Analysis and Evaluation of Scotch Whisky Industry Coursework

Analysis and Evaluation of Scotch Whisky Industry - Coursework Example Production of scotch whiskey has adversely been affected by declining revenues and slow growth for the past 5 years. This is attributable to declining per capita consumption of spirits, health and societal concerns about the misuse of alcohol and tough competition from its close substitutes. One of the major drivers of growth was the exports before the onset of the financial crisis, which slowed down the markets in US and Europe. Effects of global restructuring and cost-cutting measures on the Scotch whisky industry Diageo, as part of its restructuring plan reported that it would close down its Port Dundas grain whisky distillery and the Kilmarnock bottling plant. The latter is where the world’s most popular Scotch whisky, Johnnie Walker, had been bottled. This would cost about 710 jobs. Diageo also intend to expand its Leven plant and create about 400 jobs. A protest ensued from the stakeholders but the decision was ultimately undertaken by Diageo. Another whisky producer Why te & Mackay cut 85 jobs in Scotland. These signal decisions by producers to shift bottling overseas due to increased costs and the emerging economies, which have become important markets. Shifting production processes offshore will have an impact on production of other spirits in Scotland, which rely on the economies of scale by large-scale whisky distilling and bottling to remain operational. Analysis of Scotch whisky in terms of market segmentation . In 2008, Scotch whisky was overtaken by vodka as the highest selling spirit in the UK. However it is easily the most popular UK spirit exports with revenues of ?3.0 billion in 2009. Under the UK law, Scotch whisky must be produced in Scotland. It divided into 3 major types: single grain, single malt or blended. When blended, Scotch comprises 60 percent to 85 percent grain whisky. Its alcohol content ranges from 40 percent to 95 percent by volume. The Scotch whisky industry directly employs about 10,000 people at over 100 distilleries in Scotland. Famous Grouse and Bell’s are the top brands of blended Scotch whisky in the UK. Imported whiskies account for only 4.0 per cent of spirits sales. Included in this category are Irish whiskey, US and Canadian whiskey and Indian whisky. US-produced corn whiskey (bourbon) has demonstrated solid growth in the United Kingdom, particularly among younger drinkers. Markets for Scotch whisky industry Scotch whisky accounts for majority of the exports, followed by vodka and gin. By the year 2011-12, it is expected that exports will account for 88 percent of industry revenue. Scotch whisky’s major export markets are the US, France, Spain, Singapore and South Korea. India and China are becoming increasing important too. Business and production locations for Scotch whiskey There are four major producing regions in Scotland: the Highlands, the Lowlands, Islay and Campbeltown, Speyside is home to more than half of the distilleries in the UK. Scotland also accounts for mos t of the production of spirits other than whisky, including vodka, gin, rum and ready-to-drink beverages. Combining existing production facilities, bottling capacity and distribution channels with production of other spirits provides tremendous economies of scale for spirits producers. In the past two years, more than ?500 million has been spent on new infrastructure in the region. Key Success Factors of the Scotch whisky industry The most important Key Success Facto

The Historical Cost Convention Essay Example for Free

The Historical Cost Convention Essay The historical cost convention used in historical cost accounting, records transaction at the monetary value at the date of transaction (i.e. their historical cost). An asset or liability being measured using the historical cost basis is recognized initially at transaction cost. This convention is used as a basis to prepare financial statements. In the income statement, revenues and expenses are recorded at the monetary value shown on the invoice. Historical cost accounting (HCA) might be the most suitable convention for stewardship purposes but may not be the most suitable for decision usefulness. This view has been apparent in the UK, with attempts to introduce supplementary accounts based on the current purchasing power (CPP) convention and the current cost convention (CCA). Neither of these alternatives was adopted after their initial trial. The HCA depends on depreciation policy and inventory valuation therefore it is subjective. Such a characterization tends to assume, however, that all historical cost measures are transaction-based and involve little estimation, which is not the case. For example, adjustments made to the historical cost carrying value of trade receivables to make allowance for bad and doubtful debts involve a degree of estimation that is not dissimilar to that involved in estimating current values not derived from an active market. And the results are often of broadly similar reliability. There is a similar level of estimation involved in determining the cost of self-generated assets and by-products, and generally in all circumstances involving allocations of substantial amounts of indirect costs.

