Is Graffiti Art Or Vandalism Cultural Studies Essay

Is Graffiti Art Or Vandalism Cultural Studies Essay I am intending on exploring whether graffiti is art or vandalism. By exploring this research topic I will be breaking it down into different sections. The first section I will be defining what vandalism is, the perspectives of other researchers and the actions of vandalism. In the second section I will be defining art. I will also define graffiti and discuss its history and development. Researching about a well known graffiti artist will also be included to make my research more effective. This debatable question is addressed to people with limited knowledge about graffiti. People claim that graffiti is an illegal act without getting their facts straight. I am hoping that my research would widen ones horizon of knowledge once they read my essay. At the end I will conclude and give my own opinion to this subject matter. Introduction Graffiti is an interesting topic because it sparks conflict and debate all over the world. It is important or worth studying graffiti because to many people around the world graffiti is not a good sight to see, mainly because it is not normal to them, foreign, unknown and a problem to everyday organised living. The disliking of the writing on the walls by ordinary people has allowed for anti-graffiti laws to be created by politicians with little fuss and usually with the publics support. In turn, the creators of the writing have become outlaws, simply because of the criminalization of the public act of getting up their names and messages. Vandalism Vandalize is to deliberately damage things, especially public property (Longman Active Study Dictionary- Elizabeth Manning). Not deliberately destroying things or damaging private (your own) property may not be considered as vandalism. Vandal is someone who deliberately damages things, especially public property (Longman Active Study Dictionary- Elizabeth Manning). Someone that damages their own private property cannot be classified as a vandal because he is not destroying it deliberately or destroying someone elses property. A person damaging another persons property with that persons authorization can also not be classified as a vandal because he/she got the approval. The term vandalism was invented in 1794 by Henri Gregoire, the Bishop of Blois, to describe the destruction characteristic of the extreme phase of terror .The statement is correct because it is almost similar to the meaning in the Longman Active Study Dictionary. Destroying or damaging property is one of the destruction characteristics. The term vandalism takes its genesis from the Vandals (an ancient Germanic people) who developed mailed cavalry and who were armed with long spears and bows. They are associated with unnecessary destruction as a result of their taking over of Rome under King Genseric in 455. The term was quickly adopted across Europe. Around AD 1700 their name became notorious with the idea that they were a barbaric group with a lack of culture, with rude behaviour and with the ruthless destruction or spoiling of anything beautiful or venerable. There are reasons why people commit vandalism. Stanley Cohen has typified and outlined reasons why people execute vandalism. The six types of vandalism are ideological vandalism, acquisitive vandalism, tactical vandalism, vindictive vandalism, play vandalism and malicious vandalism. Ideological vandalism: property to gain publicity for a particular cause and is justified by long-standing grievances or political beliefs- Perhaps one of the most famous historical cases of ideology. Acquisitive vandalism: to acquire money or property. Tactical vandalism: a means of achieving some other end. Vindictive vandalism: to get revenge. Play vandalism: fun or high spirits. Malicious vandalism: the category which people fail to understand because it appears to be vicious, apparently meaningless. (Vandalism Graffiti: The state of the art- Frank Coefield Pg. 32-33). Vandalism as Crime Citizens commit vandalism when they damage or spoil the property of others on purpose. Some vandalism may qualify as culture jamming or sniggling. Culture jams changes logos, fashion statements and product images to challenge the idea of whats cool, along with assumptions about the personal freedoms of consumptions. Sniggling is a prankish act of social commentary, art, disruption, or protest (Wikipedia 02/08/10): it is thought by some to be artistic in nature even though carried out illegally or without the property owners permission. Criminal Vandalism takes many forms. Graffiti is more common in many inner cities as part of gang culture on public property: however, other more serious forms of vandalism that may take place during public unrest such as rioting can involve the wilful destruction of public and private property .I believe a person without legally recognized excuse of destroying or damaging any property belonging to another should be punished or charged for their appall ing behaviour. Vandalism as art Though vandalism in itself is illegal, it can also be an attraction or art to some people. According to Colin Ward (1990) The vandalism of the last centaury becomes todays tourist attraction (Discussion Paper on Vandalism and Graffiti, Calouste Gulbenkian Foundation, London, 18 June, 1-10). What he means by this is that, the vandalism that had happened in the past will be a historic moment and some people may agree. Some people may oppose to this statement because deliberately destroying property on purpose is not a good idea to them or art to them. What is Art? To a historian trying to study at, growth of art, the knowledge of it and the history of it, it will leave him confused. Art doesnt have logic. In science there is a progression but in art, you will keep going backward and forwards. To understand Art we have to look back at art history. If you apply logic to art, it is artificial. The philosophy of art is how you view the world visually. What is Art? Is a frequently asked question of the evident world by the visual sense, and the artist is simply the man who has the ability and the desire to renovate his visual perception into a material form. The first part of this action is perception and then you express what you perceived. The entire history of art is a history of modes of visual insight: of the diverse ways in which man has seen the world. The inexperienced person might not agree that there is only one way of seeing the world- the way it is presented to his/her own immediate vision. But this is not true-we see what we want to se e, and what we want to see is determined, not by the unavoidable laws of optics, or even (as may be the case in wild animals) by an instinct for survival, but by the desire to discover or construct a realistic world. What we see must be made real. Art in that way becomes the construction of reality. Art is the process or product of deliberately arranging elements in a way to affect the senses or emotions. It encompasses a diverse range of human activities, creations and modes of expression including music, literature, film, photography, sculpture and paintings. The meaning of art is explored in a branch of philosophy known as aesthetics.(Wikipedia 09/08/10) Since art is a very broad topic, breaking it down will make it easier. Visual art Visual art is a visual object or experience consciously created through an expression of skill or imagination. The term art encompasses diverse media such as painting, sculpture, printmaking, drawing, decorative arts, photography, and installation. (Encyclopaedia Britannica Online) Graffiti Graffiti is a form of visual communication, usually illegal, involving the unauthorized marking of public space by an individual or group. Although the common image of graffiti is a stylistic symbol or phrase spray-painted on a wall by a member of a street gang, some graffiti is not gang-related. Graffiti can be performed in order to gain attention or as a form of thrill seeking (antisocial behaviour), but it also can be understood as an expressive art form.