Les Miserable Essay -- essays research papers

t  Ã‚  Ã‚  Ã‚  Ã‚   Les Miserables   Ã‚  Ã‚  Ã‚  Ã‚  Les Miserables is one of the most captivating plays of our lifetime! It grabs the audience and pulls you in head first. You can't take out eyes off of the stage, and even if you can, the music will take your breath away! I have seen the play 3 times and I don't think I enjoy anything in this world more than watching that play!   Ã‚  Ã‚  Ã‚  Ã‚  Les Miserables starts off on a chain gang in France. The sheriff comes out and gives one of the convicts his release papers. This convict is the lead role who name is Jeran Valjean, who has served 19 years on the chain gang for stealing a mouthful of bread. Jean Valjean leaves the prison and sets out to find work. But no one will give him work because of his tattoo which reads 24601, his prison ID number. Then in the time when he couldn't be more down a priest invites Valjean to stay with him. Despite the kind priest taking him in and feeding him, Valjean decides to take the silver from the table. In the run he gets captured be the police. But instead of telling the truth about Valjeans thievery, he gives the criminal more silver and sends the police away. He makes Jean Valjean promise that he will become an honest man with this silver.   Ã‚  Ã‚  Ã‚  Ã‚  The next scene in 10 years later set in a factory where we meat the other main character, Fantine. As she is reading a letter her perverted boss snatches it up with his hands and re... Les Miserable Essay -- essays research papers t  Ã‚  Ã‚  Ã‚  Ã‚   Les Miserables   Ã‚  Ã‚  Ã‚  Ã‚  Les Miserables is one of the most captivating plays of our lifetime! It grabs the audience and pulls you in head first. You can't take out eyes off of the stage, and even if you can, the music will take your breath away! I have seen the play 3 times and I don't think I enjoy anything in this world more than watching that play!   Ã‚  Ã‚  Ã‚  Ã‚  Les Miserables starts off on a chain gang in France. The sheriff comes out and gives one of the convicts his release papers. This convict is the lead role who name is Jeran Valjean, who has served 19 years on the chain gang for stealing a mouthful of bread. Jean Valjean leaves the prison and sets out to find work. But no one will give him work because of his tattoo which reads 24601, his prison ID number. Then in the time when he couldn't be more down a priest invites Valjean to stay with him. Despite the kind priest taking him in and feeding him, Valjean decides to take the silver from the table. In the run he gets captured be the police. But instead of telling the truth about Valjeans thievery, he gives the criminal more silver and sends the police away. He makes Jean Valjean promise that he will become an honest man with this silver.   Ã‚  Ã‚  Ã‚  Ã‚  The next scene in 10 years later set in a factory where we meat the other main character, Fantine. As she is reading a letter her perverted boss snatches it up with his hands and re...

The Beach :: essays research papers

"The Beach" "The Beach" has turned out to be a very controversial film, imposing positive and negative views. Harry, in "The Juice," gave the film an A1 rating with all optimistic remarks. Matt Wolf gave the film a very negative review, mocking every aspect of it. I am going to cover audience, tone, content, organization, and the overall effect. Audience- The audience that Harry tried to reach was a younger crowd that would appreciate the smaller keynotes of the film. With phrases like "Yes I said intriguing, henceforth, this is a kick ass flick, no lie." Wolf leaned toward an adult audience that would be more influenced by larger vocabulary. With words like antecedents, and incremental, that my computer doesn't even have in it's spell check. Along with phrases like "the beaches resident despot, whose officiousness do-exists with a strong sexual appetite." It isn't that I don't understand these phrases and words, but I just don't want to read them in a movie review. Tone- Harry used a tone that was more informal with a smaller vocabulary; words like believable and particularly, words that are understandable. He also used a kind of techno-lingo, which is understandable to teens but not to adults. Wolf used a very formal tone which was directed to adults. As I noted earlier he uses words that aren't even in spell check. His attitude coming into the piece was very negative against the film, with remarks such as, "So how is Leo? Not bad actually, which is more than can be said for a script from John Hodge that ditches most of the novel's tension." Content- The content in Harry's piece was more like a plot summary, with phrases like, "We find a self-contained environment, complete with couples, brothers, and friends, the whole nine yards. This is the main focus of the film." He was more optimistic and just generally nicer in his review. He also used two historical references, such as "Swiss Family Robinson," and "Taxi Driver," that he believed reflected the plot of the film. Wolf used a more quotation-oriented view. He didn't really summarize the film, but just depicted every part and used quotes to reflect his views. He was also very pessimistic as aforementioned. He also imputed a lot of prior history on the book and the film, with many different views on all the parts of the film. Organization- Harry's organization was very loose and difficult to follow; he was not orderly and he really didn't use a outline formation.