Anna Pavlova Ballerina Biography

Anna Pavlova Ballerina Biography Anna Pavlova, a famous Russian ballet dancer best known for changing the ideals for ballet dancers, was the first to make ballet popular in America and the rest of the world. Her love for classical ballet, determination to perform her love for the arts, influences and zest can still be evidently felt. Born on 31 January 1881, in St. Petersburg, Russia, Anna Pavlova was awestruck by the first ballet performance she watched and was intent on becoming a ballerina. Petite Pavlova entered the Imperial Ballet School in 1891 despite not having the preferred body type of a ballerina which was a strong, muscular and compact body. However, she gave the examiners enough confidence that she would work hard and excel. In the later years, Pavlova became one of the most astounding ballerinas. Young Pavlova was a talented and hardworking student. Training years were difficult due to her special physique. She was considered physically weak as she was small and thin coupled with highly arched feet unlike the preferred body of a ballerina at that time. Pavlova was fed with cod-liver oil which tasted awful to her in the hope of getting the ideal body. Even so she remained slender. In order to improve faster, Pavlova tried imitating other ballet dancers. However her teacher, Pavel Gerdt taught her to  understand her unique dancing of daintiness and fragility and the importance to dance out those rare qualities. Her zeal for ballet was remarkable; she worked hard to strengthen her weakness and also with what she had instead of trying to be someone else. Her willingness to overcome these obstacles at such a young age is commendable. Soon, Pavlova grew in gracefulness and could stand in a way that her body formed a beautiful line where she was able to bend and twist her torso wi th ease and grace. Instead of mastering multiple fouettes turns and other technical steps that the muscular Italian style had induced at that time, Pavlova danced poetically and expressively. She stood out.. Finally upon graduation, Pavlovas hard work paid off she graduated as a first class dancer. After Pavlovas school years, she continued training hard to improve her technique and even took extra lessons with different teachers such as Christian Johansson, Madame Sokolova and Nikolai Legat. Pavlova graduated at a time where virtuoso Italian ballerinas and a muscular ballet stylewas popular. Although Pavlova had mastered difficult steps and ballet technique, her highly arched feet were still too weak for the flamboyant pointe work. She experimented with ways to wear her pointe shoes with the hope of maximizing her potential. Through experiments, she discovered that by adding a piece of hard leather to the soles, the shoes provided better support. Many people thought this as cheating because ideally, ballerinas should be able to hold their own weight on their toes. However, her idea enabled her to perform better and allowed her to balance in her arabesque with poised and elegance inflicting less pain and  hence easier to sustain on pointe. In doing so, Pavlova created what is known as our pointe shoes today. Being able to go on pointe with ease and having a beautiful extension, flexible torso and tremendous feminine expressive dancing, Pavlova set a higher aesthetic of beauty in ballet where ballet dancers were able to perform with poise and elegance like a princess. With the recreation of the pointe shoes, there was a demand for brilliant and fancy footwork like jumps, multiple turns and balances and that of ballerinas performing on pointe. Pavlovas extremely strong stage presence caught a lot of attention and impressed several people such as leading ballerina, Kchessinskaya and ballet master Marius Petipa, who later became her most revered mentor. Pavlova started off performing at the Maryinsky Theatre playing minor roles. Although she was only able to perform short solos, she was not disheartened. Learning under Petipa, Pavlova improved tremendously earning the title role in Paquita, Princess Aspicia in The Pharaohs Daughter, Queen Nisia in Le Roi Candaule, and Giselle. She was named coryphà ©e in 1902, premià ¨re danseuse in 1905, and finally prima ballerina in 1906 after a resounding performance in Giselle. Petipa would edit various ballet variations to suit Pavlova and her unique style of dancing. With the collaboration between Pavlova and Petipa, they made ballet very popular and was highly demanded in places after Pavlova had performed. Pavlova and her ballet were so popular that she had a fans base who called themselves Pavlovatzi. Pavlovas popularity and fame rose with every performance she undertook, both at home and overseas. However she remained humble and danced genuinely. After earning the valuable title of Prima Ballerina in a mere four years, Pavlova traveled around the world to promote ballet. She felt that she needed to venture around the world to look for her true identity as a dancer coupled with the desire