The change in the relationship between Macbeth and Lady Macbeth Essay Example for Free

The change in the relationship between Macbeth and Lady Macbeth Essay The banquet scene is a pivotal one. Discuss this comment in terms of plot, staging, character and relationships, particularly the change in the relationship between Macbeth and Lady Macbeth. Act 3, scene four of Macbeth the play, by William Shakespeare contains many of the themes that run throughout the play, which make the scene such a pivotal one. A main theme of the play is witchcraft and the supernatural. This is symbolised by the witches, and Macbeths vow to visit them the following day- I will to-morrow (and betimes I will) to the Weird Sisters. and is also, more importantly, present in the form of Banquos ghost in the banquet scene. This theme of the supernatural is not only vital to the plot, but was written into the play specifically to please King James 1 of England. The play was written, and performed in 1606, with the aim of impressing the new king. Shakespeare knew that King James was greatly interested in witchcraft and the supernatural- so much so that the king actually wrote a book called Daemonologie all about supernatural occurrences. Therefore, in order to make the play appealing for the king, Shakespeare included witches and a running theme of the supernatural. Another feature of the play included for the new King, is the character of Banquo. The inspiration for the story actually came from real life, in 11th century Scotland, but was changed to suit the melodrama of a play. The character of Banquo was based on a real ancestor of King James, and this, therefore, associated the king further with the plot. Banquo is shown as the good character throughout, matching Macbeths courage and bravery in war, but lacking the ambition that grips him and eventually drives him to murder. This is shown earlier in the play, when the witches predict the future. Macbeths strong sense of ambition takes over and he follows up what the witches told him. Banquo, however, does not pursue the idea. An incident that greatly affects scene four is the murder of Duncan by Macbeth. This is the beginning of the line of murders that Macbeth commits- this he does himself, others using assassins- and where he effectively steps into the blood. It is here that the tragic hero makes his fate. It is, in fact, Banquos murder in act three, scene three that confirms the swing of doubtful wrong to definite evil for Macbeth. Macbeth himself confirms this change at the end of act 3 scene 4 by saying I am in blood steppd in so far, that should I wade no more returning were as tedious as go oer and we are yet but young in deed . Another feature of act 3 scene 4 is the obvious change in relationship between Macbeth and Lady Macbeth, and Macbeth and his Lords. Evidence of the first can be found earlier in the play, where Lady Macbeth and her husband have a very trusting relationship, and plot Duncans murder together. When Macbeth feels nervous about killing Duncan, Lady Macbeth reassures him, knowing exactly how to make him change his mind- Wouldst thou have that which thou esteemst the ornament of life, and live a coward in thine own esteem, letting I dare not wait upon I would, like the poor cat I the adage? It is evident throughout the play that Macbeth does not like people doubting his manliness I dare do all that may become a man; who dares do more, is none., and Lady Macbeth has obviously picked up on this. For instance in act two, scene four, when Macbeth has doubts about killing Duncan, Lady Macbeth says When you durst do it, then you were a man: and to be so much more than what you were, you would be so much more the man. After she says this, Macbeth goes ahead with the murder, showing the effect his wife has on him Lady Macbeth holds the same want of power as Macbeth, and both think of killing the king before talking to the other about it. This shows that they know the way the other thinks, and want the same things. When we first see the couple meet, Macbeth greets his wife by saying My dearest love which shows his obvious affection for her. However, scene four of act three is a pivotal one in terms of the relationship between Lady Macbeth and her husband. A massive change in the relationship is evident throughout the scene. Here we see that he has not let her in on the murder of Banquo, and as he hallucinates about Banquos ghost, he still does not tell her of his deed. Lady Macbeths love of her husband and fear of getting caught is shown by her desperate attempt to conceal his guilt and to get rid of the guests. However, the change in the relationship between the two is possibly more of a reflection on the change in Macbeths character, rather than the relationship its self. Macbeths growing distrust is also shown in this scene, resulting in the break down of the so far successful relationship between he and his wife. As he goes on in his plans, his circle of trust is slowly closing in and now even his wife, whom he plotted the first murder with, is on the outside. She is not aware that he has employed the murder of Banquo and Fleance, and she thinks the ghost he sees is that of Duncan. This also shows the difference in the twos view on their relationship. Lady Macbeth, at this point, has no idea that she is being left out of proceedings, and feels she and her husband have plotted together throughout. Macbeth however, knows that he has kept Banquos murder from her, and therefore is beginning to feel that her can not even trust her. This suggests that the breakdown of their relationship has more to do with a change in Macbeths character than the relationship itself. The distrust taking over Macbeth is also evident in act three, scene three, where