ESPN Portrayal of Sports on Television Essay - 836 Words

ESPN: Portrayal of Sports on Television Sports have played a big in role throughout the history of television. Without the television, sport fans would not be able to tune into NFL games on Sunday and Monday nights. They wouldn’t be able to sit at home and watch every basketball game played during March Madness. The television has given everybody around the world a chance to watch some of the biggest and best sporting events that have ever taken place. However, for a long amount of time there was no television show that was dedicated towards just sports. One would be able to find everything they wanted to know about sport statistics in magazines and newspapers but the public could not sit down on their couch and visually recap all†¦show more content†¦ESPN along with the coverage of sporting events reports sporting news in way that is education but at the same time educational. ESPN has always covered in one way or another covered all of the biggest sporting events of the last two decades. This is somethin g that sport fans never had before. ESPN has been a great educational help for many people. Sport fans in the past would have to do a lot of reading to keep up with the major athletes in each sport but now all they have to do is just turn on the television and watch Sports center for and hour each day and they will know who the leaders are of almost every sport. This has also helped with ideas of things such as Fantasy Sports, or filling out brackets for the NCAA men’s basketball tournament. The public gets the chance to watch what the employee’s of ESPN think. There are many shows that are dedicated to some controversial subjects in sports and have the two experts each give their own opinion on that subject which can sometimes get loud. ESPN has helped frame how sports are viewed in today’s society. ESPN started off with television but over time has branched out into other forms of media. ESPN can be found on the internet where you can check out all of the latest breaking news in sports and where you can check statistics of various games. ESPN can also be found on the radio 24 hours a day where there are more than 60 affiliates, including 80 stations that carry information all day long to the listener (Shea).Show MoreRelatedThe Negative Effects of Media on Sports in Usa4279 Words   |  18 PagesThe Negative Effects of Media on Sports I. Media and Sports Introduction A. John Wooden Quote B. The tendencies of the media THESIS: The media must take significant strides towards reforming the way they portray sports to change the current system of altering the ideals of athletes and diminishing the prestige of modern sports. II. History of media in sports III. Publication of shameful actions A. Celebrations B. Commercials C. XFL IV. Multimedia A. 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International Organizational Feuds Acts Of Aggression

International organizational feuds: acts of aggression? In this paper I will take an in depth look at recent state sanctioned Chinese cyber-attacks against United States organizations and agencies. These attacks have had profound effects, ultimately altering structures and processes. Government officials are calling for millions of dollars in training and defense measures, while many are now becoming aware of a new type of threat. The inter-organizational relationships, external environment, and ecosystem have also been denaturized. I will also take a look at scholarly definitions of war and how they may be applied to the issue at hand. Finally, I will examine the United Nation’s doctrine and deem whether these attacks should be considered aggressive acts made by China, and what may result. Before state sanctioned cyber-attacks against U.S. organizations, infrastructure, and government can be analyzed, the concepts and environment surrounding the issue must be explored. These concepts include the traditional theoretical views of war and armed conflict, the current definitions of cyber-warfare, and the relationship of armed conflict and law in the changing landscape of the twenty-first century. Many of these concepts are still actively debated today due to building and breaking of relationships, evolving nature of cyber warfare, and the dynamism phenomenon or state of the environment, which Daft (2016) defines as â€Å"stable or unstable, simple or complex† (p.146). InShow MoreRelatedOrganisational Theory230255 Words   |  922 Pagesinteresting and valuable. Peter Holdt Christensen, Associate Professor, Copenhagen Business School, Denmark McAuley et al.’s book is thought-provoking, witty and highly relevant for understanding contemporary organizational dilemmas. The book engages in an imaginative way with a wealth of organizational concepts and theories as well as provides insightful examples from the practical world of organizations. The authors’ sound scholarship and transparent style of writing set the book apart, making it an ingeniousRead MoreDeveloping Management Skills404131 Words   |  1617 Pagesmymanagementlab is an online assessment and preparation solution for courses in Principles of Management, Human Resources, Strategy, and Organizational Behavior that helps you actively study and prepare material for class. Chapter-by-chapter activities, including built-in pretests and posttests, focus on what you need to learn and to review in order to succeed. Visit www.mymanagementlab.com to learn more. DEVELOPING MANAGEMENT SKILLS EIGHTH EDITION David A. Whetten BRIGHAM YOUNG UNIVERSITY Read MoreExploring Corporate Strategy - Case164366 Words   |  658 PagesIntroduction to strategy Business environment: general Five forces analysis Capability analysis Corporate governance Stakeholder expectations Social responsibility Culture Competitive strategy Strategic options: directions Corporate-level strategy International strategy Innovation and Entrepreneurship Strategic options: methods Strategy evaluation Strategic management process Organising Resourcing Managing change Strategic leadership Strategy in practice Public sector/not-for-proï ¬ t management Small business