to be the best ballerina ever. It lasted for many years and took her all over the world. Pavlova left the Maryinsky Theatre and joined another company where she performed The Dying Swan which became her trademark. Pavlova performed extensively, even if it meant small stages. She was sincere in all her performances that she always took the audiences breath away. Pavlova and her company traveled extensively introducing classical ballet to the world. Countries such as China, India and Australia were touched by her sincere performance. Her first appearance in America, at the Metropolitan Opera House was an astounding one. Most of the American audiences had never seen classical ballet and critics could not depict what Pavlova had offered to them. They concluded however, that it was beautiful. Pavlova appearance in the various countries not only overwhelmed the people with her elegance and grace in dancing but also introduced a new kind of art form, classical ballet. Subsequently, there was a rise in demand and a higher expectation for ballet performances of both technique and aesthetics. Increasingly more people became interested in learning the art form as they wanted to dance as gracefully and elegantly as Pavlova. Pavlovas performance was always awaited enthusiastically. In 1904 when Russia was in chaos, Pavlova fought for dancers rights such as a  raise in the unjustly low salaries. She was firm in upholding her principles, ;Pavlova was insistent and determined in her values but at the same time respected what others wanted to do. Pavlova had little regard for the wealth she obtained, she was more interested in spreading her love for classical ballet. She would donate generously to charities and to dancers who were paid low. This provided the dancers with a motivation to work hard so that their daily expenses were less of a worry. Shortly after becoming the Prima Ballerina at the Maryinsky Theatre, Pavlova left the company travelled around the world to promote ballet and later setting up a company of her own. Since then she contributed greatly to both the arts and her home town financially and artistically. Although she was on tour during World War I, she gave special charity performances to raise funds to send home and for the needy, making sure that ticket prices were affordable. At the same time, she promoted classical ballet to places where it was foreign to them. Hence more people had the chance to have a glimpse at classical ballet Pavlova used her love for classical ballet as a source of comfort to the audience. In addition, she was very patriotic. She established a home for Russian refugees and sent large amounts of everything she could to help them including from her own private resources, vast entertainments and charitable performances. She believed that through dance she would be able to make and help patrons forget their problems, or the very least forget their problems momentarily during the performance. Her sincerity and utmost respect for the audience during the performances always awed them and this was what made her very special. Pavlova never believed in teaching her students how to imitate her in dancing. Pavlovas student would try to intimate her style of dancing, following her sentimental and melodramatic expression, which she would never hesitate to rebuke the student. She believed that by intimating another, one would only be a dancer without a soul. Everyone is special to her and that no one is replaceable. She too did not believe in teaching a dancer to be a technical dancer, she felt that expressing inner beauty and feelings was more important because that was the way to create sincerity in dancing. Hence Pavlova always taught her students to dance with their heart leading to genuinely performed movements. In 1931 she contracted pleurisy. An operation would have saved her life however she would never be able to perform again. With her love for dance, Pavlova chose to die. In the end, she died before she was able to perform The Dying Swan on stage. Pavlovas love for dance and ever lasting determination to do her best in perfecting what she loves is widely recognized in the world. It was because of her that ballet and the usage of her handicraft, the pointe shoes became popular till this day. Through her undying love and creativity in creating wonderful performances in classical ballet, Pavlova touched the hearts of many people. Pavlova taught people the true meaning of art through her sentimental and melodramatic style of dancing. As a result, ballet moved beyond mastering techniques, to the expression of inner beauty and sincere feelings. Pavlova taught people to be sincere with themselves and only so will they be able to perform sincerely. Similarly, her strong character has taught many people to be  humble and to have self respect for themselves, the art form and the people around them. If not for Pavlovas insistence, classical ballet or any sort of dance would not have been taken seriously or respected till today.