The Importance of Gender in Boys and Girls by Alice Munro Essay example

The Importance of Gender in Boys and Girls  Ã‚   Since the beginning of time, gender roles have existed in society.   Women were assigned the tasks of child-care and food preparation.   Men performed most activities that required physical strength.   As society progressed, the role of women did not.   Although less emphasis is placed on gender roles today, gender roles still exist. In 1968, Alice Munro wrote, "Boys and Girls" to address the confusion that gender roles may cause in a modern society. "Boys and Girls" is a coming-of-age story about a young girl who is enjoying her tomboy years and is defiant about becoming a woman.   The theme in "Boys and Girls" is this transition from the childhood tomboy into the mature woman.   The girl is unsure about whether she wants to be a woman or not, because she enjoys her father's work and wants to be a part of it.   On page 113, the girl expresses her feeling of disgust, "she (the mother) was plotting now to get me to stay in the house more, although she knew I hated it (because she knew I hated it) and keep me from working for my father."   The girl does not want to participate in womanly chores in the house; she wants to work outside with her father.   The whole story is centered around gender roles of women and the girl must face and accept that her role is not outside with the pelting operation.   The girl, who is the main character, describes her father ¹s pelting operation in much detail showing her interest and k nowledge of it.   On page 109 and the top of page 110, line eight, she describes what is meant by pelting operation by explaining, "that was what the killing, skinning, and preparation of the furs was called."   She likes her father's work so much that she concerns herself with k... ...Munro's story "Boys and Girls," gender is a key element.   Although the theme is the girl changing to the woman she had to become, it ultimately shows the limitations placed on women.   It seems that, really, not much has changed for women since hunting and gathering days and the Enlightenment.   Women are still associated with certain ways they must act and tasks they must perform. Works Cited and Consulted Carscallen, James. The Other Country: Patterns in the Writing of Alice Munro. Toronto: ecw 1993 Heble, Ajay. The Tumble of Reason: Alice Munro's Discourse of Absence. Toronto: University of Toronto Press 1994 Munro, Alice. "Boys and Girls." The Norton Introduction to Literature. Eds. Carl E. Bain, Jerome Beaty and J. Paul Hunter. 6th ed. New York: Norton, 1995. Martin, W.R. Alice Munro: Paradox and Parallel. Edmonton: University of Alberta Press 1987

Economic Factors Essay

The GDP (Gross Domestic Product) or The Gross Domestic Income (GDI) is defined as the gross total market value of all the final . products (goods and services) produced by a country in a given period of time more specifically a calendar year. Gross Domestic Products can also be considered as the sum of all value added at every stage of production of all the final goods and services produced in a country and are always given a money value(kuznets,1932) Since the GDP is a measure of national income and output it is always equal to the total government spending, the total consumer spending and the total investments in a country. It can be calculated using the formula below; Gross Domestic Product= Total Consumption +Gross Investment + Government Spending+ (Exports – Imports) or it ca n be as GDP=C+I+G(X-M) Inflation can be described as the general rise in the level of prices of goods and services in a country over a specific period of time. It is the rise in prices of all goods and services and a rise in the price of one good or service cannot be referred to as inflation. Inflation mostly involves the decrease in value of a countries currency, and measured as a percentage rate of change of prices. This is mostly caused by high rates of money supply in a country without significant increase in the economy. (Kuzneta,1932) There are different factors in a country that are blamed for high rates of inflation in the product markets, these factors sometimes vary from markets to markets and from country to country. The factors are mostly determined and controlled by the level of a country’s performance in the international stock markets and money markets. The factors are as fluctuations in the real demand for goods and services or scarcity of goods and services and sometimes the change in the supply or the real demand for money. These two factors have brought a lot of controversies among the monetarists and Keynesians. The inflation in a country can be easily determined by measuring the different price indices and analyzing how these affects different people, these indices are the consumer price index which is used to measure individual consumer prices and the GDP deflator which measures the price associated with domestic production of goods and services. (kuznets,1932) History and records made shows that the United States has never seriously recorded high level of inflation, as it was in the 1970’s. This was recorded; inflation of the 1970’s was a marked deviation from America’s typical peacetime historical pattern as a hard-money country. We should expect America to continue to be a hard-money–low inflation–country in the future, at least in peacetime. (http://www. j-bradford-delong. net/Econ_Articles/woodstock/woodstock4. html ) The low rate of future inflation that we thus forecast changes the balance of macroeconomic risks and opportunities, the risk of debt-deflation-mediated recessions is somewhat higher because a low trend rate of goods-and-services price index inflation somewhat increases the chances of deflation. But it does not raise such risks as much as one might think. The failure of the Fisher effect to hold empirically means that a low inflation era will in all likelihood is a high real interest rate era. But such high real interest rates do not appear to significantly discourage investment or growth. The burst of inflation that struck the United States in the 1970s shapes much American thought about macroeconomic policy. The decade of the 1970s saw GDP-deflator inflation rates peak at nearly ten percent per year. It saw consumer price inflation rates peak at three or four percent higher. ( Because of the inflation experiences America has had a long war and strong policies to significantly inflation and to increase the GDP, this has been because hampered in the last five years, this has been because of the Iraq invasion five years ago, in economic terms, the wars in Iraq and Afghanistan now cost $275 million each and every day. Nearly half a trillion dollars has been spent so far. That’s $4,100 for every household in America. According to a recent Congressional Research Service (CRS) report, the average monthly cost reached $10. 3 billion in 2007, up from $4. 4 billion in 2004. By the end of 2009, the cost of the Iraq and Afghanistan wars could reach $1 trillion. ( http://www. marxist. com/usa/war-economy-elections. htm) The cost of the war even in a country as wealthy as the United States cannot endure this drain forever. Every dollar spent on the war is a dollar not spent here at home on health care, education, affordable housing, jobs, or repairing the country’s decaying infrastructure. The effects of the war are directly felt here at home. And this is during a so-called economic boom. The war has had a big effect on the US economy(http://www. marxist. com/usa/war-economy-elections. htm) The official declaration that the country has entered a recession usually doesn’t come until months after it actually begins, as the analysts from the National Bureau of Economic Research (NBER) look back over the facts and figures. But top economists from major Wall Street firms such as Merrill Lynch and Goldman Sachs think a tipping point into recession has already been reached. Even the number of unemployment rose sharply in December 2007 to 5. 