he hires a third murderer to ensure that Banquo and Fleance are killed. The banquet scene not only shows Macbeths character becoming more guarded and distrusting, but shows his shift from good to evil. He decides that his crimes are such that there is no point trying to reform his character. His sense of right and wrong has disintegrated into a need for power. He no longer feels as much guilt for his murders, and sees no way out of what he has already done. This is shown in the line I am in blood steppd in so far, that should I wade no more returning were as tedious as go oer . The line we are yet but young in deed also shows that Macbeth has no intention of stopping the murders, and has more plans in mind. Another change in relationship that is evident in the scene is that of Macbeth and his lords. This scene is pivotal in that we see an obvious suspicion of Macbeth from the lords that until now has been very subtle. They are startled by their new kings behaviour, and begin to question him- What sights, my lord? Lady Macbeth picks up on this and becomes worried that her husband will reveal the truth about Duncans murder. This is shown by her haste to remove the lords from the room- Stand not upon the order of your going, but go at once. This is a contrast with the calmness at the start of the scene, where everyone is civilised and relaxed, and shows the disorder brought on by the death of Banquo and his ghost. The staging of the banquet scene is very important in terms of understanding the plot, especially the ghost. If done properly, the scene can be very effective, however if not, the idea of the ghost can become very confusing to the audience. The main issue when thinking of staging is putting the fact that Banquo is now a ghost and that only Macbeth can see him, across to the audience. This can be done in many ways, using different dramatic techniques. The first that could be used, is a cinematic projection of the character onto the stage. This could flicker slightly every now and again, emphasising the fact that the ghost is not real. The image would be of Banquo walking to the chair, and sitting down, projected onto a plain background or even just the scenery. I think this would be especially effective because the audience can see what Macbeth is seeing, but at the same time are aware that it is not real. While the image is playing, the rest of the cast could be brought into freeze frame while Macbeth reacts to the ghost, once again emphasising the fact that the ghost is only visible to Macbeth. The lights around the rest of the cast could also be brought down, adding to the effect made by the freeze frame. Meanwhile, a spotlight could shine on Macbeth, not only showing that he can see the ghost, but that he is now almost totally alone in his plans. Earlier it was he and Lady Macbeth that plotted together, but now he is on his own, trusting only himself. The projected image of Banquo would be the same character that played him in the performance however a costume change would be needed in order to make it authentic. The character would have to have rips in his costume, and blood and wounds on his face. This would show the audience that Banquo was in fact dead and this was his ghost. Costume change is a useful technique that would make the next idea more feasible. The actual character that played Banquo could play the ghost, and appear back on stage. This idea would be slightly less clear to the audience, but could still work. The character, once again, could have ripped clothes and blood and wounds on his face, although more care would have to be taken in order to make it clear to the audience that Banquo is actually dead. Lights could be used to great effect with this idea, for instance the main lights could go down, then lights could shine upwards on Banquo. This would give more of a spooky feel, and increase the feeling of the supernatural. Here, once again, a spotlight could be shone on Macbeth, signifying his isolation form the people he was once close to. Another way to do the lights would be to shine a spotlight on Banquo and Macbeth, leaving the others in the room in darkness. This would show that only those two were involved in the action, and could also signify the fact that they are the only two in the room that know of Banquos murder. Here, instead of using the technique of freeze frame the other characters in the scene could be moving around as they would normally be, but in silence. This would show that no one has noticed Macbeths strange behaviour yet. When using a real person, routes onto stage have to be thought of. Trapdoors could be used to give the idea that the ghost is just appearing out of no where, then disappearing, using smoke to camouflage what is happening. Another way the ghost could be hidden from the audience is just by using the wings. The ghost could enter from one side, then leave from the other, hiding in the wings, then reappearing. When the ghost enters the lights should be brought down, then brightened up again immediately as the ghost leaves. As the lights come up, the rest of the cast could come out of the freeze frame, or begin to talk if freeze frame is not used, showing that they had not seen the ghost at all. In conclusion, when considering staging plot and relationships, the banquet scene is a particularly important one. It shows a huge change in relationships between Macbeth and his wife, and his friends. It is here that the tragic hero can either redeem himself, or fall further into the clutches of despair. Macbeth chooses the easy option of continuing down the same road, blocking out the people he was once close to. Therefore, this scene is pivotal and shows changes in attitudes, relationships and, most importantly, character.