(Encyclopaedia Britannica online) Graffiti and graffito are from the Italian word graffiato, meaning scratched. Graffiti is applied in the history of art to works of art formed by scratching a design into a surface. A related term is graffito, which involves scratching through one level of a pigment to reveal another underneath it. This technique was primarily used by potters who glaze their wares and then scratch a design into it. In ancient times graffiti was carved on walls with a sharp object and sometimes chalk or coal was used. The term graffiti originally referred to the inscriptions and markings found on the walls of ancient sepulchre or ruins, such as in the civilizations of Greece and Rome (as in the Catacombs of Rome or at Pompeii). The most primitive forms of graffiti date back to 30,000 BCE in the form of prehistoric cave paintings and pictographs using tools such as animal bones and pigments. Graffiti was done by the ancient Egyptians, the Vikings and even the Mayans. These people communicated with each other about daily life, current events, etc: offering us a direct look into their ancient street life. It is tradition of communication. Even before this, there were caves in France where prehistoric man left markings on the walls to let us know who was there. Modern-style graffiti In the ancient Greek city of Ephesus (in modern-day Turkey) is where the first known example of modern style graffiti survives. It is positioned near a mosaic and stone walkway, the graffiti shows a handprint that vaguely resembles a heart, along with a footprint and a number. The ancient Romans engraved graffiti on walls and monuments, examples of which also survive in Egypt. Prehistoric graffiti displayed phrases of love declarations, political rhetoric, and simple words of thought compared to todays popular messages of social and political ideals. Modern History Modern graffiti art originated in New York City, and it was known first as New York Style graffiti. This art movement began in the late 1960s when adolescents used everlasting markers to tag or write their names, followed by the number of the avenue on which they lived and in subway cars. This style originated with the emergence of Taki 183 which was the label of a Greek American boy named Demitrius. After an interview with him was published, hundreds of children began to write their names all over New York. This was a start of getting recognized, when writers used their signatures to become heroes in their own communities. Tagging soon became a way to get ones name known throughout the town. However, tagging appeared in Philadelphia before New York. The monikers, Cornbread and Cool Earl were well known in Philadelphia. They gained a lot of attention from the Philadelphia press and the community by leaving their signatures everywhere. As graffiti became more and more popular and more noticeable, writers formed new styles and thought of new ways to write their names and make their tags only one of its type. Writers created many new scripts and scrawl styles and improved their tags with flourishes and symbols. Some symbols were strictly for visual impact while others had meaning, such as crowns, which writers used to proclaim themselves kings. They used arrows to show movement and underlining to show importance. Quotation marks and exclamation points became essential design elements. This time, between 1969 and 1974, is referred to as the pioneering era, when graffiti experienced a surge in styles and popularity. But it was still strictly tag- based. The next major progress was scale. In addition to the growing difficulty and creativity, tags grew larger as writers increased letter size and line thickness and outlined their work. This was the beginning of the piece, short for masterpiece. It is difficult to be certain who did the first true piece, but it is commonly credited to SUPER KOOL 223. The thicker letters provide the opportunity for writers to further improve the name and to colour the interiors of the letters with patterns and designs. Around 1974, writers like TRACY 168 and BLADE created works that had serious backgrounds, incorporating characters, scenery and other illustrations on subway cars. This formed the basis for the mural whole car, called the burner, when the entire car is covered. By the end of 1974, the foundations were laid, allowing styles to develop that departed from the tag-styled pieces. This was a turning point in graffiti history, when graffiti made the leap from tagging to style-driven pieces. Soon arrows, curls, connections and twists ran all through the letters. These additions became the basis for semi-wild style and unreadable wild style lettering. Writers such as RIFF 170 too got ideas from other writers and enhanced upon them, helping the competitive atmosphere, which is a necessary aspect of graffiti. Other writers, including FLINT 707 and CASE 2, made major aid in the advance of three-dimensional lettering by adding up depth to the piece, which became the standard. Graffiti worldwide The stretch of graffiti worldwide happened during the 80s with the outbreak of hip hop subculture. Fuelled by music videos and films, images of New York street culture were channelled around the world. Almost overnight, everyone wanted to be a New York B-boy. Modern graffiti is often seen as being mixed with hip-hop culture. However, lets be clear: modern graffiti predates hip hop by at least a decade. Graffiti was here before hip-hop, graffiti will be here after hip-hop, and if it wasnt for graffiti, there would be no hip-hop. Hip-hop and graffiti reached Europe together. European writers spent years studying letters, styles and New York Street culture. They copied the early styles, and then expanded upon them. Graffiti magazines documented early movements across Europe. And the printed media proved to be an additional catalyst for the expansion of graffiti art worldwide. Also during the early 1980s, American writers began touring Europe via art galleries in cities such as Amsterdam, Barcelona and Stuttgart. There was one major difference: European writers were focused on painting walls, not trains, which led to different styles. Europeans also wanted to paint in the birthplace of modern graffiti; so many Americans hosted them in what were called Pilgrimages to Mecca. American writers went to Europe to paint and Europe writers came to American to paint. By the late 80s the European graffiti scene was in full swing. Today Graffiti is influencing the works of creative individuals worldwide in areas as diverse as graphic design, photography, advertising, illustration, and fine art and even multimedia and technology. Why are we attracted to graffiti? I believe that part of it has to do with what I call the psychology and self-affirmation. There is something inside us that wants to take up space and announce our existence. Graffiti has always been about uprising, style and observation. When you do your thing today, you will influence the people of tomorrow, and the observations they create will influence the next generation after that. And the pursuit of styles becomes a never ending expedition. We must all think about improvements, about getting better, because history will be watching. I believe everyone-taggers, bombers and pieces-needs to take their own style to the absolute limit, and then do it all over again. Is Banksy a Street Artist or Vandal? Banksy is low profiled British graffiti artist whose identity used to be unknown. According to author and graphic designer Tristan Manco, Banksy was born in 1974 and raised in Bristol, England. He was a son of a photocopier technician. He trained as a butcher but became involved in graffiti during the great Bristol aerosol boom of the late 1980s. His artworks are often satirical pieces of art on topics such as politics, culture, and ethics. His street art, which combines graffiti writing with a distinctive stenciling technique, is similar to Blek le Rat, who began to work with stencils in 1981 in Paris and members of the anarcho-punk band Crass who maintained a graffiti stencil campaign on the London Tube System in the late 1970s and early 1980s. His art has appeared in cities around the world. Banksys work was born out of the Bristol underground scene which involved collaborations between artists and musicians. Banksy does not sell photos of street graffiti. Art auctioneers have bee n known to attempt to sell his street art on location and leave the problem