0 percent, up from the cyclical low of 4. 4 percent in March. Also, the economy slowed dramatically in the fourth quarter of 2007, growing by just 0. 6 percent, with total growth for the year at just 2. 2 percent, the worst figure since 2002. Never in the last 60 years has such a sharp rise in unemployment, combined with such low growth, not led to a recession. (http://www. marxist. com/usa/war-economy-elections. htm) The housing and credit crisis has begun to spread to the broader economy. Defaults for adjustable rate loans issued in 2007 hit 11. 2 percent in November. This is twice the default rate for 2006. Most worrying is that none of these loans had yet â€Å"re-set† to the higher rate. This represents some 300,000 households, yet more people who will almost certainly lose their homes as a result of this crisis. Spending on new housing projects fell in 2007 by 16. 9 percent, the worst fall in 25 years. And as reported by Reuters, the services sector, which accounts for over two-thirds of U. S. economic activity, fell sharply in January, to levels not seen since the 2001 recession. The Reuters/University of Michigan index of consumer sentiment fell to 69. 6 in February from 78. 4 in January, the lowest reading since February 1992. The index has only been this low during the recessions of the mid 1970s, the early 1980s and the early 1990s. The Institute for Supply Management’s index for the non-manufacturing sector plummeted to 41. 9 from 54. 4 in December: a reading below 50 indicates contraction. The employment index fell to 43. 9 from 51. 8, corroborating the late January U. S. payrolls report, which showed the first net monthly contraction in the labor market in more than four years. While it is impossible to say exactly when or how deep or how long the slump will come, it already feels like it to millions of American workers (. http://www. marxist. com/usa/war-economy-elections. htm) This has already led to decreasing government revenues, and still Bush proposes a budget that tops $3 trillion for the first time in U. S. history. By Bush’s own estimates, it will lead to deficits of $410 billion in 2008 and $407 billion in 2009, bringing the overall Federal deficit to $5. 9 trillion, up from $3. 3 trillion when he took office. $2. 3 trillion of this debt is held by foreign banks and investors. ( http://www. marxist. com/usa/war-economy-elections. htm) The proposed American Budget would dramatically increase spending on the military and military aid to â€Å"key allies† around the world, in other words, countries that are actively repressing their own people to defend U. S. corporate interests. To pay for all of this, the government will have to further cut already depleted domestic programs such as Medicare and abolishing dozens of other social services programs. ( http://www. marxist. com/usa/war-economy-elections. htm ) Not surprisingly, the budget allocates $515 billion to the Defense Department, not including a separate request for billions more for the wars in Iraq and Afghanistan. Adjusted for inflation, this will be the largest military budget since World War II. This is a true â€Å"guns before butter† budget, an open declaration of increased militarism abroad and a further relentless attack on workers here at home. The American ruling class will expect more of the same ruthless cuts from the next Republican or Democrat to sit in the Oval Office. ( http://www. marxist. com/usa/war-economy-elections. htm) During such hard times for and at appoint in history that America is high in politics and this being an election year there are many people looking for an electoral solution to the serious and growing problems they face. While the Iraq War is still high on voters’ lists of concerns, the economy is now number one for voters of both main parties. Many youth in particular are looking to the Democrats, and especially to Barrack Obama. The Republicans’ almost-certain candidate John McCain has staked his entire political future on continuing the war in Iraq. But do the Democrats’ candidates offer anything even closely approximating the majority of Americans’ demand to bring the troops home now? (http://www. marxist. com/usa/war-economy-elections. htm) It is at this point in time that we live the whole life and the economic future of America in the sound political policies that will be fronted by the candidates. We believe we can change America. REFFERENCES Bradford DeLong and Etal (1999), America’s Historical Experience with Low Inflation http://www. j-bradford-delong. net/Econ_Articles/woodstock/woodstock4. html http://www. marxist. com/usa/war-economy-elections. htm retrieved on the 2nd June 2008 Kuznets Simon, (1934). â€Å"National Income, 1929-1932†. 73rd US Congress, 2d session, Senate document no. 124, page 7. http://library. bea. gov/u? /NI_reports,539

Case Analysis: Michael Eisner has More Problems than He Can Face

Eisner's Mousetrap Disney's CEO says the company has a lot of varied problems he can fix. But what if the real issue is something he can't face? By Marc Gunther Reporter Associate Carol Vinzant September 6, 1999 FORTUNE Magazine) – Michael Eisner, the famously hands-on CEO of Walt Disney, is up to his old tricks. Last night he screened a rough cut of Dinosaurs, Disney's big animated movie for next summer; he loved the story but complained that some jokes were stale. Today he's holding a four-hour brainstorming session about Mickey Mouse, looking for ways to keep the 71-year-old rodent relevant. One idea: a skateboarding Mickey. ) Later, he'll watch Peter Jennings' newscast on Disney-owned ABC and surf the Internet to see how the company's Websites stack up. Is this any way to run the world's most troubled entertainment giant? After all, as Eisner sweats the details, earnings are dropping, top executives are defecting, and Disney stock is plunging like a ride down Splash Mounta in. â€Å"Maybe I'm crazy,† Eisner says, â€Å"but I don't consider this a crisis. I don't think our problems are in the fabric of our company. And I don't have my head in the sand. Sitting down for a two-hour interview, he admits mistakes. He says, for instance, that he should have settled former studio chief Jeffrey Katzenberg's suit against the company earlier to avoid a â€Å"parade of horrors† (see box). And he concedes that the company has sustained real damage: â€Å"It's like a train wreck, only nobody got killed. † But Eisner denies that he has lost his touch. â€Å"The criticisms of me and Disney today,† says the 57-year-old chief executive, â€Å"are as shortsighted as were the praises of me and Disney in the high economic times. Sunday nights on ABC, Michael Eisner–celebrated CEO, business magazine cover boy, and author of his own life story–still hosts The Wonderful World of Disney. The rest of the week, life is not so sweet i n the Magic Kingdom. Certainly shareholders have reason to feel grumpy, with the stock trading at about 37% below last year's high. There's no quick fix in sight either. Tarzan, the $160 million summer blockbuster, won't have much impact on earnings; the movie cost too much to make and isn't selling enough T-shirts and toys because the market's glutted with Star Wars stuff. That's one of the scary things about today's Disney: The company has grown so big and its problems are so far-reaching–ranging from the phenomenon of â€Å"age compression† to the explosion of media choices–that they can't be fixed by a couple of hit movies or TV shows or more Disney stores. The other scary thing is this: Disney seems less able than ever to cope with adversity. That's because Eisner, for all his creativity and charisma and grand plans, presides over an insular–some say arrogant–corporate culture where decision-making is hierarchical, centralized, and slow. It's an utter mismatch for the Internet age. â€Å"This isn't Mickey's house anymore,† says a former Disney