scene takes place at night in Joyce's backyard in Suffolk. Joyce is Marlene's elder sister. Joyce's sixteen-year-old daughter Angie and her twelve-year-old friend Kit are playing in a shelter they built in the backyard. Joyce calls for Angie, but Angie and Kit ignore her until she goes back into the house. Angie says she wants to kill her mother. Introduction 2 Angie and Kit discuss going to the movies. Kit gets mad at Angie when she talks about dumb stuff. Angie desperately wants to leave home. Kit believes they should move to New Zealand in case of a war.Angie is indifferent because she has a big secret. She tells Kit she is going to London to see her aunt. Angie believes that Marlene is really her mother. Joyce sneaks up on them. Joyce will not let them go to the movies until Angie cleans her room. Angie leaves, and Kit informs Joyce that she wants to be a nuclear physicist. When Angie returns, she is wearing a nice dress that is a little too small for her. Joyce becomes angry because Angie has not cleaned her room. It starts to rain. Joyce and Kit go inside. Angie stays outside. When Kit returns to get her, Angie threatens to kill her mother again. Act 2 SummaryAct 2, Scene 1 It is Monday morning at Top Girls. Win and Nell, who work at the agency, are talking. Win tells Nell about her weekend that she spent at her married boyfriend's house while his wife was out of town. The conversation turns to office gossip. They consider changing jobs as Marlene has been promoted over them, limiting their prospects. Still, Nell and Win are glad Marlene got the job over another coworker, Howard. Marlene enters late. Win and Nell tell her that they are glad she got the promotion rather than Howard. Win interviews Louise, a forty-six-year-old woman who has been in the same job for twenty-one years.Louise has done everyt hing for her company, but has spent twenty years in middle management with no opportunities to go higher. Win believes there will be only limited openings for her. In the main office, Angie walks up to Marlene. Marlene does not recognize her at first. Angie has come to London on her own to see her aunt, and she intends to stay for a while. It is not clear if Joyce knows where Angie is. Angie becomes upset when Marlene does not seem like she wants her to stay. Their conversation is interrupted by the appearance of Mrs. Kidd, Howard's wife. Mrs.Kidd is upset because Howard cannot accept that Marlene got the promotion to managing director over him. In part, he is disturbed because she is a woman. Mrs. Kidd wants Marlene to turn down the promotion so that he can have it. Mrs. Kidd leaves in a huff when Marlene is rude to her. Angie is proud of her aunt's saucy attitude. In another interview, Nell talks to Shona, who claims to be twenty-nine and to have worked in sales on the road. As th e interview progresses, it becomes clear that Shona has been lying. She is only twenty-one and has no real work experience.In the main office, Win sits down and talks to Angie, who was left there by Marlene while she is working. Angie tells Win that she wants to work at Top Girls. Win begins to tell Angie her life story, but Angie falls asleep. Nell comes in and informs her that Howard has had a heart attack. When Marlene returns, Win tells her about Angie wanting to work at Top Girls. Marlene does not think Angie has much of a future there. Act 2, Scene 2 This scene takes place a year earlier in Joyce's kitchen. Marlene is passing out presents for Joyce and Angie. One of the gifts is the nice dress that Angie wore in act 1, scene 2.While Angie goes to her room to try it on, Joyce and Marlene are talking. Joyce had no idea that Marlene was coming. Marlene believed Joyce had invited her there. Angie made the arrangements, lying to both of them. Angie returns to show off the dress. Th ey chide her for her deception. Angie reminds her that the last time she visited was for her ninth birthday. Marlene learns that Joyce's husband left her three years ago. It is getting Act 1 Summary 3 late, and Angie is sent to bed. Marlene will sleep on the couch. After Angie leaves to get ready for bed, Joyce and Marlene continue their discussion about their lives.The sisters' conversation turns into an argument. Marlene believes that Joyce is jealous of her success. Joyce criticizes the decisions Marlene has made, including leaving her home and giving up her child, Angie. Marlene offers to send her money, but Joyce refuses. Marlene is excited about a future under the new prime minister, Margaret Thatcher, while Joyce cannot stand the prime minister. They talk about the horrid life their mother led with their alcoholic father. It becomes clear the sisters have very different views of the world. As Marlene nears sleep on the couch, Angie walks in, having had a bad dream. Frightenin g,† is all she says. Biography Churchill was born on September 3, 1938, in London, England, the daughter and only child of Robert Churchill and his wife. Churchill's father was a political cartoonist; her mother worked as a model, secretary, and actress. Churchill began writing stories and doing shows for her parents as a child. After spending her early childhood in London, the family moved to Montreal, Quebec, Canada, in about 1949, where Churchill spent most of her formative years. Caryl Churchill In 1956, Churchill returned to England to enter Oxford University.While studying literature at Lady Margaret Hall, she began writing plays for student productions. Her first play was written as a favor for a friend. One of Churchill's student plays, Downstairs, won first prize at the National Student Drama Festival. Churchill graduated with her B. A. in 1960, intending to become a serious writer. Act 2 Summary 4 Family matters stymied her plans. In 1961, Churchill married David Har ter, a lawyer, and had three sons over the next decade. Still, she managed to write about thirty radio dramas, usually one act, throughout the 1960s and early 1970s, as well as some television plays in the early 1970s.Many of these early plays were related to her life experiences and were somewhat depressing, but they did garner Churchill some notice for her writing abilities. In the early 1970s, Churchill turned to theater, initially writing for fringe theater groups. Owners, a tragic farce, was her first major play, produced by a fringe group in London in 1972. This production led to her position as a resident playwright at the Royal Court Theatre from 1974 to 1975. Churchill began exploring feminist ideas with her first play for the Royal Court, Objections to Sex and Violence (1974).Churchill continued to explore feminism with Vinegar Tom (1976). She wrote the play both with the help of and for Monstrous Regiment, a feminist touring-theater company. Vinegar Tom and Light Shining in Buckinghamshire (1976) use historical settings to discuss repression. These plays garnered Churchill more attention and critical praise. In 1979, Churchill's Cloud Nine had its first production. This was her first big hit, and had a long run on both sides of the Atlantic. The Obie Award-winning play was set in the Victorian era, with the roles played by their physical opposites. For example, a man played an unhappy and unfulfilled wife.Critics enthusiastically praised Churchill's originality. Churchill followed this success with Top Girls (1982), a play about feminism and the price of success for women. Though some did not regard it as highly as Cloud Nine, the play cemented her reputation and won her another Obie. Churchill wrote plays on a variety of topics throughout the 1980s and 1990s. Fen (1983), which focused on female tenant farmers, won her the Susan Smith Blackburn Prize. In 1986, she wrote Serious Money about the London stock exchange. Churchill used music and dialogue that rhymed in the play, which also