of its removal in the hands of the winning bidder. (Wikipedia 13/08/10) Career Steve Wright says Banksy started as a freehand graffiti artist in 1992-1994 as one of Bristols DryBreadZ Crew (DBZ), with Kato and Tes. He was inspired by local artists and his work was part of the larger Bristol underground scene. From the start he used stencils as elements of his freehand pieces, too. By 2000 he had turned to the art of stenciling after realizing how much less time it took to complete a piece. He claims he changed to stenciling whilst he was hiding from the police under a dumper truck, when he noticed the stenciled serial number and by employing this technique, he soon became more widely noticed for his art around Bristol and London. Stencil on the waterline of The Thekla, an entertainment boat in central Bristol (wider view). (Wikipedia 13/08/10) Banksys Graffiti Genuine Works of Art or vandalism? Many of his graffiti work has been cleared off surfaces and remain now only in the photographic record. However some of Banksys art pieces have been said to be to be genuine works of art. People who have removed Banksys graffiti works will come to regret these actions as the price of his works are fetching handsome prices at the auction houses. Bristol Council has allowed a piece called Naked Man which portrays a nude male dangling by one arm from a window sill, to be left in place by popular demand. His other art work Space Girl Bird has made a record  £288,000.Banksys stencils feature shocking and funny images occasionally combined with slogans. The message is usually, anti-capitalist, anti-establishment or anti-war. Subjects often include policemen, monkeys, soldiers, rats, children, and the elderly. One of the most common arguments for Banksys work as skill is that his works damage public and private property. Within the terms of the law this is absolutely correct and this simple argument does not deal with the question of Banksys work as potential art. Many of the most respected artists of the past met in their lifetimes as their art challenged common perceptions and pushed the boundaries of what people perceive as art. In effect, Banksy has taken his art out of the possession of the middle class gallery prowlers and returned it to the street and to the working class for whom it is targeted. Its important to take note that Banksys art has provoked debate in regards to whether his graffiti paintings are art or vandalism specifically, this is important because provocation and discussion are two of the most important and desirable results of art, especially in this post modern era. While many people may not like Banksys art, the fact that it encourages debate and at times affects discussion of its subject matter means the works are effective as an artistic force. Anyone can spray paint a wall and it doesnt necessarily constitute as art. Anyone can also offend public values and that also does not constitute as art. Banksys paintings are very deliberate and they attempt to affect the landscape in ways that are both supposed to be positive and subjective, thus moving his paintings into consideration as possible artworks. Not everyone will like Banksys graffiti work, although its hard to deny his work has captured and excited the imagination of many. While some people may be opposed to the idea of Banksy as an artist, Banksys popularity has arisen somewhat out of the fact that his art is offensive to some and creates controversy in certain ranks. So to a degree, the controversy surrounding his work to helps grow his success and popularity without those people who consider Banksy a vandal, Banksy would struggle to gain the notoriety that makes many see him an artist. Graffiti in exhibitions Graffiti art is an emergent art form. Today, it is influencing the work of creative individuals worldwide in areas as diverse as graphic design, photography, advertising, illustration, and fine art and even multimedia and technology-moving away from the street and into private collections and galleries. The self-taught graffiti artists turned walls of public (and sometimes private) buildings into giant panoramas and subway cars into moving murals. Later, graffiti artists began to paint on canvas, walls or large sheets of paper, attracting the attention of art dealers and collectors. One of the first dealers to buy and collect graffiti was Sidney Janis. His heirs Conrad Janis and Carroll donated almost fifty works from his estate to the Brooklyn Museum in 1999. Graffiti is drawn primarily from this gift and added extra element by material the Museums Libraries and Archives. Graffiti in exhibitions explores the ways graffiti has moved away from the painted wall into the medium of print making, creating distinctive, exciting visuals along the way. I strongly think that Governments should in courage graffiti artist to take their artistic displays into exhibitions rather than preventing them from doing what they love doing. It is pretty difficult to prevent people from doing what they love. (http://www.peeta.net/street_art_energy.html) Mr. Totem Painting Graffiti-funded by council/organization Graffiti is considered a crime in most places because of the risk graffiti artists, or writers take when they tag, and the speed and effectiveness with which they must create their pieces, have helped figure the form itself. Individuals however, in a variety of places around the world, are recognizing graffiti as an authentic art form and now grant legal spaces for it. Below are 8 places where tagging is legal, and in some cases, encouraged. 1. Hosier Lane, Melbourne, Australia Photo by BlueBec This is a famous place that is popular to tourists and other graffiti artists. This place encourages graffiti and it is also featured in travel guides and advertising campaigns. Banksy even tagged his work here. 2. Warsaw, Poland Photo by *gorolla The local police dont have a problem with graffiti here. This space provides space for writers and stencil art. 3. Queens, New York, United States Photo by rawmeyn This place is free to the public and it is almost covered by graffiti. Graffiti artists that put their work here have to be granted permission by curator Meres One. 4. Paris, France Photo by Gabriel Radic There are many legal tagging sites in France. Graffiti groups are very territorial with their space and they are not afraid of being confronted. 5. Taipei, Taiwan Photo by neogenova The police only get involved here only when the owners of the space or place complain or property is destroyed. 6. Zà ¼rich, Switzerland Photo by inthesitymad This place is independently run by graffiti artists and is left out by the city. This place is now a cultural centre and is one of the few places where graffiti is legal and encouraged. 7. Sydhavnen, Copenhagen, Denmark Photo by tobiashm Here individual pieces dont last long due to the popularity of the place. 8. Venice, California, United States Photo by jakedobkin This location is world famous for being an open and creative space for street artists Conclusion: In a nut shell Graffiti cannot be precisely considered as vandalism. Graffiti can transform a horrid location into an attractive environment. Graffiti cannot be accurately classified as vandalism because the public property is not destroyed, but made to look stunning. Graffiti is art because it is deliberately arranging elements in a way to affect the senses or emotions. Graffiti can also be thought-out as an art that vandalizes property if it is carried out without permission. But if it is carried out legally (with authorization) it can not be thought out to be vandalism. Vandalism is anti-social behaviour. Criminals carry out their anti-social behaviour during their leisure time. Graffiti artist should learn to carry out their work in places where they dont vandalise. The government should spend money and provide legal areas where graffiti artists can continue with their work. The government prefers to spend money erasing an illegal piece of art, which could be recreated in that same spot, with little cost to the artist, and arguable harm to the community, instead of spending money supporting better education, which will have long-term results, and help the entire economy, not just the immediate area. The jobs created by that money could easily have spent to enable better jobs for todays youth tomorrow. What a waste. Most of the graffiti artists are prosecuted and even gone to jail, as cities get cleaner in order to attract big retailers and big money. Others retire and go on to work in the arts, designing clothes, ad campaigns, or selling paintings in galleries. Other groups of artists continue to paint in the streets and tunnels, disregarding the laws designed to jail them. References: Elizabeth Manning: Longman Active Study Dictionary-Pg.823 Frank Coefield: Vandalism Graffiti: The state of the art-Pg. 32-33 Wikipedia Encyclopaedia Britannica Online