insider. â€Å"It's a multibillion-dollar company. † Eisner does have a plan. He is cutting costs and reengineering a company that got bloated with success. He's making overseas growth a top priority. He wants Disney to be an Internet giant, taking on Yahoo and America Online. And, yes, he'll keep on tweaking theme park rides and screening ABC pilots and driving subordinates up the wall with his meddling, because he fervently believes that if you demand high quality and develop synergy, financial results will follow. The interesting thing about our company,† Eisner says, â€Å"which I think is extremely flattering, is that everybody takes for granted that we make good products. They think, Oh, the Disney cruise ship, they take a wand and a little pixie dust and all of a sudden you revolutionize the cruise industry from floating Vegas hotels to romantic ocea n liners. There are zoos all over the world, and up comes the Animal Kingdom. Or Tarzan, or the Lion King on Broadway–people say, ‘They have no trouble with the creative thing. Well, it's the creative thing that turns the company around. † Besides, he declares, a bit impatiently: â€Å"We are the most profitable media company in the world. We're being buried a little prematurely here. † He's right about the bottom line. Last year Disney reported revenue of $23 billion, operating income of $4 billion, and net income of $1. 9 billion–its net was far more than that of Time Warner (owner of FORTUNE's parent), News Corp. , and Viacom combined. For the current fiscal year, which ends Sept. 0, Disney's revenue is expected to reach $24 billion. But all other key indicators are down, some shockingly so. For the first nine months of fiscal 1999, excluding a one-time gain from an asset sale, Disney reported declines in operating income of 17%, net income of 26% , and earnings per share of 27%. Some Wall Street analysts have cut their fiscal 1999 earnings estimates as many as five times since last summer, and 13 of 25 analysts have a â€Å"hold† on the stock, according to Zacks Investment Research. The company has simply stopped growing, and it isn't a momentary dip either: Operating income fell slightly last year too, and Disney isn't expected to match its fiscal 1997 earnings until 2001 at the earliest–a startling comedown for a company that, for a decade after Eisner took over in 1984, delivered annual profit increases of 20% and a return on equity of 20%. Return on equity, a key benchmark that has been sliding ever since Disney's 1996 merger with Capital Cities/ABC, has slipped below 10%, estimates analyst Laura Martin of Credit Suisse First Boston. Some people have the impression that Disney still is what it was–an animation company that generated great returns on capital,† Martin says. â€Å"But that may be over. † Until recently Disney was propelled by a handful of big ideas that were executed almost flawlessly. First, Disney released its library of beloved animated films on video just as VCRs took off; nine of the ten bestselling titles of all time are Disney movies, and most, like Snow White and Cinderella, were paid for long ago. Second, Eisner and Katzenberg revived Disney animation with instant classics like Aladdin and The Lion King, which made big profits at the box office and on video and spawned even bigger ancillary revenues from licensing and merchandising. Third, Disney built more than 700 retail stores in the U. S. , Europe, and Asia. Finally, the company embarked on a vast expansion of Walt Disney World, creating and updating dozens of attractions and building an astonishing 15,000 hotel rooms since 1988. (They called the strategy â€Å"Put the heads in the beds. ) Disney's market capitalization soared from about $2 billion before the Eisner era to $85 billion at its peak in April 1998. Thanks to the rising stock price, Eisner got fabulously rich too, exercising accumulated stock options that gave him pretax gains of more than $500 million since 1992. He still holds 12. 7 million shares, according to Disney's latest SEC filings, worth about $330 million at today's prices. So what's gone wrong? Sta rt with the fact that all the businesses that powered Disney, with the exception of the theme parks, are slumping. Home-video earnings have tumbled, partly because consumers now have shelves filled with Disney animation. Revenues from licensing and merchandising are down, partly because of the economic downturn in Asia, and sales and profits from the Disney Stores have declined because product lines have grown stale. â€Å"How many Mickey Mouse T-shirts can you sell? † asks Christopher Dixon, entertainment industry analyst for Paine Webber. Altogether, Disney's all-important Creative Content segment, which includes movie and TV production, home video, licensing, merchandising, and the stores, saw its operating income fall from $1. billion in 1997 to $1. 4 billion in 1998; it decreased by another 42% during the first nine months of fiscal 1999. If that were a movie, they'd call it Honey, I Shrunk the Earnings. In Eisner's view, the problems are unrelated. â€Å"A lot of things happened together to make our earnings slide,† he says. Disney is attacking each concern, slashing costly pr oduction deals in the movie business, releasing fewer live-action movies, resting its classic video titles longer between releases to rekindle demand, and merging overseas distribution forces for film and video. To boost demand for consumer goods, the company will try to coordinate marketing in big retailers such as Wal-Mart. â€Å"We'd like to have a Disney boutique to sell the T-shirt, the lunchbox, the sheets and towels,† says Peter Murphy, Disney's self-assured 36-year-old head of strategic planning. Suppose, though, that the declining sales of videos and merchandise reflect a more fundamental issue–weakness in the Disney brand. This notion is such heresy inside Disney that everyone, including Eisner, dismisses it out of hand. We have research on our brand in 20 or 30 countries, and we are almost without exception the No. 1 or No. 2 brand,† Eisner says. Disney executives say that if the brand were in trouble, Disney's theme parks would be suffering along with the rest of the company; as it is, they're thriving–even the one in France. In the theme parks and resorts segment, revenues and operating income grew by 10% and 13%, respectively, in 1998, and they've gro wn by 14% and 13% so far this year. â€Å"We have as many kids lining up to see Mickey Mouse as ever,† says Paul Pressler, 43, the president of Walt Disney Attractions. And our merchandise has done great. † Disney World has reached beyond its core audience of young families to beckon convention-goers, older people, and â€Å"pre-families,† which is Disney-speak for single people. And it's capturing more money from visitors who stay in all those new hotels. Sure, Disney's theme parks rule–it's parents who decide on family vacations–but the brand isn't holding up as well in crowded arenas like videogames and cable TV, where kids are more autonomous. Disney's interactive unit is an also-ran in the booming videogame business. On cable, the Disney Channel ranks a poor third in viewing among kids ages 2 to 11, behind market leader Nickelodeon and the Cartoon Network. Both Nick and Cartoon, relative newcomers to the kids' business, exploited Disney's vulnerabilities. â€Å"The Nickelodeon opportunity was to get inside the lives of today's kids,† says Nickelodeon President Herb Scannell. â€Å"We've been contemporary. They've been traditional. † While Disney characters are drawn from myths, history, and storybooks–just about every big Disney animated feature could begin with the phrase â€Å"long ago and far away†Ã¢â‚¬â€œNickelodeon's TV shows and movies tell stories about real kids. Today the Viacom unit captures more than 50% of the audience of all children's TV programming. When Disney tries to exude a hipper aura–think of the bestselling Phil Collins soundtrack from Tarzan–the company is more