won the Blackburn Prize and many other awards.She continued to experiment with technique in Mad Forest (1990) and The Skriker (1994), which incorporated music and dance. Though Churchill's output decreased in the late 1990s, she continues to push the limits of traditional dramatic forms using dance and music, and other unexpected constructions. Characters Angie Angie is the sixteen-year-old adopted daughter of Joyce. Angie is the biological daughter of Marlene, but was given up by her birth mother, who was only seventeen at the time and had career ambitions. In act 1 of Top Girls, Angie realizes that Marlene is her mother, though she has not been told directly.Both Marlene and Joyce do not think highly of Angie and believe her future is limited. She has already left high school with no qualifications. She was in remedial classes, and her best friend is Kit, who is four years younger. Angie is frustrated and wants to murder her mother. Instead, sh e runs away to visit her aunt in London and hopes to live with her. Previously, Angie tricked Marlene into visiting her and Joyce. Angie is Marlene's embarrassment, but she is also one of the things that links her to the women at the dinner party. Isabella Bird Isabella is one of Marlene's dinner party guests in act 1, scene 1.She is a Scottish woman who lived in the late nineteenth and early twentieth centuries and who traveled extensively later in life. In Top Girls, Isabella is the first to arrive at the party and dominates the conversation in a self-absorbed manner. She talks on and on about her travels; her complex relationship with her sister, Hennie; her clergyman father, and husband; her illnesses; religion; and her lack of children. While Isabella does listen and respond to the others, she mostly tries to figure out her own life and what it meant. She could never be as good as her sister, but her adventures made Biography 5 er happy. Isabella is one of the characters who he lps Marlene define herself. Dull Gret Dull Gret is one of Marlene' s dinner guests in act 1, scene 1, and the third to arrive. Gret is the subject of a painting by Brueghel entitled â€Å"Dulle Griet. † In the painting, she wears an apron and armor and leads a group of women into hell to fight with devils. Gret is generally quiet through most of the dinner, answering questions only when directly asked and making a few comments on the side. Near the end of the scene, Gret makes a speech about her trip to hell and the fight with the devils.Like all the dinner guests, Gret's story reflects something about Marlene's life. Jeanine Marlene interviews Jeanine for placement by Top Girls in act 1. She is engaged and is saving money to get married. Marlene is not supportive of Jeanine's ambitions to work in advertising or in a job that might have some travel, but she categorizes her according to what Marlene believes she will be able to accomplish. Pope Joan Pope Joan is one of Marlene 's dinner party guests in act 1, scene 1, and the fourth to arrive. She is a woman from the ninth century who allegedly served as the pope from 854 to 856.Pope Joan is somewhat aloof, making relevant, intelligent declarations throughout the conversation. When the topic turns to religion, she cannot help but point out heresies—herself included—though she does not attempt to convert the others to her religion. Joan reveals some of her life. She began dressing as a boy at age twelve so she could continue to study; she lived the rest of her life as a man, though she had male lovers. Joan was eventually elected pope. She became pregnant by her chamberlain lover and delivered her baby during a papal procession. For this, Joan was stoned to death.At the end of the scene, Joan recites a passage in Latin. Like all the dinner guests, Joan's life and attitude reflects something about Marlene. Joyce Joyce is Marlene's elder sister and mother to Angie. Unlike her younger sister, Jo yce stayed in the same area and social class she grew up in. Joyce is unambitious and unhappy. She was married to Frank, but she told him to leave three years previously because he was having affairs with other women. She supports herself and Angie by cleaning houses. Because Joyce seemed to be unable to have children, she adopted Angie as an infant when Marlene decided to give her up.But Joyce soon got pregnant and miscarried the child because of the demands of raising Angie. Joyce resents both Angie and Marlene, in part because of her miscarriage. She calls Angie a lump and useless. Marlene is too ambitious and clever for Joyce. Yet Joyce has pride. She will not take Marlene's money, and she does not cater to her crying. Joyce maintains her working class loyalty and stands her ground when Marlene starts to sing the praises of Margaret Thatcher. Despite such differences, Marlene and Joyce are very much alike.They both believe they are right and do what they must to survive in their different worlds. Mrs. Kidd Mrs. Kidd is the wife of Howard, the man who got passed over in favor of Marlene for the managing director position at Top Girls. In act 2, Mrs. Kidd comes to the office and tries to get Marlene to turn down the position. Mrs. Kidd hopes Marlene will understand how much it would hurt Howard's pride and livelihood. Marlene is not impressed by her pleas, and Mrs. Kidd leaves after insulting Marlene for being a hard, working woman. Kit Kit is the twelve-year-old best friend of Angie.Unlike Angie, Kit is clever and plans on being a nuclear Characters 6 physicist. The girls have been friends for years, though Kit gets annoyed by Angie's limitations. In some ways, Kit is a younger version of Marlene. Louise Louise is interviewed by Win for placement by Top Girls in act 2. Louise is a forty-six-year-old woman stuck in middle management who believes she has been overlooked for promotion and underappreciated by her present firm. Win is not particularly supportive of Louise's desires to use her experience elsewhere and does not offer much hope for a better position.Like Marlene, Win categorizes Louise according to what she believes Louise will be able to accomplish. Marlene Marlene is the central character in Top Girls. She is a successful businesswoman who has recently been promoted to managing director of Top Girls, an employment agency. To celebrate, she has a dinner party at a restaurant with five guests, all of whom are women who are either dead or fictional characters from literature and paintings. Marlene's own life shares some parallels with these women. Marlene's adult life has been focused on her career, to the exclusion of nearly everything else.She previously worked in the United States and has done well for herself. Marlene has little to no contact with her family. Her alcoholic father is dead, and her long-suffering mother is in some sort of home. Marlene does not get along with her sister Joyce, who has remained part of the wo rking class and lives in the same neighborhood where they grew up. Marlene let Joyce raise her daughter, Angie. Marlene became pregnant at age seventeen, and because the then-married Joyce did not have a child, she allowed her to adopt the baby. Marlene has as little respect and interest in Angie as Joyce does.Like the women she interviews at Top Girls, Marlene believes Angie's future is limited. Yet Marlene's own life is just as circumscribed, but in different ways. Her success has come at a high price, costing her both her empathy and her relationships. Nell Nell is one of the employees at the Top Girls employment agency. She is happy that Marlene got the promotion over Howard, but she has her own career ambitions and might want to find a job with better prospects. In the meantime, her boyfriend, Derek, has asked her to marry him, but she does not know if she will accept.Her career seems more important to her than