Competitive Intelligence In The Business World Commerce Essay

In today ‘s fast changing concern universe, no-one likes surprises. The ability to be pro-active and non reactive is one of the greatest techniques for making value within an organisation. This requires a uninterrupted procedure of transforming information into intelligence so that a company can pull off the hereafter. Wining a conflict in the concern country implies, like in any other confrontation, cognizing your opposition, in this instance, the competition, really good. The director can non do a feasible scheme, founded entirely on information about his company. A competitory scheme means that one is competitory because he differentiates himself from the others. And for this, one has to cognize what the others are making. Nowadays the CEO ‘s demand a warning system which can seasonably present the relevant information from the concern environment, so that they are able to do determinations with a unafraid degree of certainty that allows the company to keep its competitory advantage. The market globalisation and the velocity of scientific discipline and engineering development require the use of supervising systems, capable of placing chance niches indispensable for the growing of the companies. One of the best tools for doing this possible is Competitive Intelligence. This instrument supports the strategic planning in every company. Competitive intelligence in concern organisations has benefited greatly from military and authorities intelligence patterns and cognition. Many of the innovators in the concern intelligence community migrated from a assortment of governmental organisations. They brought a set of constructs and penetrations that have been refined over centuries. Most notably, Sun Tzu ‘s authoritative work on military intelligence is widely read, and he is credited with being the male parent of intelligence. This construct has proven, along the old ages, its end ( actionable intelligence that will supply a competitory border ) and advantages when applied right. Still, most midsize houses lack dedicated competitory intelligence operations, despite the fact that most concern leaders recognize that their success depends on looking frontward and traveling more rapidly that the competition. Harmonizing to Ben Gilad and Leonard Fuld, competitory intelligence ( CI ) is the action of ethically and lawfully assemblage, analysing, and pass oning information about 3rd party participants in one ‘s competitory sphere – from rivals, to providers, clients, act uponing parties, regulators, distributers, possible new rivals, and so forth, to be used by companies in their planning and determination devising. The procedure of roll uping, hive awaying, analysing and pass oning this market intelligence is today an institutionalised procedure in most big companies. Done decently, this helps a company avoid surprises by expecting rivals ‘ moves and diminishing response clip. Put merely, competitory intelligence is a method of roll uping and analysing information that lets companies place possible alterations sing rivals before these become obvious. Datas can be gathered from public or private beginnings, from networking with a rival ‘s staff or clients or from research in the field. A cardinal regulation is that all activity must be legal. CI practicians must besides unwrap their individualities at all times and non cod information under false pretences. Direct Beginnings Passive – Web Company sites Portals Search engine – Imperativeness releases – Industry ( market ) analysis – Financial Analysts – Employment Ad Active – Trade shows – Technical conferences – Employment – Meetings and programs Indirect Beginnings – Customer interviews – Customer studies – Gross saless forces – Rep and distributers – Suppliers and spouses – Former employees The footing of competitory intelligence is cognizing the difference between information and intelligence. This will assist directors acquire on the route to more efficient determination devising. Information is factual. Its Numberss, statistics, disseminated spots of informations about people and companies and what they ‘ve been making that seems to be of involvement. Information frequently appears to be stating you something but in world it ‘s non. One ca n't do good determinations based on information no affair how accurate the information is or no affair how comprehensive it is. Intelligence, on the other manus, is a aggregation of information pieces which have been filtered and analyzed. It has been turned into something that can be acted upon. Intelligence is what directors need to do determinations, non information. Another term for intelligence is knowledge.Milestones in the development of competitory intelligenceOrganizations collected commercial intelligence since the first trade took topographic point. Books on organisational intelligence aggregation appeared every bit back as the 60 ‘s but these early efforts at formal intelligence activities for concerns remained largely academic and instead uneffective until 1980, when Michael Porter of Harvard Business School published his book, â€Å" Competitive-Strategy: Techniques for Analyzing Industries and Competitors † which laid down the theoretical foundation for applied CI. In the late 70 ‘s Fuld & A ; Co and Washington Researchers were the boosters which offered competitory research to corporate clients. In 1986 the Society of Competitive Intelligence Professionals was founded in the U.S. Accepting the importance of competitory intelligence, major transnational corporations, such as ExxonMobil, Procter & A ; Gamble, and Johnson and Johnson, have created formal CI units. Importantly, organisations execute competitory intelligence activities non merely as a precaution to protect against market menaces and alterations, but besides as a method for happening new chances and tendencies. The first professional enfranchisement plan ( CIP ) was created in 1996 with the constitution of The Fuld-Gilad-Herring Academy of Competitive Intelligence in Cambridge, MA.Variations of competitory intelligenceOver clip, concerns recognized a signifier of intelligence that was called in assorted ways ( competitory intelligence, concern intelligence, corporate intellige nce, competitory information or commercial intelligence ) , but most of the experts have settled to name it competitory intelligence. Regardless of the term that we use, CI is the usage of public beginnings to develop informations about rivals and the market environment and its transmutation in useable information, thorough analysis. When believing about CI, public information refers to the information that one can entree lawfully and ethically. Publicly does non intend needfully published information. The most normally recognized fluctuations of CI are: strategic intelligence rival intelligence ( McGonagle and Vella ) proficient intelligence market intelligence 1. Strategic intelligence Strategic intelligence represents competitory intelligence provided in support of strategic determination devising. This means supplying the highest degrees of direction information on the competitory, economic and political environment in which companies operate now and in which they will run in the hereafter ( See David b. Francis â€Å" Your rivals: who will they be? † Competitive Intelligence Review 8, no.1 1997: 16-23 ) . This type of intelligence by and large supports the senior direction for the overall scheme. The most common applications are in the development of strategic programs, capital investings, political hazard appraisal, amalgamations, acquisitions, joint ventures, corporate programs, R & A ; D planning ( See Edwin Ruhil and Sybille Sachs â€Å" Challenges for strategic competitory intelligence and the corporate degree † , Competitive Intelligence Review 8, no 4 1997: 54-64 ) . Strategic intelligence involves the appraisal of a house ‘s direct rivals, the competition environment and its indirect rivals, but an every bit of import portion is the development of intelligence on the long-term alterations caused by all of the forces driving the industry competition ( Larry Kennedy â€Å" Competitive intelligence in concern procedure technology: a survey at digital equipment corporation † Competitive Intelligence Review 8, no 2 1997: 8-13 ) . The focal point has to be on factors as engineering tendencies, political hazards and regulative developments. It is designed to warn the company of impending jobs and alarm it to upcoming chances, ever in clip to take needed action ( Mark Sullivan, â€Å" Using competitory intelligence to develop a strategic direction action- oriented measuring system † , Competitive Intelligence Review 8, no 2 1997: 34-43. ) . 