Behind the Mormon curtain Essay Example For Students

Behind the Mormon curtain Essay At TheatreWorks West in Salt Lake City, an original play, The Ballad of the Mountain Meadows, is in rehearsal. Playwright Raymond Hoskins, who is also acting in the show, is at odds with artistic director Fran Pruyn. Hoskins is defending what for him is an artistic imperative: honest representation. Pruyn is mediating on behalf of what for her audience is a cultural imperative: idealistic representation. The audience will be largely Mormon, and the historical event she and her company are dramatizing is a massacre of more than 120 non-Mormon immigrants in 1857, perpetrated by some of the ancestors of that very audience. Unlike other regions which may be dominated by a particular group, Utah, which is 70 percent Mormon, seems to be characterized by a collectivist mentality which by definition reduces individual perspective to personal threat. A spokesman for the Church of Jesus Christ of Latter Day Saints, or LDS, Don LeFevre, has defined the Churchs wary position by stating that ecclesiastical discipline toward those who question authority is partly designed to safeguard the purity, integrity and good name of the church. While the LDS history of pragmatic support for the arts continues to this day, a people once on the literal and ideological fringe of America have become what one scholar has termed super-Americans. American or not, Mormon art then and now has emerged out of a uniquely un-American collectivism. An LDS artist who challenges or defies church positions faces more than social censure; church membership may be at stake. If he or she is employed in one of the organizations vast holdings such as Salt Lakes CBS radio and TV affiliate, Beneficial Life, Bonneville Communications and Brigham Young University, the largest church-owned university in the nation job security may also be jeopardized. Often billed as the showplace of the LDS Church, Brigham Young situated south of Salt Lake City in Provo sets the standard for free-expression in the rest of Mormondom. Ariel Ballif, resident set designer at Pioneer Theatre Company and co-owner of Theatre 138 (once the only Salt Lake theatre outside the University of Utah), attended BYU as a youth and remembers Noel Coward comedies produced without cocktails and cigarettes, and Coca-Colas being the initiating lubricant for the hallucinations in Harvey. Things appear to have loosened up considerably since Ballifs days at BYU. Last season, Heubener, a play by Russian professor Tom Rogers, was restaged after a 15-year moratorium; initially banned from production at Ballifs Theatre 138 or elsewhere by church and/or university officials (Rogers will not say which), the play tells the true story of Heubener, a 17-year-old Mormon in Nazi Germany who distributed anti-Nazi leaflets copied on a church mimeograph machine. After the boy and three friends were caught by the SS, Heubener was excommunicated by the church leader in his German district before he was executed by the Nazis. Heubeners church membership was restored posthumously. Is a BYU production of Heubener a sign of more liberal statewide artistic standards, or does is it simply mean that theres finally enough critical and historical distance from the issue to make it safe? BYU anthropologist David Knowlton asserts in a recent Associated Press article that there is an organized inquisition in process at BYU, under the guise of a proposed academic freedom policy. If this is the case, sensitive issues like feminism, sexuality and artistic expression are not likely to fare well. Says Knowlton, I make the point that an ecclesiastical approach to academic freedom and theology is not workable. He has been threatened with excommunication from the church if he continues speaking to the press about non-church-sponsored gatherings such as the annual Sunstone Symposium, a broad-based, extra-ecclesiastical gathering to discuss Mormon ideology as it relates to current social and cultural issues. In what the Denver Post has called the Church State, its arguable that there are consequences for any artist who challenges church positions; after all, art in Utah must by definition appeal to an audience with a history of obedience to church policy. The strength of this public obedience becomes evident in state politics. In 1981 when the military announced that Utahs west desert was the preferred site of the MX missile system, Spencer Kimball, then LDS church president and prophet, issued a statement to an overwhelmingly pro-MX constituency condemning the selection of the site. Virtually overnight, the Mormon population capitulated. According to polls taken after the church statement had been issued, 80 percent of Utahns opposed the plan. Though to a certain extent all artists must play to their social terrain, in Utah the social terrain is holy ground. When artists deal with, for example, the redefinition of womens roles or the homosexual lifestyle, they are taking issue with divine edict. Mormons revere a prophet who, like Moses, literally speaks for God through revelation; church policy has an uncanny way of becoming public