likely to speak to baby-boomer parents than to their offspring. Here's where that idea of â€Å"age compression† comes into play. Kids grow up faster these days, the experts say, and start emulating teenage behavior when they're 9 or 10. They rebel against their parents and shy away from a â€Å"good for you† brand like Disney. Ten-year-old boys who watch wrestling or South Park on cable and 9-year-old girls who love Ricky Martin think Disney is for little kids. â€Å"They've never gotten past the problem that their core audience is girls 2 to 8 and their moms,† says a former Disney executive. And even among young kids, the hot properties lately are Nickelodeon's Blues Clues, PBS's Tele-tubbies and Nintendo's Pokemon, now a hit TV show on the kids' WB, yet another new kid-vid network. The cluttered kids' marketplace points to another fundamental problem facing Disney–competition on a scale the company hasn't faced before, across all its businesses. Warner, Dreamworks, and Fox do feature animation. Universal just opened a second Florida theme park. Fox Sports is taking on ESPN. Can you begin to see why managing Disney today is harder than it was a decade ago? What changed everything, of course, was Eisner's boldest stroke as CEO: his $19 billion merger with Cap Cities. That deal, cheered at the time, still appears strategically sound–the idea was to marry Disney content with ABC's broadcast and cable distribution. The problem has been execution. While ESPN and other cable properties have grown, no unit of the company is as besieged as ABC. It will lose money this year for the first time in a decade, despite a fantastic advertising marketplace, because audiences are splintering and programming costs keep climbing. (Disney agreed under competitive pressure to spend $9. 2 billion–that's right, billion–for NFL rights for ABC and ESPN through 2008. ) Operating income for the company's broadcasting segment, which includes ABC, its TV stations, 80% of ESPN, the Disney Channel, ABC Radio, and stakes in Lifetime, A&E, the History Channel, and E! Entertainment, grew by just 3% last year; it's down 18% so far this year, mostly because of ABC. I'd be the first to say the results of the ABC television network, particularly in prime time, have been disappointing since the merger,† says Robert A. Iger, 48, the lifelong ABC executive who is chairman of ABC Inc. While Iger's bailiwick extends way beyond the network, he keeps a close watch on programming and told FORTUNE in 1997, â€Å"Prime time is my No. 1 priorit y. † Since then, ABC's ratings for its 18- to 49-year-old target demographic have fallen by another 13%, leaving the network No. 3, behind NBC and Fox. Oops. Wait, it gets worse. Remember how the merger was supposed to marry content and distribution? That's not working well either. Owning and broadcasting a hit, then selling the reruns, is the best way to make big money today in television. Just ask Rupert Murdoch, whose Twentieth Century Fox TV studio not only owns the biggest hits on Fox–The Simpsons, The X-Files, and Ally McBeal–but also produces The Practice and Dharma & Greg for ABC, as well as key shows for NBC, CBS, and the WB. By contrast, Disney's Touchstone Television production studio has failed to develop a prime-time hit for ABC or anyone else since creating Home Improvement in 1991. Out of sheer frustration, Eisner last month merged the Touchstone studio into ABC; the idea is to save money and force the two units to cooperate. â€Å"It's a fantastic opportunity to reengineer the way television is done,† says Lloyd Braun, the studio president who co-chairs the merged unit with ABC's Stu Bloomberg. Like a movie studio, ABC Entertainment now will develop, own, finance, and distribute more of its own content. The trouble is, the new model could seal ABC off from the rest of the television world. While ABC executives say they'll still buy shows from studios like Warner Bros. nd Fox, the studios worry about doing business with the new, vertically integrated ABC. â€Å"You're going to have to demonstrate to me in tangible ways that I'm going to get a fair shake,† says Sandy Grushow, president of Fox's Twentieth Century Television. The other networks, meanwhile, suspect that any show they get pitched by a Disney entity will be an ABC reject. Beyond that, t he merger adds another layer and the prospect of infighting at ABC Entertainment, now run by a posse that includes newcomer Braun, programmers Bloomberg and Jamie Tarses, network President Pat Fili-Krushel, ABC Inc. resident Steve Bornstein, and Bob Iger, who still reads scripts of key ABC shows on weekends. Nor is Eisner shy about weighing in; he helped shape the fall lineup and ordered ABC to negotiate tougher deals with its affiliates and program suppliers, which are not happy. This management by committee has never worked in television, and it's not working at Disney-ABC. There is much more at stake here than the unwieldy operation of the TV unit. The new ABC structure is emblematic of what may be Eisner's thorniest problem, if only because he doesn't seem to recognize it: It's Disney's corporate culture. Under Capital Cities, ABC was run in a determinedly decentralized way; executives were given authority and responsibility as long as they exercised fiscal discipline, and the company was generally well run. The Disney approach reflects different values: centralized control, an obsession with synergy at the expense of individual business units, a suspicion of outsiders, and a muddying of responsibility. The results speak for themselves. Writing about the Disney culture is tricky because knowledgeable critics are unwilling to speak on the record; the company's just too powerful. But talk to enough people and you hear similar complaints. One persistent theme: Eisner insists on making too many decisions himself, which clogs the decision-making process. So do the roomfuls of strategic planners who analyze everything. A second complaint: Eisner's too tough. Working with Disney is notoriously difficult, so much so that a group of partners, including Coca-Cola, AT;T, Delta, and Kodak, used to meet informally to trade tips on how to cope. A related point about Eisner: In spite of his affability, he doesn't really value other people. That's one reason the death of his longtime second-in-command, Frank Wells, in 1994, was a seminal event. Wells commanded Eisner's respect like no one else, told him when he was off-base, and deftly softened his edges. They were a great team. Eisner tried to replace him with Michael Ovitz, a crucial error at just the wrong moment. Ovitz's management got the ABC merger off to a dismal start, and his 16-month tenure scarred the company. Since then, strong executives have left, among them former CFOs Stephen Bollenbach and Richard Nanula, Internet guru Jake Winebaum, and former ABC executives Geraldine Laybourne and Steve Burke. Finally, the critics say, the company has simply grown too big to be run from the top down. Eisner's approach worked for the old Disney, where the focus was on a single brand; he could gather a cadre of executives at his Monday lunches and get things done. Now Disney must manage multiple brands in a world where speed counts and partnerships are vital. A respected ex-Disney executive told me, â€Å"The company has changed and the world has changed, but Michael hasn't changed. Now he's got to change. † Eisner and his lieutenants bristle at the criticism from unnamed sources, and you can't blame them. Yes, they say, Disney is tough, but so are GE and Microsoft–which, by the way, lose lots of executives, too, because they have an abundance of talent. To the charge that he meddles, Eisner pleads guilty with an explanation: He wants Disney to excel. (Even his detractors say he has great instincts. ) When he heard from a friend that the cast members at Disneyland Paris weren't as helpful as those at Walt Disney World, he recommended better training. â€Å"Is that meddling or is that insisting on a high standard of excellence? † Eisner asks. â€Å"If there's an area where I think I can add value, I dive in. Yes, at certain times I paralyze people. I'm never satisfied. It gets people crazy, I know that. † But Eisner also says he leaves his best executives, like theme park chief Pressler, alone. â€Å"There's no brain drain,† he says. â€Å"We have unbelievably strong management. † Eisner's turnaround strategy focuses not on Disney's culture but on operations, fiscal engineering, and growth. Consolidation and cost cutting are already under way across the board, with the movie division leading the way. Studio chief Joe Roth has already cut spending by about $550 million annually, by making fewer movies. It focuses everyone much more closely on the films at hand,† Roth says, â€Å"and ironically, I am quite sure that–for the fifth time in six years–we will be No. 1 in market share again this year. † Disney is also looking to sell Fairchild Publications, a magazine company. Sources say Disney also expects to write off a big chunk of the $9. 