2. Rival intelligence Competitor intelligence is the usage of public beginnings to turn up and develop informations that are so transformed into information about rivals, their capablenesss, current activities, programs and purposes. The function of this type of intelligence is to assist the operating directors within strategic concern units or merchandise directors and other people involved in the procedure of merchandise or concern development. 3. Market intelligence Market intelligence is intelligence developed on the really current activities in the market place ( See Kenneth A. Sawka, â€Å" Warning Analysis: a hazardous concern † , Competitive Intelligence Review 8, no. 4, 1997:83-84 ) . Market intelligence depends on extremely developed package tools and analytical accomplishments extremely trained people to supply market cognition, professional expertness and selling penetration. The information should be received fast and detailed so that they enable a house to happen out information sing the success of failure of its merchandise publicity, the following moves of the rivals sing their publicities and possibilities of cross-promoting the merchandise. Frequently users of market intelligence are marketing sections and market planning section because they use the feedback on the success or failure of old gross revenues attempts. 4. Technical intelligence Technical intelligence activities enable a house to react fast to menaces and to place the chances which result from proficient and scientific development. It is believed that TI is a map which if it is executed decently, could ensue in a economy of 10 to 100 times the investing in the map ( See Davis C. Pring, â€Å" Competitive Intelligence and Market Research: Filling the Gaps † in Global positions on CI, erectile dysfunction. John E. Prescott and Patrick T. Gibbons, 1993, 223-239 ) . Technical intelligence can supply information about the methods and procedures used by the rivals, their dependance on outside engineering, patents or new engineering acquired, the capablenesss of the rivals ‘ R & A ; D staff, appraisals about outgos for this section. TI chiefly focuses on technological tendency instead than on the market 1s. A portion of the experts considers that it should be more concerned about the chances of the house, than on the menaces to the house.Active and defensive CIWhen CI started to go popular, there was no treatment of anything besides the actions designed to roll up information about the rivals, called active rival intelligence. During its development, analysts started to recognize that what they were making, it could be go oning to them besides. This led to a new involvement towards activities that were destined to protect companies against CI activities from other companies, called defensive rival intelligence. Active CI procedures are those aimed at roll uping natural informations every bit good as analysing those informations to supply finished intelligence. The end of a defensive plan is to do life much more hard for your rival ‘s intelligence analysts, so they will give your house more operating flexibleness. Counterintelligence is the procedure of countering, forestalling the intelligence garnering attempt of other parties, your rivals. It has to be understood as a portion of an on-going procedure. This plan ‘s effectivity is measured through minimisation of losingss due to the competitory intelligence attempt of the rivals. Many companies are really careful to protect their physical buttocks, but it is far more of import to protect the intangible assets of the company. Cloaked rivals are those that protect themselves from the intelligence assemblage attempts of their rivals. For making this, the most of import facet is to understand how rivals work, which channels they use, and the techniques they use. One has to deprive rivals of a few cardinal pieces of informations that are critical for the large image of the analysis ( Deborah C. Sawyer, â€Å" Specifying your competition: Dardan Horses, Fifth Columns, and other menaces † , competitory intelligence magazine 3, April -June: 45-46 ) .Implementing competitory intelligence – the CI procedureAlthough the chief occupation of competitory intelligence is to back up direction determination devising, holding a methodical competitory intelligence system in topographic point can assist the company address many different issues. A methodical competitory intelligence plan can: Anticipate alterations in the market place. Anticipate actions of rivals. Discover new or possible rivals. Learn from the successes and failures of others. Increase the scope and quality of profitable marks. Learn about new engineerings, merchandises and processes that affect the company ‘s concern. Learn about political, legislative or administrative alterations that can impact the company ‘s concern. Enter new concerns. Expression at the company ‘s ain concern patterns with an unfastened head. Help implement the latest direction tools. The CI procedure is most normally divided into four basic phases, which make up what is known as the CI rhythm: Planning: this means set uping the demands of the company. On one manus, the directors of the company acknowledge the demand for CI and, on the other manus, they define what sort of CI the company needs. It besides means what inquiries the directors want to reply with the CI, who else may be utilizing CI, and how, by whom, and when the CI will eventually be used.This is besides the portion of the rhythm in which the competitory intelligence practician decides which class he should take in carry throughing his undertaking. This phase can besides be thought of as the other terminal of the intelligence rhythm because one time specific intelligence is delivered to the determination shaper his consecutive actions – based on that intelligence – will excite farther intelligence demands. The company ‘s state of affairs will surely alter based on those actions. Gathering: this stage involves the existent assemblage of natural information from which intelligence will be produced. The huge bulk of aggregation stuffs are public sphere significance they are available to anyone who knows where to look. Beginnings include periodicals, one-year studies, books, broadcasts, addresss, databases and so on. Creative aggregators can normally happen anything they need lawfully and ethically. Collection besides involves treating information so that it can be transmitted and stored electronically if desired. Once in electronic signifier it can be manipulated into a signifier which allows it to be analyzed. Analysis: this is by and large considered the most hard portion of the intelligence rhythm. Analysis requires great accomplishments and daring because it requires the analyst to weigh information, expression for forms and come up with different scenarios based on what he has learned. Even though analysis is based on logic and difficult information, analysts must sometimes ‘fill in the spaces ‘ and do intelligent conjectures about possible results. Dissemination: this measure involves administering the intelligence merchandise to those who requested it. It ‘s the clip when the analysts will propose