the marriage. During the play, Nell conducts an interview with Shon a, whom Nell believes might be good for Top Girls. Nell is disappointed to learn that Shona has lied about everything on her application. Lady Nijo Lady Nijo is one of Marlene's dinner party guests in act 1, scene 1, and the second to arrive. She is a thirteenth-century Japanese courtesan to the Emperor of Japan. She later became a Buddhist monk. Like Isabella, Nijo is somewhat self-absorbed, though not to the same degree.Nijo tells the others about her life, including information about her father, her lovers, her four children (only one of whom she ever saw), symbolic clothing, and her time as a traveling monk. But she also listens respectfully to the stories of others and acknowledges her limitations. Nijo liked her silk clothing and easy life with the Emperor. By the end of the scene, Nijo is in tears. Like all the dinner guests, Nijo's life reflects something about Marlene's. Patient Griselda Patient Griselda is one of Marlene's dinner guests in act 1, scene 1, and the last to a rrive.She is a fictional character, appearing in ‘‘The Clerk's Tale’’ in Geoffrey Chaucer's The Canterbury Tales, among other stories. As soon as she arrives, Marlene has Griselda tell her story. Griselda was a peasant girl who was asked to marry a local prince, but only if she would obey him without question. She agreed and bore him two children who were taken away from her while they were still infants. She did not question the decision. Her Characters 7 husband sent Griselda back home with nothing more than a slip to wear. She went without question.He sent for her to help him plan his second marriage to a young French girl. Griselda came back. At a pre-wedding feast, he revealed that the girl and her page/brother were their children and all these incidents were tests of her loyalty. Like all the dinner guests, Griselda's story reflects an aspect of Marlene's life. Shona Shona is interviewed by Nell for placement by the Top Girls agency in the second act. Shona tries to pass herself off as a twenty-nine-year-old woman with sales experience, which Nell believes at first.As the interview progresses, it becomes clear that Shona has been making up a story. She is really twenty-one and has no job experience. Shona is certain that she could handle high-profile jobs, but Nell does not believe her. Win Win is one of the employees at the Top Girls employment agency. Like Nell, she is glad that Marlene got the promotion over Howard, but she has her own career ambitions and might move on. She is relatively well educated and has previously lived in several different countries. Win spent the previous weekend with her married boyfriend at his house, while his wife was out of town.During the course of the play, Win interviews Louise for a job; she shares Marlene's callous attitude toward Louise. Themes Choices and Consequences Nearly every character in Top Girls has made or is in the process of making life-changing decisions with important consequ ences. The dinner party in act 1, scene 1 exemplifies this. Each of the historical figures has made a hard choice. For example, Pope Joan chose to live like a boy, and then a man, in public. When she became pregnant by her secret lover, the stoning death of her and her baby were consequences of her chosen life.Joyce chose to adopt Angie, which led to a certain life path. Joyce believes that she miscarried her own child because of the demands of raising Angie. Marlene also made several hard choices. She became a career woman who spent some time working in the States. Marlene is estranged from her family, including her biological daughter, Angie, and does not seem to have many close friends, female or male. Her dinner party in celebration of her promotion consists of women who are dead or do not really exist, not with friends or family. She has no love relationship.Marlene is very much alone because of her life choices. While her daughter Angie has already made two life choices dropping out of school at the age of sixteen with no qualifications, and running away to London to live with her aunt/mother—the consequences of these actions in her life are unclear. Success and Failure Success is an important part of Marlene's life in Top Girls, defining who she is and whose company she enjoys. The dinner party is meant to celebrate her promotion to managing director as well as the successes of her guests. Joan became the pope. Isabella traveled the world.Gret fought the devils in hell. Griselda survived her husband's extraordinary tests of loyalty. Marlene sees these women as successful, though they are not in her real, everyday life. Marlene's personal life is a failure because of her success in business. She has no real friends in the play, and she has not seen her sister or biological daughter in seven years. At the dinner party, she moans at one point, ‘‘Oh God, why are we all so miserable? † Yet, Marlene believes that Joyce is mostl y a failure because she did not grow beyond her neighborhood; instead, she got married and raised a child.Joyce cleans houses for a living, and she is not impressed by Marlene's life. Joyce does not really see her world in the same terms of success or failure. She does what is necessary to survive and to rear Angie. However, both sisters agree that Angie has no chance of being a success in life. Angie has no education, no ambition, and is regarded as dumb. The best she might do is Themes 8 menial work and marry. While this describes Joyce's life, both Joyce and Marlene perceive that Angie might not be able to take care of herself. This would be the ultimate failure in their eyes. They agree that one should support oneself.Class Conflict Marlene and Joyce's differing definitions of success stem in part from a class conflict. Marlene has moved beyond her working-class roots to a middle-class life by education and persistence. She holds a management position in a demanding field, an em ployment agency. She even lived and worked in the United States for several years. Marlene supports the political agenda of Great Britain's female prime minister, Margaret Thatcher, even though she is perceived as anti-working class. Joyce remains firmly working class, leading a life only slightly better than her parents.She works as a cleaning lady to support Angie. Unlike Joyce and Marlene's mother, who stayed with her alcoholic husband and had nothing, Joyce told her husband to leave when she could no longer take his controlling nature and numerous affairs. Joyce regards Thatcher as evil, comparing her to Adolf Hitler for her attitudes towards working-class people. Joyce believes that Marlene thinks she is too good for her. Marlene says she does not like working-class people, but she does not really include her sister as one of them. The pair never come to an understanding on class.Sex Roles and Sexism Throughout the text of Top Girls is an implicit discussion of what society exp ects women to be. Each of the guests at the dinner party defines womanhood in a particular era, either by what they are or by what they are not. Isabella, for example, could not live up to the standards of femininity defined by her sister, Hennie. Yet Isabella was a traveler who saw more of the world than most men. Marlene also breaks out of the traditional roles for women, by virtue of her career. While Marlene has benefited economically from her career, her disregard for sex roles has its problems.She is not married, and it does not seem like she is in a long-term relationship. Joyce does not really like her. Mrs. Kidd, the wife of the man who was passed over for the promotion that Marlene got, begs her to not take it. Mrs. Kidd believes that the upset Howard should not have to work for a woman. Further, Mrs. Kidd hopes that Marlene will give up