Public vs. Private Healthcare in Canada Essay -- Healthcare, argumenta

The private health care system is superior to the public health care system Being a Canadian citizen, it is hard for me to think of life without any health insurance. I have had public health insurance all my life growing up and have been free to go to any hospital at any time and get some form of health care. Residing in the United States off and for the last 7 years I have experienced health care from both sides. I feel that private health care has huge advantages over public health care. In the following essay I will explain in three points why I feel strongly about private health care as opposed to public. What is better is always subjective, and I will not try to argue the point of health for all, but instead for the individual who is seeking the best health care possible, and is willing to put the resources into obtaining that. I will be addressing efficiency and quality, not inclusion of everyone (free health care), I will be addressing the root of this and not just that one argument, which would detract from my focus. I will not be getting in to the political debate of socialism vs. capitalism, as that is a separate argument in itself, and this country is currently running under capitalism. Again coming from living in both a socialist and then a capitalist society, I feel I can do so in an unbiased manner. Timeliness in medical care can be of the utmost importance. Letting things progress can result in a slippery circle, where a minor infection, untreated end up being life threatening. With increased damage caused by neglecting health care, or waiting on a health care provider, the physical damage, and costs associated increase, often exponentially. As an example of the time efficiency pr... ...s not insured and I saw him struggle with not being insured and how he had wished he had made it a priority to stay insured throughout the years. Nuala Kenny and Roger Chafe state that â€Å"Canadian health care is moving toward privatization without evidence that this will help efficiency, equity, cost containment, or access – highlighting the market's power to change the course of even the most cherished social programs.† Canada has had public health care for a number of years and now is looking at adding privatization again. That would make you conclude that private insurance has more advantages than public insurance. Private health care is superior than the public health care system because it has efficient treatment, better individual care and is cost efficient. I think that the socialist health care system weakens a person's ability to reach a quality of life.

Ironic Narrative in A Farewell To Arms by Ernest Hemingway Essay

Within the pages of A Farewell to Arms, modernist work of the 1920s, Hemingway often blurs the lines between the romantic narrative pattern and the ironic one. Critics argue over the specifics of each case: Do his heroes change and grow? Do they stagnate? Do they fail? Are they initiated into some greater consciousness of the world around them? Are Hemingway’s heroes romantic conquistadors or are they ironic failures? How does an understanding of these heroes’ initiations enhance Hemingway’s meaning in the novel? These are the sorts of questions that must be considered in any effort to determine the necessity of an ironic reading of this important Hemingway work. Paradigms Romance and Irony Although tragedy and comedy have typified many movements and periods of literary history, for the purposes of this essay, it is necessary to focus upon the paradigms of romance and irony. These narrative patterns are not as familiar to many readers. Readers may associate romance with a particular genre of literature, whether gothic or harlequin, or recognize salient ironic details within plots, characters, and/or dialogues, but many fail to realize the archetypal patterns that define the literary paradigms of romance and irony and their relationship to one another. Foulke and Smith lay the foundation for this exploration of romantic hero versus ironic anti-hero and romantic quest versus anti-quest, yet this construction can be explored even more fully if one examines the elements of the hero’s journey as (de) constructed by Joseph Campbell in Hero with a Thousand Faces. In this work, Campbell draws from the traditions of Freud and Jung to illustrate how the â€Å"deeds of myth survive into modern times† (Campbell 4). Because themes of initiation and the related hero’s quest are fundamental to the human condition, tying into universal perceptions of birth, growth, and death, the quest theme itself is always a â€Å"shape-shifting yet marvelously consistent story† that fits into the psychologically prescribed â€Å"checkpoints† of a narrative pattern such as romance or irony (Campbell 3). In the realm of romance, young heroes, generally in possession of some power that transcends the ordinary, are called to adventure, initiated into some sort of knowledge or greater understanding of the universe (in other words, he or she receives the booty or treasure, whether physical, psychological, or spiritual), and returns transformed, armed with some sort of greater understanding about the world around him or her significant enough to improve the plight of humankind or at least improve the lot of society (Foulke and Smith 5). On the contrary, the ironic journey is rooted in, well, irony. Perhaps