possible classs of action based on his work. He must be able to stress his recommendations and support them with logical statements. The ensuing intelligence will besides be distributed to others in the company who can utilize it. The concluding signifier of the CI, every bit good as its timeliness/opportuneness and security are of import considerations. Surveies have shown that the distribution of the attempt the CI professionals spend among these four phases of the CI rhythm is about as follows: Needs – 20 % Gathering – 30 % Analysis – 40 % Dissemination – 10 % The component that runs through and straight links all the stages of the CI rhythm is the demand to supervise, on a uninterrupted footing, what the company has done and how good. The end is to supply feedback from each stage to the other three of the CI rhythm. By making this, the company can better both the merchandise of an single assignment and the full CI procedure even as the organisation is utilizing it. Feedback to and from each stage of CI to all others is indispensable. That feedback generates a changeless reappraisal that seeks to raise and so reply inquiry like: Are the CI marks still rectify? Should the CI unit attention deficit disorder or delete marks, countries of involvement and so on? â€Å" Know the enemy and cognize yourself ; in a 100 conflicts you will ne'er be in hazard † Sun Tsu: The Art of the WarBest PracticesThere are several points that we need to see throughout the competitory intelligence procedure. Undertakings to be performed by CI Professionals ( See CI Education Harvard Style by Ben Gilad, Competitive Intelligence Magazine, Volume 6, Number 4 ) : Go beyond internet hunts: collect from human resources. Travel beyond public databases: roll up hard-to-get information from less obvious beginnings. Go beyond rivals: analyze whole markets and industries. Go beyond inactive analysis and current market statistics: predict alteration. Travel beyond marketing intelligence: understand finance and cost accounting. Travel beyond selling, finance, and cost: understand scheme. Go beyond scheme: understand hazard. Time is critical Awkwardness is the enemy of competitory intelligence. Having cognition about something three hebdomads after you need to move is of small value. One needs to inquire himself, from where will he acquire the information and how long will it take. This requires a really deliberate and strong competitory intelligence attempt. Without a serious committedness to competitory intelligence, clip will wipe out whatever hope one has for effectual decision-making. The aim should be to shut the spread between when the event occurred and when 1 has the cognition to move. Remain Impersonal Although it ‘s non easy, it is critical that competitory intelligence remains free of prejudice, supplying impersonal type consequences. Competitive intelligence is non intended to back up an bing direction determination. Good competitory intelligence should talk the truth and allow direction make up one's mind how it wants to continue. One manner to guarantee that competitory intelligence is impersonal, is to do it independent, similar to other independent maps such as internal auditing. Besides, where one places competitory intelligence within the organisation can act upon the â€Å" freedom † that competitory intelligence has. Alternatively of doing it a sub-section of selling, make competitory intelligence accessible to all maps. The CI Function tends to suit good with maps like Strategic Planning and Knowledge Management. Large Egos putting to deaths CI – One ground competitory intelligence is non widely used is simple – it can be really unpopular. Competitive intelligence can belie what direction has been recommending. And if direction is non willing to listen to competitory intelligence, so it will hold small value. Travel where the information is Sometimes competitory intelligence can be extremely effectual through insouciant and obvious beginnings of information ( See Guy Kawasaki – How to drive your competition loony ) . There are some simple stairss for understanding the competition: Shop the competition, go a client of the competition, query the rival ‘s clients, inquire the authorities about the competition and go friends with a research bibliothec. One of the more clip devouring activities within competitory intelligence can be roll uping and categorising information. So cognizing where to look can be half the conflict. One needs to pass clip speaking to people who are in the know. Challenge conventional thought Great competitory intelligence will dispute direction to believe in new ways. There are excessively many alterations taking topographic point in the universe today. There is no manner direction should be comfy with the position quo. Therefore, competitory intelligence should intentionally prove and formalize critical direction determinations. Similarly, direction should welcome and promote competitory intelligence to dispute both tactical and strategic decision-making. Competitive intelligence should be a world cheque. The Learning Organization – Competitive Intelligence becomes priceless when it changes the behaviour of an organisation. This is best accomplished when the organisation becomes a learning organisation. Act ethically Competitive intelligence should non prosecute in illegal Acts of the Apostless. Additionally, competitory intelligence should non endanger the repute of a company. Fuld & A ; Company recommends the undermentioned 10 commandments of competitory intelligence: 1. Make non lie when stand foring yourself. 2. Detect your company ‘s legal guidelines. 3. Make non in secret enter an interview if it is against the jurisprudence. 4. Make non publish a payoff. 5. Make non utilize listen ining devices. 6. Make non misdirect anyone in an interview. 7. Make non trade monetary value information or capacity with a viing company. 8. Make non administer or interchange misinformation. 9. Make non steal a trade secret. 10. Make non knowingly pump person for information that could give that individual ‘s occupation or repute. CI is non descrying – Some people equate competitory intelligence with descrying. Competitive Intelligence is non about descrying, it ‘s about cognition. Partner with Risk Management Over the last several old ages, there has been increased accent on Risk Management – protecting the company from unexpected losingss. However, Risk Management is really internally focused ; things like control processs within the company, security precautions, mandates and blessings, transparence in coverage, and so away. Since hazard direction is internal, we need to congratulate hazard direction with competitory intelligence. The ground is simple – Curie is externally focussed and these external forces have major hazard deductions. Therefore, it is highly of import to unite RM and CI for a comprehensive attack to put on the line direction. Human intelligence Intelligence collected and analyzed by and from human beginnings is frequently the finding factor behind your intelligence capablenesss. Those organisations with extended human beginnings as opposed to over-reliance on published beginnings will hold superior competitory intelligence capablenesss. This will take to increased effectivity in strategic decision-making, giving the company a cardinal competitory advantage. Infrastructure before package No uncertainty that many professionals will seek out a package solution to competitory intelligence. Although engineering can assist ( and it continues to germinate ) , the director should concentrate most of his attempts on constructing the substructure ( staffing, preparation, processes, etc. ) associated with competitory intelligence. One should n't work in contrary, coercing the procedures to suit some package solution – design the procedures foremost and so supplement the competitory intelligence with investings in basic engineerings. Additionally, one may desire to leverage bing engineerings, such as internal databases, intranets and other applications for constructing your CI substructure. World Class CI takes clip – The usual clip required to construct a first competitory intelligence plan is between 5 and 7 old ages.

Essay on Helmer and Noras Relationship in Ibsens Dolls...