the promotion because Howard has to support his family. Mrs. Kidd calls Marlene â€Å"unnatural† for her uncompromising stand on t he promotion and her attachment to her job. Marlene does not give in, but such sexism does not make her life and choices any easier.Style Setting Top Girls is a feminist drama/fantasy set in contemporary times. The action is confined to two places in England, London and Suffolk. The realistic action takes place in two settings. One is the Top Girls employment agency, where Marlene works. There, potential clients are interviewed, and Angie shows up, hoping to stay with Marlene. The other is Joyce's home and backyard, where Marlene visits and Angie and Kit scheme. The fantasy dinner party that opens Top Girls also takes place in London. (In many productions, the restaurant is called La Prima Donna. Though the dinner is clearly a fantasy because all the guests are dead or fictional, the setting is very real. Fantasy versus Reality In act 1, scene 1, Marlene hosts a dinner party with guests both long dead (Pope Joan, Lady Nijo, and Isabella Bird) and fictional (Dull Gret and Patient Gri selda). While Marlene listens to and guides the conversation—injecting only bits about herself—these five women share their stories. The party is ostensibly to celebrate Marlene's promotion at work, but she intends it to be a celebration of all their successes. Though Style 9 hese women have each achieved something they are proud of, success has come at a large price in their lives. The dinner party itself shows the tensions between fantasy and reality because the guests are not â€Å"real† to the rest of the characters in Top Girls, only to Marlene. Yet the ideas and problems brought up by the fantasy women are very real. These issues echo in the plot and dialogue of the rest of the text, adding another dimension to the tension between fantasy and reality. Time Top Girls is not a linear play, but one in which time is used in an unusual fashion. The last scene of the lay, act 2, scene 2, is the only part that takes place at a specific time in the story, about a year earlier than the other events. This flashback ties up some of the loose ends created by the story. The rest of the scenes, even the action within act 2, scene 1, do not have to take place in the order presented, though all are set in the present. The events are linked thematically, but not by a specific sequence of time. In addition, the idea of time is toyed with at the dinner party in act 1, scene 1. None of the guests can really exist at the same time, yet they share many of the same concerns.Multiple Casting Often when Top Girls is performed—including its premieres in England and the United States— several parts are played by the same actresses. Only the actress who plays Marlene, the central character in the play, has only one role. Thus guests at the dinner party are played by actresses who also play contemporary characters. Such casting decisions create visual links between seemingly disparate women. In the original production, for example, the same actress played Dull Gret and Angie, implying that these characters might have something in common.Similarly, another actress took on the roles of Pope Joan and Louise, drawing another parallel. This casting technique further emphasizes how alike the concerns of the historical characters and contemporary characters really are. Historical Context In the early 1980s, Great Britain was ruled by women. Though Queen Elizabeth II was only a royal figurehead, real political power was held by Prime Minister Margaret Thatcher. A member of the Conservative Party, Thatcher had been elected on May 3, 1979, and proceeded to put her own stamp on British life over the next decade or so.She was reelected in 1983 and 1987, and held office until late 1990, when she received a vote of no confidence and was replaced by fellow Conservative John Major. Thatcher had been the longest-serving prime minister in Great Britain since the nineteenth century. To improve the British economy, Thatcher dismantled the social ist practices that were put in place in the post-World War II era. She privatized major industries, like coal mining and telecommunications, which had been run by the British government, and she cut down on the power of trade unions.Because Thatcher's revolution benefited the middle- and upper-classes and seemed to hurt the working- and lower-classes, she was very unpopular among the latter groups. Unemployment continued to rise, and by 1982, over three and a quarter million people were unemployed. With cuts in both welfare and other social programs, such people's lives were becoming much harder. Though the economy was strong and interest rates and inflation were down, real living standards had been falling slightly for several years; international trade was also down. In 1982, Thatcher and the Conservative party had some popularity problems among the general population.National morale was not particularly high until the Falklands War broke out. The Falkland Islands were a British p ossession in the Atlantic Ocean off the coast of Argentina. The group of islands are small and only about 1,800 people were living there. The territory was at the center of a dispute between Argentina and Great Britain for a number of years, and the two countries were in negotiations over them. In the spring of 1982, Argentina became impatient and invaded the Falklands. Great Britain responded and reclaimed the islands before Argentina quickly surrendered.Though there were approximately 243 British casualties, the victory Historical Context 10 improved national morale and the repute of Thatcher and the Conservatives. The popularity of the Labour party went down. Thatcher was but one symbol in the 1980s of powerful women. There was a concrete change in the position of working women. In Great Britain in the early 1980s, women made up forty percent of the labor force, and over sixty percent of women aged twenty to sixty-four were working. Marriage rates fell in the 1980s, after having remained stable for many years.Before that decade nearly every adult woman was married at some point. Those that did marry gave up working after having a child, although sometimes they went back to work after their children went to school or reached adulthood. Most women who worked were employed in poorly paid white-collar, service, and industrial occupations. Approximately seventy-five percent of women did personal services work, clerical work, retail work, or health, education, or welfare work. The number of professional women was still small, but more women were becoming lawyers than ever before.These professional women often had equal pay for equal work, but working-class women did not. Despite the success of Thatcher, many British women were anti-Conservative, though they did not necessarily support Labour either. To these women, Thatcher may have shared their gender, but her political prominence did not necessarily make her their heroine. Critical Overview Most critics agree t hat Top Girls is an intricate play; generally, they find much to praise in its themes, attitudes, and text. The play's depiction of women and feminism is particularly interesting to critics.Writing about the original London production, Bryan Robertson of The Spectator argued, â€Å"her play is brilliantly conceived with considerable wit to illuminate the underlying deep human seriousness of her theme. The play is feminist, all right, but it is an entertaining, sometimes painful and often funny play and not a mere tract. † Expanding on this idea, Benedict Nightingale of the New Statesman wrote, â€Å"What use is female emancipation, Churchill asks, if it transforms the clever women into predators and does nothing for the stupid, weak and helpless?Does freedom, and