the ironic hero, plagued by a less than ordinary potency, living in a world of chaos and disorder, ventures upon an aimless journey, and either fails to attain the treasure, or perhaps even more significantly, remains unchanged by his or her quest (Foulke and Smith 5). The narrative modes of romance and irony, then, can best be explored by pitting one against the other. Each pattern illustrates or represents a polarized human experience: romance represents the imagined, idealized world of constancy and order, while the ironic mode represents â€Å"the world of frustrated human desires† (Foulke and Smith 8). Because of the universal significance of such patterns, such paradigms are powerful mechanisms for the exploration of the human condition. Ironic Narrative in A Farewell to Arms From the beginning of the novel, readers immediately sense the ambiguity and uncertainty of hero’s role in an unpredictable world. The book opens with an ironic tone depicting a wilting earth in a drenched autumn: â€Å"leaves all fell from the chestnut trees and the branches were bare,† even the vineyards are described as â€Å"thin and bare-branched† (Hemingway 4). And, even more poetically, Hemingway artfully sets up an ironic tone for the novel by cleverly, though morbidly, emphasizing that with â€Å"the winter came permanent rain and with the rain came the cholera†; though, â€Å"in the end† only seven thousand â€Å"died of it in the army† (Hemingway 4). With this opening, a wilting depiction of nature, Hemingway sets his readers up for an ironic interpretation of his novel. It is within the context of such a pervasive unsettling setting, as typical of the ironic mode, that readers encounter Hemingway’s ironic hero: Frederic Henry. Frederic is initially set into a traditional hero’s role: he is a soldier. And, not only is Frederic a soldier, but he is an American volunteer for the Italian army. Within the context of the traditional romanticized soldier hero, it could be suggested that such action as volunteering for someone else’s war is valiant, brave, and even representative of that larger-than-life archetypal hero depicted in narrative romance. However, Hemingway is certain to emphasize Frederic’s naivetà ©, if not foolishness, from the very beginning of this anti-hero’s journey. Although Frederic technically ranks as an officer, he describes his work to Catherine as â€Å"not really [with] the army,† but â€Å"only the ambulance† (Hemingway 18). As an ambulance driver on the Italian front, Frederic’s innocence is encapsulated in his belief that it is impossible for him to be killed at the front; after all, the war â€Å"did not have anything to do† with him (Hemingway 37). Frederic’s innocence is also depicted and reinforced by his obliviousness to the war; he is able to travel comfortably in convoy if in â€Å"the first car† and appreciate the â€Å"clear, fast and shallow† river and the mysterious looming mountains (Hemingway 44-5). Frederic’s ability to appreciate the â€Å"picturesque† Italian front illustrates his inability to realize the significance of both the â€Å"deep pools† of the river â€Å"blue like the sky† and the reality of life and death shuttled within his ambulance (Hemingway 47). This naivetà © is similarly reflected early in the novel by the fact that Frederic clearly and staunchly believes in the traditional virtues of soldiering: good soldiers are ‘†brave and have good discipline'† (Hemingway 48). When these naive character traits are coupled with the dominant impression presented by the fading, rainy fall, and cholera-struck winter, the stage is set early on in A Farewell to Arms for another Hemingway triumph of irony. However, from the beginning of the book, readers are aware that Frederic is becoming increasingly cognizant of the fact that â€Å"It evidently made no difference† whether he â€Å"was there to look after things or not† (Hemingway 16). When Frederic returns to the front after his leave time, he realizes that all is as he â€Å"had left it except that now it was spring† (Hemingway 10); the front had remained static, and neither side had advanced or taken new territory. As typical of the ironic hero, Frederic begins to think that perhaps â€Å"the whole thing† runs better without him anyway (Hemingway 16). From Frederic’s perspective, not even the wounded in the hospital are â€Å"real wounded†; rather, true casualties could only result from the action when the war picks back up again (Hemingway 12). Frederic’s dissatisfaction with the world around him represents his call to adventure. As a foreigner in someone else’s war, Frederic Henry is beginning to sense the calculated nature of war as well as his insignificance in this cataclysmic event. For regardless of the supposed honor of military service, Frederic is beginning to question the dignity of his post; he considers his position as an ambulance driver to be â€Å"not really the army,† the Italian salute, a gesture â€Å"not made for export,† begins to make him uncomfortable, and even the steel helmets soldiers are required to wear seem â€Å"too bloody theatrical† (Hemingway 18, 23, 28-9). And, even life at the front is beginning to grow dull: â€Å"The priest was good but dull. The officers were not good but dull. The King was good but dull.