Helmer and Noras Relationship in Ibsens Dolls House Ibsens use of language helps us see the characters nature and to find out their personality and structure of the characters relationships. Each character has their own unique use of language. This helps us to see the difference between the characters and their relationships. As we read through the play A Dolls House this becomes clear when we learn about Nora and Torvalds relationship and how it changes throughout the play. As we read throughout the play, the language used by Torvald gives us an invaluable insight into his character, He never seems to be stuck on what to say and his language remains confident and constant throughout the†¦show more content†¦He is also backing up his role as the dominant male. He see’s Nora as his possession. â€Å"Its incredible what an expensive pet she is for a man to keep† and â€Å"What, not look at my most treasures possession?†. These quotes show us that he see’s her as his pet, something he owns and this provides us with an invalueable insight into the way Torvald see’s her. Torvald believes everyone should have the same views and morals as him. Nora: â€Å"Oh you’re always right, whatever you do† Helmer: â€Å"Now my little song birds talking just like a real big human being† He is also a very sexist man, we learn this in this key quote â€Å"First and foremost you are a wife and a mother†. He is judging her actions on what women are expected to do. Ibsen uses all this type of language to show the stereotype of a typical mans view and morals in this era. Nora’s use of language in A Dolls House is probably the most significant. She uses different kinds of language which shows her different personalities, she has two sides to her, but her main side childish. She uses care-free language like â€Å"Pooh; we borrow till then† and â€Å"I’ll wrap the notes in pretty gold paper and hang them on the Christmas tree, Wouldn’t that be fun?†. This is the type of thing you’d expect a child to say. Nora uses shortShow MoreRelated Is A Doll’s House a suitable title for the play? Essay899 Words   |  4 PagesIs A Doll’s House a suitable title for the play Is ‘A Doll’s House’ a suitable title for the play? Refer to act one, and the language of the characters. Ibsen’s use of language creates a suitable title ‘A Doll’s House’. This title represents and relates to the whole play. ‘A Doll’s House’ relates to power, it represents a doll being played with and owned. This doll is controlled; its every move is depicted. The title is significant to society and entrapment within the house. Ibsen representsRead MoreA Dolls House -H.Ibsen ,Critical Analysis1554 Words   |  7 PagesIbsen Genre : Realistic Modern Drama Name of the Work / Play : A Doll’s House ( 1897 ) in three acts Characters : Major Characters / Minor Characters Nora Helmer ( wife of Torvald Helmer ,mother of three children ) Torvald Helmer( husband of Nora Helmer , a lawyer ,father of three children ) Dr. Rank ( doctor ,friend of Nora Torvald Helmer, confidant ,commentator ) Mrs. Kristine Linde ( old friend of Nora Helmer ) Nils Krogstad ( barrister , old lover of Kristine ,father of multipleRead More A Dolls House: Nora Essay1401 Words   |  6 Pages In Henrik Ibsen’s play A Doll’s House, the personality of the protagonist Nora Helmer is developed and revealed through her interactions and conversations with the other characters in the play, including Mrs. Linde, Nils Krogstad, Dr. Rank and Ann-Marie. Ibsen also uses certain dramatic and literary techniques and styles, such as irony, juxtaposition and parallelism to further reveal interesting aspects of Nora’s personality. Mrs. Linde provides and interesting juxtaposition to Nora, while KrogstadRead MoreThe Power of Relationship in Hemingways Cat in the Rain and Ibsens A Dolls House651 Words   |  3 Pagesï » ¿The power of relationship is a major theme in both Hemingways Cat in the Rain, and in Ibsens A Dolls House. In both stories, patriarchy is the pervasive social structure under which the individual relationships develop. R elationship therefore defines and reinforces gender roles and norms. The heterosexual dynamic also constructs and reinforces individual identity. Romantic relationships have the power to perpetuate social norms and values, especially those related to gender. Furthermore,Read MoreAnalysis of A Dolls House Essay1108 Words   |  5 Pageshistorical reality has on an audience. Henrik Ibsens widely regarded work, A Dolls House, was first introduced in 1879 as a theatrical presentation of human rights. Today, Ibsens work remains as such, although often conveyed as more focused on womens rights. The Norwegian playwrights vision of a seemingly common home is quickly translated through Ibsens use of symbolism, setting, and diction. Symbolism is a key aspect in much of Ibsens writing, much of which can be dually interpretedRead MoreA Doll’s House play by Henrik Ibsen shares many comparisons and contrasts with the short story â€Å"The1300 Words   |  6 PagesA Doll’s House play by Henrik Ibsen shares many comparisons and contrasts with the short story â€Å"The Storm† by Kate Chopin. In fact, Ibsen’s play premiered at the Royal Theatre in Copenhagen, Denmark on December 21, 1879. This play aroused significant changes in the attitudes towards 19th century marriages (princeton.edu). Interestingly, â€Å"The Storm† stands as the sequel to Chopin’s other short story â€Å"At the Cadian Ball†. Kimbel wrote in his article on Dictionary of Literary Biography, â€Å"Her first twoRead MoreRights of Women in the Nineteenth Century and in Henrik Ibsen’s A Doll’s House1103 Words   |  5 PagesIbsen, who was born in Norway but made his name internationally , was a painter as well as the one of most famous playwrights during the period of Realism. Ibsen’s plays are well-known by the themes of domestic and political issues and conflict in nineteenth century. Scholars call it â€Å"Ibsen’s problems play† (Henrik Ibsen, 650). In addition, in Ibsen’s plays, the general topics that are usually discussed are hypocrisy of the society, restriction of women, and the self-sacrifice. 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At the conclusion of Act III however, she has become sufficiently independent to arrive at her decision to leave the children, her husband and what life she had behind, as she slams the door on the family home. A significant transition of power has occurred and this is one of the major themesRead MoreA Dolls House And Goblin Market And A Dolls House930 Words   |  4 PagesHenrik Ibsen’s play ‘A Doll’s House’, written in 1879, and Christina Rossetti’s poem ‘Goblin Market’, written in 1862, both demonstrate that an appetite for power, knowledge, sex, and money have an ultimately destructive affect upon their characters. An appetite for power, and therefore control, is quintessential to the plot of Henrik Ibsen’s play: ‘A Doll’s House’ and Christina Rossetti’s poem: ‘Goblin Market’. The importance of power is first evident in the martial relationship between Nora and

An Analysis Of The Of Gilgamesh Essay - 2392 Words