feminism, consist of aggressively adopting the very values that have for centuries oppressed your sex? † A scene from the 1991 production of Top Girls at London's Royal Court Theatre Writing about the same pro duction, John Russell Taylor of Plays & Players is one of several critics over the years who believed that the rest of Top Girls did not live up to the promise of the dinner party scene. He found the play disjointed, arguing that â€Å"the pieces in the puzzle remain determinedly separate, never quite adding up to more than, well, so many fascinating pieces in a fascinating puzzle. Critical Overview 11 When Top Girls opened in the United States a short time later, a few critics were dismissive of the play and Churchill's potential appeal to American audiences. Calling the play â€Å"confused,† Douglas Watt of the Daily News proclaimed, â€Å"Churchill can write touchingly and with a good ear for everyday speech about middle-class Londoners today. But while concern for ugly ducklings may be universal †¦ Top Girls is a genre piece likely to arouse even less interest here than Alan Ayckbourn's equally tricky, but infinitely more amusing, works about the English middle cla ss. Edith Oliver of the New Yorker was perplexed by certain aspects of the play. She wrote â€Å"Top Girls †¦ is witty and original, with considerable dramatized feeling, yet somehow never got to me, and I was never certain whether she was making one point with the whole play or a lot of points in its separate segments. † Later in her review, Oliver emphasized that â€Å"[d]espite my admiration of Miss Churchill's ingenuity, I was disappointed and at times puzzled—never quite certain, for example, whether the historical characters of the first scene were meant to be the prototypes of modern characters. † A majority of American critics commented on the uniqueness of certain aspects of Top Girls, but they were most concerned with its feminist theme and social meanings. For example, John Beaufort of the Christian Science Monitor called Top Girls â€Å"a theatrical oddity in which the long view of what has been happening to womankind's ‘top girls' combin es with a sharp look at contemporary women achievers and a compassionate glance at the plight of an underclass underachiever who will never know the meaning of room at the top. Apart from one cheap shock effect, Miss Churchill has written a thoughtful and imaginative theater piece. Along similar lines, T. E. Kalem of Time asks in his review, â€Å"Is the future to be divided between a smart, scrambling upper class of no-holds-barred individualists and a permanent underclass of poor souls who are unfit for the survival of the fittest? † An unnamed reviewer in Variety added, â€Å"If it's about male manipulation, Top Girls also pointedly involves the conditioned mentality of the sisterhood itself, with its inherited sense of role in a masculine or at least male-dominated world. The play seems to be saying that women historically have had themselves as well as sexist pigs for enemies. John Simon of New York believes the ideas in Top Girls have universal applicability. â€Å"Th is is not easy theater, but funny, fiercely serious, and greatly worth thinking about. Its aporias [insoluble contradictions] are not only pertinent to women, they also concern the entire, always incomplete, human condition. † Top Girls has continued to be performed regularly over the years. Most critics believe the play has withstood the test of time, despite specific references to British prime minster Margaret Thatcher and attitudes specific to the early 1980s.Of a 1991 revival in London, Paul Taylor in The Independent argued, â€Å"What continues to distinguish Top Girls is its cool, objective manner. The scenes in the job agency are almost too cleverly efficient in the way they expose the heartlessness the women have had to assume along with their crisp power-outfits. Churchill permits you to identify with the tricky plight of these characters but she does not ask you to like them. † Similarly, Alastair Macaulay of the Financial Times believes, â€Å"Both as theat re and as politics, Top Girls is exciting and irritating.The dialectic of its final scene, between the Thatcherite Marlene and her socialist sister Joyce rings true as you listen. The terms in which the sisters argue about Thatcherite politics have not dated. † Essays and Criticism The Importance of Angie in Top Girls Many critics who have commented on Caryl Churchill's Top Girls have focused their praise on the interesting characters and complexities of the scene that opens the play, act 1, scene 1's dinner party. The party is hosted by Top Girls' central character, Marlene, and is attended by five guests, all obscure figures from history, literature, and art.Ostensibly, the party is to celebrate the success of Marlene, who has recently been Essays and Criticism 12 promoted to managing director of Top Girls employment agency. The scene also defines many of the play's themes and dramatic tensions. There are a number of critics who share the opinion of Lianne Stevens of the Los Angeles Times. Reviewing a 1986 production of Top Girls in San Diego, California, Stevens writes, ‘‘outstanding performances †¦ cannot rectify the main defect in Churchill's play: Nothing that comes after is as interesting as having dinner with Pope Joan, Dull Gret, Lady Nijo, Patient Griselda and Isabella Bird. ’ There are, in fact, several aspects of the rest of Top Girls that are as interesting, mostly because of what has been laid out in the dinner party scene. One is the character of Angie, Marlene's sixteen-year-old daughter, whom she allowed her sister Joyce to adopt at birth. Angie plays as pivotal a role in the play as any of the dinner party guests. While there is no doubt that Marlene is at the center of Top Girls, and that her character presents hard and conflicted ideas about women, success, power, and employment in the early 1980s, Angie and the dinner guests help to define Marlene as much as Marlene's own actions and comments do.However, the d inner guests were chosen by Marlene, while Angie was an accident Marlene has chosen to have very little contact with and is dismissive of. Each of the dinner guests is an adult woman, though they are fantastic characters who do not really exist in the modern world inhabited by Marlene and the rest of the characters in the play. Marlene turns to them, not to any of the ‘‘real† people depicted in the play, when she wants to celebrate her promotion. While the guests are successful in their own, though not always obvious, ways, their success has come at a price.Lady Nijo suffered many degradations including not being allowed to raise her own children. Marlene is deeply troubled by the story of Patient Griselda, who was humiliated by her husband as a test of her loyalty to him, mostly because she was of a lower class. To get an education, Pope Joan led a life of deception as a male. Though she later became pope, it was her womanhood—her ability to get pregnant an d give birth to a child at an inopportune moment—that led to the murder which ended her life. Marlene's choice of guests reveals much about her.First, she does not have anyone in her real life to share her promotion with, suggesting an alienation from real women. Second, the loss of her child still weighs on her, either in her conscious, subconscious, or both. Lady Nijo, Pope Joan, and Patient Griselda all suffer the loss of children. Only Joan is rather indifferent to the death of her infant. Marlene inquires about Dull Gret' s children, clearly expressing her interest in the subject. Marlene's question after the one to Gret is rhetorical: â€Å"Oh God, why are we all so miserable? ’ There is a link between unhappiness and the idea of children and loss. Third, Marlene has no real interest in her own