† Only the wine, â€Å"bad,† was â€Å"not dull† (Hemingway 38-9). Frederic is beginning to question his role, and his significanc e, within the context of the war, and within the context of his morality. All around Frederic Henry, soldiers much more connected than he is to the war, such as Italian peasants, workers, and citizens, recognize the horror of the war for what it is: senseless fighting for abstract principles that results in the death of innocent soldiers often blindly fighting for these goals. This reality is exemplified in Frederic’s encounter with a soldier suffering from a hernia at the front. The soldier, of course, wants out, but tells Frederic, the ambulance driver, that officers do not find his condition worthy of excusing him from duty. Henry advises the man with the hernia to â€Å"fall down by the road and get a bump on† his head so that he can legitimize taking the soldier to the hospital (Hemingway 35). However, irony permeates this situation. Henry and his compadres encounter the man with the â€Å"rupture† once again, only this time his head is bleeding as two men lift him; â€Å"They had come back for him after all† (Hemingway 36). This anecdote illustrates the fundamentally ironic nature of war: violence, injury, motivation, unpredictable motives and priorities, the inherent irony in fighting for someone else’s cause. Soldiers in war must struggle to choose to fight for arguably noble causes of an abstract nation, ideological principle, or political goal, look out for one another on the front, or simply prioritize their own survival. Frederic must grapple with why he is risking his life in this war at all. Is there more to fighting in a war than simply existing in a particular place at a particular time? Frederic himself suggests that he merely stumbled into the war: he â€Å"was in Italy†¦and spoke Italian† (Hemingway 22). How moral is it to participate in collective violence without a passionate code of ethics that supports the cause? These are the types of concerns plaguing Hemingway’s ironic hero as he is beckoned towards the threshold of adventure. Conclusion After analyzing the impotent nature of the major character of A Farwell to Arms, it becomes clear that the novel do indeed illustrate the futile struggle of a â€Å"lost generation.† Perhaps the most central question that must be explored in the consideration of whether or not this work are examples of the paradigm of narrative irony hinges upon the endings of the works. Does Frederic transform over the course of his literal and symbolic journey? It is clear that he does not. Frederic has learned that life is only meaningful if one lives it according to his or her own values, but he has also learned the lessons of the great irony: that â€Å"the world breaks everyone†¦It kills the good, and the very gentle, and the very brave impartially† and â€Å"The only thing that one can be sure of in this world is that one will be destroyed† (Hemingway 249; Phelan 54). Hemingway’s A Farewell to Arms ends in utter irony. When Frederic finally says goodbye to his beloved Catherine, he remarks that it is like â€Å"saying good-by to a statue.† The novel ends as Frederic walks â€Å"back to the hotel in the rain† (Hemingway 332). Left in a post-World War I experience, Frederic is lost, â€Å"bereft, homeless, and a drift† (Donaldson 15); Frederic Henry has learned the ironic lessons of life, and attempted to establish and live by a moral code dictated by his own creation, only to be defeated by the ultimate truth of existence, that is, that stripped of the traditional props of God, country, and tradition, the modern hero must face the â€Å"harsh and irremediable realities of existence† (Gurko 65). Hemingway’s skillful use of narrative irony in this text represents the most appropriate use of the modernist writer’s palette, for within the â€Å"anti-hero† of Frederic Henry readers find universal symbols for the plight of modern man. Because Hemingway stresses this fundamental futility of the human struggle within the confines of life and death, any interpretations that stress the romantic triumphs of this early Hemingway novel, that is, that this hero attain knowledge that can transform his world within his move from innocence to experience, is countered by the undeniable reality portrayed in this novel and that the book â€Å"end in overwhelming irony† (Smith 33). The ironic mode dominates as Frederic, desperate to add meaning to his life through love and experience, emerge as mere humans â€Å"clutching at a straw† (Smith 34). As Philip Young so eloquently argues in Hemingway: A Reconsideration, the fundamental reality of both the ironic mode, as well as Hemingway’s novel, is that â€Å"In the end, man is trapped† (93). Works Cited Campbell, Joseph. The Hero with a Thousand Faces. Princeton: Princeton University, 1968. Donaldson, Scott. Introduction. New Essays on A Farewell to Arms. Ed. Scott Donaldson. Cambridge: Cambridge University, 1990. 1-25. Foulke, Robert and Paul Smith. An Anatomy of Literature. New York: Harcourt Brace Jovanovich, 1972. Gurko, Leo. Ernest Hemingway and the Pursuit of Heroism. New York: Thomas Y. Crowell, 1968. Hemingway, Ernest. A Farewell to Arms. New York: Scribner, 1995 Phelan, James. â€Å"Distance, Voice, and Temporal Perspective in Frederic Henry’s Narration: Successes, Problems, and Paradox.† New Essays on A Farewell to Arms. Ed. Scott Donaldson. Cambridge: Cambridge University, 1990. 53-74. Smith, Paul. â€Å"The Trying-out of A Farewell to Arms.† New Essays on A Farewell to Arms. Ed. Scott Donaldson. Cambridge: Cambridge University, 1990. 27-54.