personality. When Carol Lynn Pearson, a Mormon writer and actress best known for her book, Goodbye, I Love You, a stirring account of her ex-husbands AIDS-related death, suggested in her one-woman show, Mother Wove the Morning, that women need to explore the female side of deity, Mormon leaders indirectly took her to task. Six days before the show opened for a repeat run in Utah last year, Gordon B. Hinckley of the LDS First Presidency publicly denounced any discussion of the generally accepted but largely tabled Mormon notion of Mother in Heaven. That Pearson includes in her show the testimony of Mormon first lady Emma Smith undoubtedly reinforced the concern of the church hierarchy. If her local bishop takes disciplinary action against Pearson on ecclesiastical grounds, her church membership may be in jeopardy. Commedia dell"arte EssayThe spectrum of local theatre that does travel outside Utah rarely includes a portrayal of the dominant regional figure the Mormon character. There are few exceptions. Wendy Hammonds Ghostman, a tale of child sexual abuse in a small Utah community, creates tragic characters who are incidentally Mormon. Emmett Fosters autobiographical solo show, Emmett, A One-Mormon Show, which played at the New York Shakespeare Festival in the 1970s, is part-nostalgic and part-derisive about growing up gay and Mormon. It is those playwrights of Mormon heritage focusing on more universal themes who seem to enjoy greater success in exporting plays that reflect the region. James Arringtons one-man show Farley Family Reunion is farcical folk theatre not unlike National Public Radios Prairie Home Companion. Las Vegas, which culturalist Jean Baudrillard called the great whore across the desert, is the setting for Aden Rosss comedy Ladies Room, which takes place in the lounge of C aesars Palace, and for David Kraness related pieces, 1101 and 1102. Kranes has also explored the thin line between the real and surreal as suggested by the west desert terrain in his Cantrell. The strongest depiction of Mormon themes and characters in recent American drama can be found in Tony Kushners Angels in America, currently running at the National Theatre in London and due this season in Los Angeles and New York. Kushner presents what may be the two most resonant, non-historical Mormon figures ever seen on stage and that such characterization has issued from a non-Mormon playwright says as much about the failure of LDS dramatists to transcend the self-consciousness of their social and cultural boundaries as it does about Kushners ample talent. Kushner teases out of Mormonism its most fascinating (and unfortunately diminishing) theological trope: the conviction that humanity is on the threshold of revelation. Whether Kushners model of Mormon drama will inspire other Utah playwrights to explicate the Mormon faith and culture honestly remains to be seen. Kranes, who is also an English professor at the University of Utah, generally sees his LDS students producing work that is pegged at one of two poles: apostate and angry, or in service of the faith. There are forces that confuse, complicate and put pressures on those who would be Mormon artists, says Kranes. Mormonism is not used in the same way that, for instance, Judaism is used by novelist Chaim Potok; that is, to wrestle with the angels of his belief. There is no space for Mormons to question their tradition within the tradition. Nancy Melich, theatre critic at the Salt Lake Tribune for more than 20 years, agrees. For the Mormon artist, she says, the emphasis is always on the church. The Mormon label makes a statement to the public that ultimately isolates the artist and the community from the rest of society. Strictures from within, however, are not the only constraints on Mormon writers. Tom Rogers, who has written several plays at BYU dealing with Mormonism, has taken a post-office box outside of Utah hoping to market his plays more successfully. Rick Gould, too, has been frustrated in his efforts to get further training as a playwright. Though his best work deals comically and dramatically with Mormonism, there has been pressure from the academic program to which he has applied to eschew the subject and draw instead upon his half-Japanese heritage to accommodate the fashions of multiculturalism. Meanwhile, in the wake of favorable reviews for The Ballad of the Mountain Meadows, ticket sales at TheatreWorks West are escalating. Earlier, to everyones surprise, actor and company board member B.K. Henrie, a direct descendant of a Mormon leader of the massacre detailed in the play, became unnerved by the material and walked out of rehearsal. Individuals with the same names as some of the Mormon characters are reserving seats for the controversial show. Raymond Hoskinss script is lyrical, his own acting arresting. Fran Pruyn moves her cast through a series of living tableaux which hold in awesome tension the dreams and expectations of the ill-fated Arkansas and Missouri settlers en route to California. Hoskinss indictment of Brigham Young (Richard Scharine) as indirectly responsible for the massacre is evident as the character mounts a raised pedestal engraved with the famous Sunstone, which adorned the cornerstone of the violently destroyed LDS Nauvoo Temple, to deliver speeches lifted directly from the public record. This drama has been staged with the influence of the early Mormon hierarchy ever-present; Utah theatre in general seems to play in the apse of the LDS church. The weight of history and religious influence generates a tension which fuels both Mormon and non-Mormon artistic enterprise in this unique crucible of American culture.