daughter, Angie, though they have more in common than Marlene does with her chosen guests. To understand the importance of Angie, Marlene's character must be better under stood. Marlene grew up in an unstable home. Her father worked in the fields, and had a problem with alcohol. Her mother suffered at the hands of her husband, often going hungry and being beaten. Her sister Joyce was older, and did not share either Marlene's need to escape or her intelligence.Despite her background, Marlene managed to create a good life for herself by working hard and apparently acquiring a decent education. She even lived in the United States for several years. The only flaw, the only thing that could have held her back, was when Marlene got pregnant at the age of seventeen. The situation was stressful, and Marlene was in denial for part of the pregnancy. Rather than allow Marlene to give the baby up to strangers, Joyce insisted on adopting Angie, in part because she had no children of her own.This is a long-standing point of contention between the sisters, though Joyce makes it clear that she would not have approved of any choice Marlene made in the situation excep t to have had an abortion early on or raise the child herself and not have tried to have a better life. Angie and related petty jealousies are at the heart of their conflict and thus at the center of Top Girls. Yet, Angie is a reviled character. Everyone around Angie dismisses her and believes she has no future. Joyce, her adopted mother, calls her ‘‘a big lump. ’ She believes Angie will have a hard time getting a job and her best bet in life is to get married, though she cannot imagine who would marry her. Joyce does admit at one point, ‘‘She's clever in her own way. ’’ Labeling her ‘‘thick,’’ Marlene, Angie's birth mother, tells one of The Importance of Angie in Top Girls 13 her coworkers, ‘‘She's not going to make it. ’’ She believes Angie's future career will be as a ‘‘Packer in Tesco,’’ nothing as accomplished as working at the employment agency run by Marl ene. Kit, her only friend and a twelve-year-old, says to Angie at one point, â€Å"Stupid f—ing cow, I hate you. She later tells Angie that she is not sure she even likes her. Kit amends that attitude by telling Joyce â€Å"I love Angie. † The way those around Angie talk about her, it seems like she is useless and incompetent. Joyce especially seems to hammer this idea home directly to Angie. Angie is definitely immature. She talks about being able to move objects with her thoughts, hearing a long-dead kitten in the backyard, and has only one friend, Kit, who is four years younger than her. She has ended her education in remedial classes at the age of sixteen.Yet Angie accomplishes much over the course of Top Girls, more than expected considering how she is talked about. Angie has her own equivalent of the dinner party in act 1, scene 3. She and Kit hide in a shelter that they probably made in Joyce's backyard. Kit, however, is a real person, unlike the unreal guests at Marlene's. Angie and Kit have a real, if tense, friendship. They make tentative plans to go to the movies. Angie expresses her frustrations to Kit, saying she wants to kill her mother. She tells Kit about her secret, that she believes Marlene is her mother.Angie also says that she will go to London to see her aunt. Kit does not really believe her, though, underscoring that Angie is constantly underestimated by those around her. Another success of Angie’s is going to London from Suffolk on the bus, and finding her way to Marlene’s work place in act 2, scene 1. Joyce and Kit do not think Angie could do such a thing on her own. But Angie wants to escape her life with Joyce and become a success. To that end, she goes to her aunt/mother and hopes to stay with her. Angie has the gumption to ask her aunt for help.She will even sleep on the floor of Marlene’s home to have this different, better life, like her aunt/mother. It also creates a situation where Marlene get s her child back, a key point brought up in the dinner party. Angie wants to be with Marlene, to be Marlene, and does what she can to make that happen. Angie wants to be a top girl. Angie’s first success, though the last in the play since it takes place in act 2, scene 2, is getting Marlene to visit her in the first place. The last scene takes place a year before the rest of the Top Girls.Angie lied to Marlene to get her to visit her and Joyce in Suffolk. She has not seen her aunt/mother since her ninth birthday party. Angie knows that Marlene has had good jobs and has lived in America, and she admires her tremendously. Angie appreciates that Marlene has escaped their neighborhood and become successful, just as Marlene admired that about her fantasy dinner guests. Angie may not have the education or the intelligence that Marlene has, but she wants to do something like what Marlene has done. In this scene, Marlene reveals the key to her success. She proclaims, ‘‘Ià ¢â‚¬â„¢m not clever, just pushy. ’ Angie has shown that she can be pushy as well over the course of the play, implying that she might have a better future than anyone imagined. In writing about a 1998 production of Top Girls in Los Angeles, California, Don Shirley of the Los Angeles Times argues, ‘‘Churchill painted a stark picture of Margaret Thatcher's Britain as a place where women could end up in either a cushy but heartless career or a dreary life in domestic servitude. This may sound broadly feminist, but the play finally emerges as a more specific attack on Thatcherite insensitivities towards the girls who ren't on ‘top. ’† Shirley includes Angie as one who is not on top, but does not see that she could be. Angie is a younger—perhaps dumber but no less ambitious—Marlene. Source: Annette Petrusso, in an essay for Drama for Students, Gale Group, 2001. Feminist Drama: The Politics of the Self: Churchill and Keatley Caryl Church ill's Top Girls (1983) and Charlotte Keatley's My Mother Said I Never Should (1987) are plays with an all women cast. Men, though present in the stories, are absent from the stage. They occupy emotional space but not physical space.At the very outset there is a defining of space, a creation of a feminist world. Feminist Drama: The Politics of the Self: Churchill and Keatley 14 Keatley deliberately kept the men offstage to provide a space for the women to interact among themselves, ‘‘to show the way women use language, silence and subtext when alone together’’; Churchill apparently does it for the purposes of sharing, for as Adrienne Rich has pointed out that unless women are prepared to share their ‘‘private and sometimes painful personal experience’’ it may not be possible to create a ‘‘collective description’’ of what is truly a woman's world.In both plays women from different generations and backgrounds meet together to share and to interact but with two major differences. Keatley's characters in the child-scenes are child characters and represent the same lineage whereas Churchill's characters represent several centuries, from the ninth to the present and have altogether different backgrounds.The moment women are placed centre-stage they begin to interact and introspect, to analyze and to criticize; they cease to look at themselves through the male gaze, instead they begin to problematize their conflicts and the involuntary processes of their bodies. By defining space in female terms, women are transformed from objects into subjects and their passive acceptance of gendered roles is turned into an analysis of socially imposed codes of behaviour. Plays by women need not be feminist, just as plays about women are not always so.But plays which concern themselves with women as subjects and explore their emotional realities acquire a feminist perspective. The sixties and the seventies witnessed the rise