England As A Christian Country Religion Essays

England As A Christian Country Religion Essays England As A Christian Country Religion Essay England As A Christian Country Religion Essay Based on these premiss, Christians are hence those who believe and accept the instructions and philosophies of the Lord Jesus as written in the Bibles. Taking this to England position, the background history reveals the active engagement of the English trusters in the topic of Christianity right from the Stone Age. They actively participated in the outgrowth and airing of Gospel within the geographical range and the remainder of the universe. Around 2nd century, the chief dwellers were Gaelic migrators from Western and Continental Europe, chiefly from France, jointly known as Britons2. Majority of these are heathen. The Celtics were polytheists, idolizing many Gods with their priests known as Druids. With the conquering of the Kingdom by the Romans, [ led by Julius Caesar s foray in 55BC and subsequently by Emperor Claudius ] , the whole Southern portion of the Kingdom became portion of the Roman Empire. In all these, England still maintained their continuity in the Christian believe which made them an exclusion to all states environing them. Many of the Roman temples similar to that of the Celtic Gods were discovered across Southern England. Later in the twelvemonth 407, the Romans left Britain and this led to the terminal of the Roman civilization. In the 5th and 6th centuries, the Saxons, Angels and Jutes from Germany invaded and occupied what is now known as modern twenty-four hours England with their Nordic heathen faiths. This led to the death of Christianity, except in Cornwall. During the period 597 AD, the Gregorian Mission started the transition of the Anglo-Saxon Kingdoms, influenced by the Gaelic Christians from the North-West and the Roman Catholic Church from the South-East. Gradually, the Anglo-Saxon polytheist which was introduced to what is now England over the class of the 5th and sixth century was replaced. The last heathen Anglo-Saxon/ Jutish male monarch died in the twelvemonth 686. At the petition of Ethelbert of Kent, Pope Gregory 1 sent missionaries and in 596, he dispatched Augustine of Canterbury together with a party of monastics. In the twelvemonth 597, Augustine was ordained and took office as the first Archbishop of Canterbury. In 601, Augustine baptised the first Christian Anglo-Saxon King, Ethelbert of Kent. Ethelbert permitted Augustine and the missionaries to settle and prophesy in the town of Canterbury. By the terminal of the twelvemonth, Ethelbert was converted. With the mission of Saint Augustine of Canterbury, Christianity became established in England in the sixth century. Many of the pagan temples were converted and patterns transformed into dedication ceremonials or banquet of martyrs Church were rebuilt and reconsecrated as C athedral and monasteries were founded, among which is the St Peter and Paul. Reformation continued in England shortly after the clip of Luther and this coincided with King Henry VIII s politically motivated interruption with the Roman Catholic Church in 1534. Henry was made the caput of the Church of England by the act of domination in the same twelvemonth. The act of six articles which formed the basic philosophy and beliefs of the church of England was instituted by Henry in 1539. The article preserved the old pattern. Latin was replaced by English from 1545 as the linguistic communication of Church service. The confusion brought approximately by the reformation involved England in Religious wars with Europe Catholic powers ; notably Spain. However, The Kingdom was able to continue its independency through the Charismatic accomplishments of some of its swayers, such as Elizabeth 1 who restored Protestantism to England. She became the caput of the Church of England. In England presents, civilization, promotion in cognition and engineering including inflow of immigrants into the Country Christianity seems to be a disregarded constructs. Many topographic points of worship have been converted into film and other commercial intents. The former spiritual society is now a multicultural and secular society. The foundational Christian truth of animals by a Godhead is popularly negotiations as ordinary evolutionary issues being accepted and taught at all degrees. The cloth of Christianity has been eroded ; people no longer attend church services nor have regard for the things of the Kingdom ; saloons and nines have taken over the life manner in England, jubilation of nakedness, witcheries and other scripturally out Acts of the Apostless. On the footing of the foregoing, cognition of God is missing in modern England as my people perish for deficiency of cognition . Wind of resurgences is now blowing across England and Europe in general which are championed by the Pentecostal motions. There is assurance that in the close hereafter England and so Great Britain will return back to God their sires have served because despite bulk attitude to the worship of God, Christianity is still the trademark of most determinations taken in the society including welfarism intervention to the citizens, active engagement in charity plants, observation of of import Christian day of the months such as Easter, Christmas, and Lent periods compared to other faith opposite numbers. England can still be described as a Christian state.