2 bi llion NFL deal. In a move that should please Wall Street, CFO Thomas O. Staggs is reworking Disney's compensation system so that executives will be evaluated on cash flow and return on equity as well as on reported earnings; that's designed to encourage business units to use capital more efficiently. The theme park segment, in particular, has been a huge consumer of capital, but it will use less after new parks open near Disneyland and Tokyo Disneyland in 2001. Disney's best growth opportunity probably lies overseas. Right now, the company gets about 21% of its revenues from abroad, less than other global brands like Coca-Cola (63%) or McDonald's (61%). That's why Bob Iger's recent promotion to president of Walt Disney International puts him in a crucial role, spearheading what Eisner calls â€Å"a monumental change in the way the company is structured. Iger has begun to overhaul all of Disney's operations outside the U. S. , which grew up haphazardly as each business–film, TV, the stores, cable, or theme parks–built foreign outposts that reported back to the home office. Now those businesses will also report to regional executives in charge of continents or key countries; each territory will also get its own CFO and brand manager. That may sound like more Disney l ayering, but Iger says it offers major advantages. First, the company will save money through consolidation, whether in renting office space or buying advertising. Disney also expects to do a better job of tapping into local trends. Iger cites a revealing example: â€Å"It's having someone in Japan who would see the Pokemon phenomenon at an early stage and have the clout, really, through me, someone who has a seat at Michael's table, to be able to raise the consciousness level of the company about that potential quickly and effectively. † Interestingly, the idea is not to delegate authority but to shorten the distance between the rest of the world and Eisner. Eisner's other major focus is the Internet. Here, too, centralization is the watchword. Last month Disney agreed to combine its Internet assets with Infoseek, a search engine and portal company that it is buying outright; the properties, including the Go portal, ABCNews. com, ESPN. com, Disney. com, Family. com, and others scattered in five locations on both coasts, will operate as a single unit under a CEO to be named later. â€Å"This is to consolidate the Internet assets so that we can have them under common management with one agenda and one vision,† says CFO Staggs, the 38-year-old architect of Disney's Internet strategy. The company will then issue a tracking stock called go. com that can be used as acquisition currency and a way to compensate talent. Disney's assets should make it a force online. Its ESPN. com and Disney family sites are category leaders, and the company has unparalleled promotional platforms in ABC and ESPN. In a matter of months, they helped make Go the fifth-ranked portal, behind AOL, Yahoo, Microsoft, and Lycos. And all the Disney Websites should sing when high-speed access makes it easier to watch video online. â€Å"As bandwidth expands,† Eisner says, â€Å"content becomes more important. You must have sports and news and entertainment, or you are going to be a Western Union messenger in a fax world. † He envisions a universe in which ABC News clips, ESPN game highlights, and movies like Aladdin are distributed online, cutting out middlemen like cable operators or Blockbuster Video. â€Å"I believe the entire company's product will mostly be distributed through the Internet,† Eisner says. He's a passionate Internet user too, peppering his web guys with suggestions. Says Staggs: â€Å"The only person I get more e-mail from than Michael is my mom. † The strategy sounds smart. Of course, buying ABC sounded smart too. Once again, it'll come down to execution. Patrick Keane, a Jupiter Communications analyst, likes Disney's web assets but worries that â€Å"diversified media companies move at glacial speed when it comes to the Internet. † Disney can't be as focused on new media as people at AOL and Yahoo are every day. And the straitlaced Mouseketeers will have to learn to live in an unbuttoned Internet culture, says new-media consultant Gary Arlen of Bethesda, Md. â€Å"Have you ever been to Disney World? † he asks. â€Å"You walk out of a ride and land in a place that sells souvenirs. They'd like to manage the Internet that way. Even with perfect execution, Disney's Internet investments need time to pay off; in the meantime, they'll dilute earnings. Time is what Eisner needs too. Time for the cable and phone companies to help make his broadband Internet vision a reality. Time to build overseas. Time for DVD to take hold and provide another chance to resell the library. Time to creat e the next Tarzan and a hit for ABC, time for new theme parks to open, time to reinvent Mickey once more. Time, perhaps, to appoint a strong second-in-command with clout, whether it's Bob Iger or Paul Pressler or a dark horse who has yet to emerge. Because he enjoys the support of the Disney board, Eisner can be patient. â€Å"We're in a transition period,† he says. â€Å"I would rather have every quarter be up. It was for 13 years. Everybody loves you. [But] you can't manage a company like ours quarter to quarter, maniacally, so that the media will write good things about you. † He likes to quote Warren Buffett, whose Berkshire Hathaway, at last count, owned 51 million Disney shares: â€Å"I close my eyes and think about what a company's going to look like in ten years before I invest. Paine Webber's Chris Dixon says Disney's assets are top-notch: â€Å"It may take time, but we believe the values are there. † Other investors won't wait. They note that despite the earnings downturn, Disney is still priced as a growth stock; it trades at about 35 times this year's projected earnings, a 25% premium to the S;P 500. The Capital Research ; Management Group, whose entertainment industry investments are managed b y respected media analyst Gordon Crawford, used to be Disney's largest institutional shareholder, with 41 million shares as recently as last year. Crawford has sold them all. So be it, says Eisner. â€Å"You can always tell your friends through the rough times,† he says. He still gets to go to the movies, test-drive theme park rides, surf the Net, and call it work. And maybe it's just his turn to suffer in the media doghouse. After all, CEOs Gerald Levin of Time Warner and Sumner Redstone of Viacom fell out of favor when they struggled to get their arms around companies engorged by big acquisitions. Such mergers aren't easy. The challenge for Eisner is to learn from experience, show a little humility, seize the opportunity to shake up his company, and, perhaps, change his own stripes and let go a little. That's a lot to ask of anyone who's been as successful as he has for so long. But this isn't the old Disney. And the old Disney magic just isn't working anymore. REPORTER ASSOCIATE Carol Vinzant http://money. cnn. com/magazines/fortune/fortune_archive/1999/09/06/265291/index. htm