of women's theatre groups and collectives and a consciousness about women's roles. This was the beginning of a feminist theatre with, as already stated, overtly political aims. Women through exploring and talking about their experiences opened out their role confines, created female traditions and entered areas hitherto forbidden to them.Several all-women plays were also written. Megan Terry's Calm Down, Mother (1965) was a transformation exercise for women and hailed by Helene Keyssar as the first real feminist play, while her later Babes in the Bighouse (1974) was about women prisoners and closed spaces where violence became a natural inhabitant. Eve Merriam' s Out of Our Fathers' House (1975) was a projection of the struggles of exceptional women, while Wendy Wasserstein's Uncommon Women and Others (1977) examined the role conflicts in a lighter vein.Maria Irene Fornes's Fefu and Her Friends (1977) is located in the thirties and is a powerful statement about th e violence implicit in heterosexual relationships; it is as Schuler has pointed out ‘‘impossible to ignore that explicit critique of patriarchy’’ (226) present in the play. Marsha Norman's ‘night, Mother, coming out the same year as Top Girls (1983), is a tense kitchen drama about a mother and a daughter with the daughter at the end committing suicide behind a locked door. Plays with an all-women cast make a specific statement even before they put this female space to different and individual use.They discard supportive roles for women and provide them with the freedom to relate directly to each other rather than through sons and husbands, ‘‘Language, space and the body are loci for the woman playwright to dramatically challenge the images of women determined in dominant discourse’’ (Hart), Memory, history, the past are evoked for different reasons. Time too becomes an important factor, often being projected non-chronological ly. Both Top Girls and My Mother create hypothetical situations which are historically not possible but are rendered so spatially and proceed to become emotional questionings.Both are 3-act plays but while Churchill after an initial juxtaposition of the past and the present moves on, Keatley keeps on coming back to the childhood scene which is a conjunction of 1905, 1941, 1961 and 1979. Top Girls in the first act evokes the past, somewhat like Eve Merriam's Out of Our Fathers' House where six women are presented together in a ‘‘hypothetical conversation. † They act out both for themselves and each other the stories of their lives. It is a journey into selfhood, and at each step they need reassurance from their own elves. They belong to the 18th, 19th and 20th centuries, Caryl Churchill, however, builds on a wider canvas and the dramatic purpose of the bringing together of six women from different backgrounds and periods is very different. The first act of Top Girls is in the nature of a prologue where Marlene, a top executive in an employment agency is hosting a dinner for five other women, three of whom are from the Feminist Drama: The Politics of the Self: Churchill and Keatley 15 pages of history, and two from the world of male imagination.Pope Joan, a ninth century Pope who achieved this through cross-gendering, Lady Nijo an emperor's concubine and later a Buddhist nun, and Isabella Bird, a nineteenth century explorer are the three â€Å"real† women. Dull Gret, a woman from Breughel's 16th century painting and Patient Griselda from the pages of Petrarch, Boccaccio and Chaucer are the two others (Note the words ‘‘dull† and ‘‘patient’’). Each one of them—except Griselda—has in some way violated the social code as imposed upon them. Joan learnt Latin, ran away from home disguised as a boy and later became a pope.But yielding to passion, she conceives and is detected during chil dbirth. Male priests have fathered children, but she has never learnt to understand or live with her body, thus alienated from this most fundamental space she might own, she pays for it with death. Lady Nijo on the other hand accepts the code but renders it hollow by creating space for herself. Handed over to the Emperor as his concubine, she takes lovers to fulfill her emotional needs. Out of favour with the Emperor she takes holy orders as directed by her father, but instead of being confined in a convent, she walks the breadth and length of Japan.But she does this at the price of motherhood. Isabella Bird also has to sacrifice marriage and family life in search of adventure. Because she is a woman, she finds it difficult to accept the idea of living for herself alone and therefore occupies herself with good causes. As contrasted with these women from real life, who have individually made space for themselves, questioned patriarchal structures like religion, ownership, love and mo therhood, the two women from the world of imagination are limited in their projections.Griselda's life reads like a fairytale—a peasant woman married into the aristocracy, and children whom she had given up for dead restored to her later. The price of her marriage is unquestioning obedience to her husband's command which is first the taking away of her son and her daughter and later being turned out of her house. Griselda does not question her husband's right over her, nor does she resist his orders. Her case, like Nijo's, is one where motherhood has been reduced to an â€Å"institution’’ under male control (Rich). Dull Gret is also single minded like Griselda. If for Griselda it is surrender, for Gret it is anger.These five women have got together to celebrate Marlene's success and as they share experiences they question patriarchal structures either directly like Joan and Isabelle, or obliquely like Nijo, or silently through victimization like Griselda. Trave l is a major theme for Joan, Nijo and Isabella. They travel in their different dresses, Joan in her papal robes, Nijo in her silkgowns and later her nun's habit, and Isabella in her full blue trousers and great brass spurs. (Dress also specifies space. Masculine dress does not constrain the women's private space, though, in the long run, there is no social recognition of that space. Travel opens out new worlds and spaces. Their coming together in the first act provides â€Å"a dramatic genealogy of Marlene's historical community’’ (Keyssar). The second act is the in-between act with 3 scenes. The first and the third are located in Marlene's office, the second in Joyce, her sister's, backyard. The office scenes have two interviews inbuilt into them, one with Jeanine and the other with Louise, Marlene's two clients; a competitive scene between Nell and Win and Marlene's interactions with Angie and with Mrs. Kidd.The themes of these two scenes are a replay of the themes introduced in Act One—Jeanine who is torn between marriage and a career, Louise who at the end of twenty years finds herself sidetracked by younger men, Nell and Win who wish to go places both literally and figuratively but Marlene has occupied the place at the top and Mrs. Kidd who has come to plead for her husband who has been superseded by Marlene. Mrs. Kidd tells Marlene: â€Å"What's it going to do to him working for a woman? I think if it was a man he'd get over it as something normal. It's me that bears the brunt. †¦ I put him first every inch of the way. †¦ It had crossed my mind if you were unavailable after all for some reason, he would be the natural second choice I think, don't you? ’’ (58-59) In her view Marlene is abnormal in her determination to be at the top and she'll end up lonely and miserable. Feminist Drama: The Politics of the Self: Churchill and Keatley 16 The backdrop of the office room is confined and provides limited space wh ere competition and aggression and violation of territorial rights go hand in hand.The middle scene sandwiched