Which Conflicts Between and Within Generations free essay sample

Both characters are facing complications finding their place in the world due to conflicts between and within generations. One conflict they share is that they have difficulty finding their identity since they are not like other young girls in their society. Piquette’s family is â€Å"French half-breeds† according to the citizens of Manawaka and this racism makes Piquette feel isolated. Emily is thin and dark haired in a society where girls should be chubby with curly blond hair. Emily and Piquette also face conflicts that do not have a commonality.Emily is always looking for attention from her mother, but her mother is always busy with other things. Piquette, however, is offered attention and kindness when she is at the Diamond Lake cottage, but, rather than accept it, she continues to isolate herself. Another conflict the girls have in common is that they aren’t given the care they need and are forced to grow up fast resulting in a shorter childhood making the search for their identity even harder. We will write a custom essay sample on Which Conflicts Between and Within Generations or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page In â€Å"The Loons†, Piquette is in an ongoing conflict with the society in which she lives.Her family is said to be â€Å"French half-breeds† and they are different then the rest of the families that live around them. In the story, Vanessa’s grandmother says, â€Å"†¦ if that half-breed youngster comes along to Diamond Lake, I’m not going†¦Ã¢â‚¬  (Laurence 198) Piquette’s family was scorned by society before she was even born making it difficult for her while she was growing up. This conflict contributes to the theme because it makes Piquette’s identity even harder to find since she grew up thinking that she is different and isn’t wanted in the world.In â€Å"I Stand Here Ironing†, Emily, like Piquette, also feels she does not belong to the society in which she lives. In the story, Emily’s mother says, â€Å"She fretted about her appearance, thin and dark and foreign-looking at a time when every little girl was supposed to look or thought she should look a chubby blonde replica of Shirley Temple† ( Olsen 266). This difference makes Emily feel isolated from everyone and very self conscious about her appearance. Emily, as well as Piquette, had difficulty finding her identity because she was also scorned by society making her feel isolated and alone.Piquette and Emily also go through conflicts that are not similar on their journey to find their identities. Piquette, from the story â€Å"The Loons†, is in a conflict with Vanessa while she is staying with Vanessa’s family at the cottage at Diamond Lake. Vanessa continuously tries to include Piquette in everything, but Piquette isolates herself and she doesn’t accept the attention she is given. Vanessa asks Piquette to come listen to the loons with her on the beach bu t Piquette’s response is, â€Å"Who gives a good goddamn? † (Laurence 200). Piquette’s voluntary isolation makes her search for her identity even harder.In â€Å"I Stand Here Ironing†, Emily is in an ongoing conflict with her mother. Emily thrives for attention from her mother, but receives none. Her mother was always too busy trying to support Emily and care for her other children that she never has the opportunity to give Emily the attention that she needs. Emily communicated her need for attention and love to her mother by crying. She cried to her mother as a baby when her mother would not feed her when she became hungry. Emily would also cry for her mother’s attention when she was picked up at her babysitter’s house. The mother says, â€Å"†¦when she saw me she would break into a clogged weeping that could not be comforted, a weeping I can hear yet† (Olsen 263). Once Emily knows that her crying will not result in the attention she wants she becomes silent and keeps to herself. This silence makes Emily’s search for her identity harder as well because she didn’t open up to anyone. Throughout Emily and Piquette’s childhood both girls aren’t cared for enough by their parents and are forced to grow up faster then typical girls their age, making it harder for both girls to find their own identities.In â€Å"The Loons†, Piquette isn’t cared for by her father and her mother isn’t there. Piquette has tuberculosis of the bone, but it won’t get any better because whenever she goes home from the hospital, her father, Lazerus, never lets her get the rest she needs. Piquette’s doctor, Vanessa’s father, says â€Å"Piquette cooks for them, and she says Lazarus would never do anything for himself as long as she’s there† (Laurence 197). She is forced to be the mother figure of her house when she is still much too young for this responsibility.Emily, in â€Å"I Stand Here Ironing†, also is not given the care she needs and is forced to grow up faster than other girls her age. Emily’s mother is always preoccupied with other things such as work and her other children to give Emily the attention and love that she needs. In the story, her mother tells the reader, â€Å"She had to help be a mother, and housekeeper, and shopper† (Olsen 267). These responsibilities make her childhood and her ability to find who she was in the world very difficult.