Macbeth †Character assessment Essay

The 3 witches have told Macbeth that he will become king. He tells this news to his wife, Lady Macbeth . She starts plotting the murder of Duncan, the king of Scotland. A messenger then arrives at Dunsinane telling her that Duncan will be visiting them that evening. In this scene Macbeth kills Duncan. Setting This play takes place on stage. The play is set in 1600’s in the Scottish Highlands. The stage is bare apart from a bench, a bucket and well, there is a backdrop of the castle at the rear of the stage. Character Profiles Macbeth Stunned at what he has just done Angry – with both himself and Lady Macbeth Becomes quite hysterical Pure shock Lady Macbeth Evil voice Devious Cunning Calm throughout 4th witch very clever & Very evil A soft blue light falls onto the stage with a white spot light on Lady Macbeth, the light including spot light turns green during Lady Macbeth’s speech. Lady Macbeth sits on bench at stage rear holding a pure black cat. (A black cat is connected with witches, Lady Macbeth is the 4th witch). Lady Macbeth starts to say her speech in an evil, cold, powerful, crackle of a voice. Here she will be talking to her cat rather than herself. Here she talks of the fatal bellman, this signifies death. An organ is playing in the background (organs are played at funerals, and signify death, a murder has just taken place). Macbeth backs onto the stage very slowly almost in a trance. He turns to face Lady Macbeth â€Å"I have done the deed.† – saying this like in complete shock but realisation as much to himself as to Lady Macbeth. Macbeth: â€Å"Did though not hear a noise?† Lady Macbeth: â€Å"The owl scream and the crickets cry† (Elizabethans would know These things represented Death) Lady Macbeth: Did thou not speak? Quick, Macbeth: When? Panicky, Lady Macbeth: Now. Shows Macbeth: As I descended? Nerves, Lady Macbeth: Ay. and. Macbeth: Hark! tension Who lies in the 2nd chamber? Lady Macbeth: Donalbain Macbeth: This is a sorry sight! (angry, shouting, he sees the blood). Lady Macbeth: A foolish thought to say (trying to calm him whilst putting her cat Down). Macbeth is now slumped on the floor with his head in his hands saying lines 21-25. Remaining slumped he says lines 26-30, but this time in a whisper. In these lines Macbeth talks about sleep. Only innocence is allowed to sleep, Macbeth cannot sleep anymore, for he is now evil. â€Å"Macbeth shall sleep no more!† Macbeth also talks about not being able to say amen, this is because he is no longer holy. Lady Macbeth stands to his right looking down on him, this shows her power over him. She says â€Å"Consider it not so deeply.† In an impatient, and almost dismissive voice. Macbeth: â€Å"Sleep no more Macbeth does murder sleep!† Lady Macbeth: â€Å"Why have you got these daggers? They must rest by Duncan.† Lady Macbeth grabs the daggers. Macbeth is afraid to go back to Duncan’s chamber, for he cannot bear to look at what he has done. â€Å"If Duncan do bleed then I shall place the daggers in the arms of the guards, for it will seem their guilt!† she says this in an evil yet excited whisper. Exits stage left, running. Her evil and cunning nature has now been fully exposed to the audience. (A loud knocking is heard, the knocking comes from speakers all around the theatre, so the audience is surrounded by the knocking). Macbeth: Is in complete hysteria cries line 59-60. The blood is represented by long red ribbons attached to his finger tips and his clothes. He walks over to the well and tries to wash the blood from his hands. â€Å"All Neptune’s great oceans could not wash these hands clean.† Neptune is God of water, so here Macbeth is saying all the water in the world could not wash the blood away. I think he was trying to wash away his crime and his guilt by getting rid of the blood, as this was just a visual reminder of the wrong he had done. He pretends to throw the blood stained water over the floor. A watery red light appears on the stage floor rippling with waves. Lady Macbeth appears back on stage with her hands out in front of her, her hands and clothing are soaked with blood (red ribbons). She holds her hands up to Macbeth’s face, he turns away from her. She starts to speak in an evil, cold, and angry voice â€Å"my hands are of your colour , but I shame to wear a heart so white.† The knocking starts again. Lady Mabeth spins around in a sudden panic, â€Å"I hear knocking!† Lady Macbeth says the rest of her speech in the same quick startled tone. This is the only time in the scene where LM shows her nerves. Macbeth in complete hysteria with tears running down his cheeks â€Å"Wake Duncan with your knocking, I would thou couldst!† At this point M’s weakness is most apparent, at this point I feel that he would be ready to confess all. Lady Macbeth and Macbeth exit stage right. Lady Macbeth now calm again, strides off confidently. Macbeth crawls off on his hands and knees. This shows the difference between Macbeth and Lady Macbeth, Macbeth is remorseful, guilt ridden and hysterical with disbelief. Lady Macbeth on the other hand is confident, calm, excited, and seems completely unfazed by the fact that she has helped murder her king. Her power over him is enormous, and makes you wonder whether Macbeth was in a trance to even be able to comprehend killing his king let alone actually doing it. At the end of the scene the lights suddenly go out the theatre is pitch black.

Task Two Cathy Ann Wilson-Bates Western Governors

Task Two Cathy Ann Wilson-Bates Western Governors University EVIDENCE-BASED PRACTICE & APPLIED NURSING RESEARCH EBP 1 Brenda Luther, PhD, RN January 25, 2012 Task Two Introduction: What I have learned about working with children in a chronic healthcare setting like dialysis is that they are resilient beings with the propensity for rapid changes in their medical condition. Children almost always surprise me in their unique description of symptoms and pain. Depending on their age, they may not be able to describe the symptoms they feel or tell me â€Å"where it hurts†.A simple ear ache may be described as a â€Å"drum in my ear† or may be observed with non verbal cues like tugging on the ear. Acute Otitis Media is seen quite often during the cold and flu season. Recent clinical guidelines suggest waiting twenty four to seventy two hours before beginning antibiotic therapy. Parents of children with symptoms of otitis media are accustomed to receiving a prescription for ant ibiotics before they leave the medical office. Adults as well are preconditioned for the little white slip of paper from their physician. You can read also Coronary Artery Disease Nursing Care PlanWaiting twenty four to seventy two hours to evaluate the need for antibiotics will definitely reduce the over-prescription of antibiotics as well as their efficacy. The waiting and watching of several days may seem like an eternity to a parent caring for a sick and crying child. Educating parents during routine visits to the physician office about the risks of over-prescribing antibiotics will help when the physician needs to discuss the possibility of waiting and evaluating before prescribing antibiotics.Providing a list of comfort measures parents can follow may help relieve the anxiety they have in caring for a sick child. Any comfort measure taken to reduce crying is helpful to the parent of a sick child, but mostly to the child. The following table and paragraphs will share the results of how one group of nurses at an outpatient clinic used clinical evidence to manage this situation. Source |Type of Resource |Source appr opriate or |Type of Research | | |general information, |inappropriate |primary research evidence, | | |filtered, or unfiltered | |evidence summary, evidence-based | | | | |guideline, or none of