The Emphasis of Enkidu: An Analysis of Relationships in Gilgamesh Characters are an essential building block to the narrative; who they are, what they represent and their relationships amongst one another. Particularly the bonds between characters can enhance the plot by providing the readers with an ability to connect with the characters and by enhancing the peculiarities within the narrative. A specific narrative that employs character relationships in this manner is Gilgamesh. The epic follows the life of the Gilgamesh, the great king of Uruk, explicitly honing in on the relationship he establishes with Enkidu, another male character that is created by the gods to match Gilgamesh in all aspects. Enkidu and Gilgamesh’s relationship enhances the plot by adding an emotional aspect to the grand, otherworldly activities they partake in. Furthermore, by adding this emotional aspect to the narrative, the readers have a better capability of connecting with these two individuals who are as equally epic as the activities they partake in. Also, Gil gamesh and Enkidu’s relationship is a major peculiarity in the novel-being such an emotionally abundant relationship that is not only a centralization for the two characters but also for the epic as a whole-that is emphasised by Gilgamesh’s bonds with other characters. Thus, Gilgamesh’s relationships with other characters of the epic-particularly characters of the female gender- are distinctively unemotional and detached, a starkShow MoreRelatedThe Epic Of Gilgamesh And Analysis1436 Words   |  6 Pages The Epic of Gilgamesh –Summary and analysis Introduction The Epic of Gilgamesh is an excerpt of the original text of the Epic listed in the Sources of the Western Tradition, 5th edition, by Perry, Peden and Von Laue (2003). The Epic of Gilgamesh is the story of King Gilgamesh who is the powerful king of Uruk, the incidents in his life, the associations he makes, the encounters he has, and the transition that occurs in his life in relation to his gainingRead MoreAnalysis Of The Epic Of Gilgamesh 1647 Words   |  7 PagesThe Epic of Gilgamesh is a story of heroes fighting a war not in a battlefield but within their own selves and amongst each other, struggling with their own emotions and attributions to attain the best version of themselves and to fulfill the utmost quest of life. With the use of two very different yet so similar characters: Enkidu and Gilgamesh, the epic explains two aspects of same psyche, and different imageries, one of which is door, have been used in the text to explain interactions betweenRead MoreQuotation Analysis Of Gilgamesh1270 Words   |  6 PagesPart A: Quotation Analysis A. The similes used by the speaker help depict his lover’s image. He compares the movement of the separate strands of her hair like goats traveling down the side of a mountain. The speaker also compares when her teeth first appear as she smiles like a flock of sheep that arise after being washed. In his similes, the depiction of the flock of animals is repeated by the speaker in order to show that his lover is very fertile and the two should stick together. This sectionRead MoreAnalysis Of The Epic Of Gilgamesh Essay1361 Words   |  6 PagesINSERT TITLE HERE As readers delve into the depths of The Epic of Gilgamesh, they perceive the allure to dreams which has captivated humanity for centuries. The epic poem uses dreams as a symbolic representation of the human mind and its ceaseless bounds. Given the Mesopotamian culture’s importance in regards to their religion, dreams provide the only means of one connecting with their future and deities. Furthermore, each mental fantasy referenced within the epic delineates the rationale of allRead MoreAnalysis of the Epic of Gilgamesh Essay1122 Words   |  5 PagesAnalysis of the Epic of Gilgamesh The epic of Gilgamesh is the earliest primary document discovered in human history dating back to approximately 2,000 B.C.E. This document tells a story of an ancient King Gilgamesh, ruler of Sumer in 2,700 B.C.E. who is created gloriously by gods as one third man and two third god. In this epic, Gilgamesh begins his kingship as an audacious and immature ruler. Exhausted from complaints, the gods send a wild man named Enkidu to become civilized and assist GilgameshRead MoreEpic Of Gilgamesh Literary Analysis1837 Words   |  8 Pagesmortality, divinity, punishments are told through stories of individuals and societies. The Epic of Gilgamesh is a Mesopotamian book that was written long before the Bible. A comparison of the literary elements show several similarities that lead many religious and cultural scholars, as well as historians to contend that the accounts in the Old Testaments were derived from the Gilgamesh. The Epic of Gilgamesh and Bible were both written as sources o f moral messages for religious practices and guides onRead MoreAnalysis Of The Epic Of Gilgamesh 1119 Words   |  5 Pages14, 2016 Translation Comparison Gilgamesh The Epic of Gilgamesh has been read and reviewed/ critiqued by numerous authors. I took the articles’ ‘Angiology in the Epic of Gilgamesh’ by Th. Jacobson, and compared it to Benjamin Fosters ‘A New edition of the Epic of Gilgamesh’ These two articles both critique the writings of The Epic of Gilgamesh but in different ways. Foster’s article is a critique on a critique that has been written about The Epic of Gilgamesh, where as Jacobson critiques the epicRead MoreAnalysis Of The Epic Of Gilgamesh Essay1265 Words   |  6 PagesThe Epic of Gilgamesh is a very popular epic that is difficult to understand at first, which is why their is different translations of the same book. Although Foster and Sander’s translations have a lot of similar words and the stories are basically the same, there are also a lot of differences between the two. One of which is more straightforward and easier to understand, whereas the other is more of an in dep th thoughtful read for the reader. Both translations differences have their own particularRead MoreEpic Of Gilgamesh Analysis984 Words   |  4 PagesIn the â€Å"Epic of Gilgamesh†, it is easy to conclude that Gilgamesh, the protagonist of the story, is the hero. In â€Å"Like Mayflies in a Stream†, Gilgamesh is merely a scary person who appears in the story here or there rather than being the protagonist. Instead, Shamhat is the main person that the story focuses on, but the book is imprecise on one hero of the entire story. There are numerous characters that could reflect hero aspects such as going on a quest, having another to help guide them, or facingRead MoreGilgamesh And Enkidu Analysis901 Words   |  4 Pagescontinues to push Gilgamesh to smite Humbaba. On p. 44, once Enkidu makes the final case to Gilgamesh to kill Humbaba, Humbaba curses both of them: â€Å"My friend, Humbaba who guards the Forest [of Cedar —]/ [finish him,] slay him, [do away wit h his power,] /.../ Humbaba heard...and†¦[bitterly cursed them:]/ ‘May the pair of them not grow old,/ besides Gilgamesh his friend, none shall bury Enkidu!† Humbaba curses Enkidu for fervently encouraging a hesitant Gilgamesh to kill him. Although Gilgamesh in in the position