between these two office scenes is in a backyard in a â€Å"shelter made of junk’’ by children. It is a hiding place, away from the taboos and restrictions of the adult world. Kit and Angie talk about running away from home, they talk about travel, about the reality of their menstrual blood which flows from hidden spaces and their love-hate relationship to the adult world. Later Kit seeks shelter from rain within the precincts of her friend's house while Angie herself is left outside with a feeling of rejection. The third act moves backwards in time. It takes place a year earlier than the second act.It is a confrontation scene between Marlene and her sister Joyce. They open out their past, the suppressed, sibling rivalry, Marlene's need to escape from her background, Joyce's support, the birth of Marlene's daughter Angie, and her adoption by Joyce, Joyce's mi scarriage, and her separation from her husband Frank. Women sacrifice their motherhood for a career; but at times they also have to sacrifice their marriage for their motherhood. Joyce is denied space within her marriage while Marlene is aware that men want her to turn into ‘‘the little woman’’ which she is not prepared to do.In all this it is Angie who feels confused and dispossessed. Keatley's play is also a three-act play with the first act having ten scenes and moving between 1905 and 1979. The second act is one uninterrupted scene located in 1982, and the third act is placed in 1987 diving back, towards the end, to 1923. There are five child-scenes spread over the play—Act I sc. 1, sc. 3 and sc. 8, and Act III sc. 3 and sc. 6 which act like a conjunction of events, like a voice from the past, like an abandonment of the chronological process. The movement of the play can be seen from the graph.The conjunction scene is shown as a circle with four different time streams flowing together. Covering four generations, it covers several

Nike’s Market Audit Essay

The marketing audit is a fundamental part of the marketing planning process. It is conducted not only at the beginning of the process, but also at a series of points during the implementation of the plan. The marketing audit considers both internal and external influences on marketing planning, as well as a review of the plan itself. Marketing Audit considers the basics of the marketing audit, and introduces a marketing audit checklist. The checklist is designed to answer the question, what is the current marketing situation? Marketing audit could be considered under three key headings: * The Internal Marketing Environment. * The External Marketing Environment. * A Review of the Current Marketing Plan. â€Å"Where is the business now? † is a core marketing question as it is concerned with how the business is performing in its marketplace. To answer this question one of the primary activities of the marketing function in a business is to undertake an audit of the market for the business. Once this question has been answered then the business can take decisions over setting and implementing their strategies to overcome the anticipated challenges. Now lets have a look at the way the companies, that had been selected previously to illustrate the Marketing mix, are conducting the Market Audit to achieve their goals†¦ Nike Nike operates its business within the sports footwear and apparel market. Originally designing and producing running shoes, their portfolio has broadened to include a wide range of sports and leisure wear. This is all endorsed by top sporting personalities and has gained a faithful reputation among them. Mission statement of Nike†¦ In its mission statement Nike expresses that it requires doing business in a responsible way, leading to sustainable financial growth. With the advances in technology, HR practices, the well informed and trained work force, there is very little left to differentiate organizations. Being seen to go further than the minimum required on social issues can attract and retain customers. This green cleansing attracts attention to the organization; they are viewed as caring and social responsible (Mullins, L. 2005). In a marketing research done by the company the following blemishes could be revealed. A report, on the business practices of Nike through its supply chain accused the organization of being involved in poor working conditions, violations of labor rights, low wages and harassment of its workforce. Nike takes these reports seriously. On the basis of the research findings the company has intensified the monitoring of its suppliers and right away did take actions and implemented to rectify the flaws. This is the importance of an Audit to a company to maintain its standards and the good reputation. * Internal Marketing Audit * Value chain Nike’s supply chain provides a clear view of the extent of the global nature of the company. Nike’s headquarters are in America; however, virtually all of its production takes place outside of the United States. Nike’s supply chain upstream begins with the materials used in the production of its products. Many of these materials used in production are available in the locations which the manufacturing takes place, but some specialized materials have to be imported to the manufacturing company. Now lets take a look at how they’ve overcome their challenges by getting the aid of an internal marketing audit considering two instances. Past options| Outsourcing of all production| Rationale| Reduced costs| Future Options| Outsource with stronger control| Rationale| Speed up reporting of any problems in production, the supply chain, the greater the distance the slower the reporting of problems| Critical Success Factor| Reduce problems associated with distance, i. e. quality, consistency and value| Change of Focus| Although still outsourcing, they would gain more control over production. | Past options| Target USA| Rationale| Demand and growth for footwear in the US was rapid. Future Options| Future option is to enter EU markets| Rationale| To expand into growing markets as US is near saturation. | Critical Success Factor| organic growth as well as by acquisition, also brand name, goodwill- therefore there is a match is CSF to succeed| Change of Focus| Maybe have to target marketing in a different way| * Portfolio analysis in current product (BCG Matrix) The BCG matrix method is based on the product life cycle theory that can be used to determine what priorities should be given in the product portfolio of a business unit. To ensure long-term value creation, a company should have a portfolio of products that contains both high-growth products in need of cash inputs and low-growth products that generate a lot of cash. It has 2 dimensions: market share and market growth. The basic idea behind it is that the bigger the market share a product has or the faster the product’s market grows the better it is for the company. Placing products in the BCG matrix results in 4 categories in a portfolio of a company: 1. Stars (high growth, high market share) use large amounts of cash and are leaders in the business so they should also generate large amounts of cash. * frequently roughly in balance on net cash flow. Through the BCG analysis for Nike, what has been revealed is that Nike is established within its markets, benefiting from economies of scale. And this places them in the Cash Cows category on the Matrix. Where the Cash cows market growth has slowed, and the products hold a fairly stable market share. * External Marketing Audit * Macro Environment PESTEL This will consider the influences of about six factors on the organization, both in the past and with future strategic plans. Following information could be gathered about Nike through a PESTEL analysis†¦ I. Political ) Striking dock workers b) Political unrest in the production countries.