these | |American Academy of Pediatrics and American Academy of|Filtered |Appropriate |Evidence-based guideline | |Family Physicians. Clinical practice guideline: | | | | |Diagnosis and management of acute otitis media. | | | |Causative pathogens, antibiotic resistance and |Unfiltered |Appropriate |Evidence-based guideline | |therapeutic considerations in acute otitis media. | | | | |Pediatric Infectious Disease Journal. | | | | |Ear, nose, and Throat, Current pediatric diagnosis and|General |Inappropriate |None of these | |treatment. | | | | |Treatment of acute otitis media in an era of |Filtered |Appropriate |Evidence –based guideline | |increasing microbial resistance.Pediatric Infectious| | | | |Disease Journal | | | | |Results from interviews with parents who have brought |Unfilte red |Appropriate |Primary research evidence | |their children into the clinic for acute otitis media. | | | | | | | | | Subcommittee on Management of Acute Otitis Media. (2004). American Academy of Pediatrics and American Academy of Family Physicians. Clinical Practice Guidelines: Diagnosis and Manegment of Acute Otitis Media. American Academy of Pediatrics , Vol. 13 No 5 1451-1465. This article is an evidence-based clinical guideline. It is a systematic review making it a filtered resource which is very appropriate for this situation. The article describes the current, (as of 2004) recommendations for the diagnosis and management of Acute Otitis Media (Subcommittee on Management of Acute Otitis Media, 2004). These guidelines show several different ways to treat acute otitis media depending on the symptoms of the child. It states that sometimes waiting to give antibiotics is good and sometimes waiting to give antibiotics is not good. This article is appropriate and provides clarity on the topic. Block, S. L. (1997).Causative pathogens, antibiotic resistance and therapeutic considerations in acute otitis media. The Pediatric Infectious disease Journal , Volume 16 (4) pp 449-456. This article discusses antibiotic resistance and describes the bacterial pathogens which are responsible for infections causing acute otitis media. This article is appropriate. It contains a comparison of studies performed based on the different types of bacteria which cause acute otitis media. It stresses the importance of identifying the bacteria causing the infection before giving antibiotics so that number one the bacteria can be eradicated and other bacteria will not become resistant (Block, 1997).PE Kelley, N. F. (2006). Ear, Nose and. In M. L. W. W. Hay, Current Pediatric Diagnoisis and Treatment (pp. 459-492). Lang. This textbook source contains general information on the ear, nose and throat. There is much more information here regarding basic anatomy and physiology as well as characteristics of the ear nose and throat. The information regarding otitis media is basic and not an appropriate source of research in this situation for three reasons. Number one, the information is very basic, number two, it does not give any up to date information on how to treat this type of infection, and number three there is too much non-relevant information.McCracken, G. H. (1998). Treatment of acute otitis media in an era of increasing microbial resistance. The Pediatric Infectious Disease Journal , Volume 17(6) pp576-579. This article is a review of the known etiologies that may cause acute otitis media. The article gives up to date information on therapeutic approaches when selecting an appropriate antibiotic therapy. We don’t practice â€Å"cookie cutter† medicine. The same prescription is not always right for all patients or all communities where some bacteria’s may be more prevalent than others (McCracken, 1998). This is appropriate information f or this group of people or community. media, P. o. (n. d. ).Interviews. (C. nurses, Interviewer) This set of interviews is simply raw data. General information can however provide great insight as to what is happening out in the community. For example, this information might shed light on the fact that if the parents are willing to hold off on antibiotics for example, would they be more likely to follow up and come back into the clinic when asked? The reaction of parents is dependent upon other several basic factors like finances, a belief system and possibly the ability to obtain transportation. Knowing how the community is going to respond to their choice may have a great effect on the decisions they make.When evaluating the findings of these sources cumulatively, one must first determine the causative pathogens infecting patients in this given community with acute otitis media. After pathogen determination we can determine which antibiotics may be most useful in eradicating the g iven bacteria. Careful selection of antibiotic therapy will reduce the propensity for antibiotic resistance. Watchful waiting may be a good thing from the perspective of increasing microbial resistance however we must always evaluate patients on their individual needs or on a patient by patient case. One size doesn’t always fit all. Patient education is the key to keeping the public informed of current practice.Physicians and Nurses need to be consistent in the lesson plan shared with patients and remain true to our scope of practice. Communication is essential between the physician, nurse and other multidisciplinary team members in order to provide the best care. There are many considerations in assessing if patients are able to withstand the waiting and evaluation period. Low income families are one example of how the waiting and watching method might not work. Parents may have to take time off work to come to clinic with a sick child. They might struggle finding money for the additional return trip to the clinic and may risk losing their job if they take more time off work.Many low income families may have already waited before seeking help thus creating their own watchful waiting period. They also may not be able to afford antibiotics and as a result may not give the full dose if symptoms have subsided. The perception is that they will save the medication for the next time symptoms arise. Confidentiality might be an issue in smaller communities. People tend to be concerned about neighbors and co-workers and some may not care to share their experience with others. This may be an issue for parents who don’t share custody as in the case of divorce. It is a greater issue when parents or partners don’t share the same fundamental values, especially those related to healthcare. Conclusion:Watchful waiting like the nurses in this clinic are looking at may be useful for some of the patients, but not all. Again, a one size fits all philosophy is not always appropriate in healthcare. Tools like algorithms may be helpful in determining the appropriateness for watching and waiting versus immediate action as determined by physical findings and social circumstances like parental adherence for follow up and ability to afford treatment. Whatever course you choose, watchful waiting or immediate antibiotics the best practice remains a plan of care based on the individual needs of our patients. References Block, S. L. (1997). Causative pathogens, antibiotic resistance and therapeutic considerations in acute otitis media.The Pediatric Infectious disease Journal , Volume 16 (4) pp 449-456. McCracken, G. H. (1998). Treatment of acute otitis media in an era of increasing microbial resistance. The Pediatric Infectious Disease Journal , Volume 17(6) pp576-579. media, P. o. (n. d. ). Interviews. (C. nurses, Interviewer) PE Kelley, N. F. (2006). Ear, Nose and. In M. L. W. W. Hay, Current Pediatric Diagnoisis and Treatment (pp. 459-492). Lan g. Subcommittee on Management of Acute Otitis Media. (2004). American Academy of Pediatrics and American Academy of Family Physicians. Clinical Practice Guidelines: Diagnosis and Manegment of Acute Otitis Media. American Academy of Pediatrics , Vol. 113 No 5 1451-1465.