Free Destiny vs. Controlled Fate in Antigone Essay -- Sophocles

Fate is an old debated concept. Do one's actions truly play a role in determining one's life? Is fate freedom to some or is it binding to others, in that no individual can make completely individual decisions, and therefore, no one is truly free. Nowadays, fate is a subject often rejected in society, as it is seen as too big, too idealistic, and too hard to wrap a persons head around. However, at the time of Antigone, the concept was a terrifying reality for most people. Fate is the will of the gods, and as is apparent in Antigone, the gods' will is not to be questioned. Much of Sophocles' work focuses on the struggle between human law and what is believed to be the god’s law. Fate was an unstoppable force and it was assumed that any efforts to change one's future were unrealistic. In Sophocles' Antigone, fate plays a crucial role the choices that the characters make. Most people believe that Creon and Antigone were under the influence of forces that they could not control, in the decisions they made and the actions that they took. Despite Antigone's morals and her practice of those morals, she cannot escape the family curse. She states, â€Å"You would think that we had already suffered enough for the curse on Oedipus† (prologue.2-3). Ironically Antigone will suffer the rest of her life because of what her father/brother did. Her life had been rocked so much by this family curse that only Ismene remains, and she lost the last thing that mattered to her--her sister Antigone, who surprisingly took her own life. Antigone’s strong beliefs in the god’s laws can really be heard when she said â€Å"†¦Your edict, King, was strong, but all your strength is weakness itself against the immortal unrecorded laws of god. They are not merely now: they ... ...n offering at the altar but the god of fire failed me so the flame never blazed† (5.10-22). The birds may symbolize the family, two brothers killing each other, Creon sentencing Antigone to die. Or Antigone opting to hang herself which leads Haimon to try and kill his father but getting killed himself instead, and as a result Creon's wife commits suicide. The gods don't show acceptance of this situation, because the family has been doomed into the fate of death. A lot can be learned about an author by just reading his or her works. For instance one can easily learn about Sophocles’ view on fate just by reading Antigone. Much of Sophocles' work focuses on the struggle between human law and what is believed to be the god’s law. Sophocles believed that Fate was an unstoppable force and it was assumed that any efforts to change one's future were completely unrealistic.

“On the spirit of obligations” and “Friendship” – how each text views friendship pointing out to the meeting points

We have before us two texts; one, â€Å"on the spirit of obligations† the other, â€Å"friendship†. Both very different in terms of structure, style and images, yet both are closely linked thematically. The notions expressed in the text are ideas of friendship (as implied by the title of one of the texts) and human relations. It is interesting to explore how each text views friendship pointing out to the meeting points. The texts are of extremely different style and structure simply because they each serve a very different purpose. The first is an essay written by William Hazlitt taken from â€Å"on the spirit of obligations†, the second is a song- â€Å"friendship† by Cole Porter. Only from this we can asses that the essay is written as continues prose and is meant to publicize some opinion. An essay usually exists to be informative, present a view and thus will be serious, explanatory and detailed. This is very different from a song that is publicly released that in order to be popular has to be catchy, short verses, short snappy ideas that will be remembered, rhymes and a wider sense of appeal. The use of language in both texts differs, with relation to their purpose and their notion of friendship. In the essay, the use of language is more sophisticated, delicate more complex, almost as the friend or person Hazlitt is describing. The language also matches the nature of the friendship- more of the intellectual- â€Å"practical benevolence is not is forte†, meaning that it wasn't a friendship on the day to day basis, or that he will offer help and favors. It sees this idea as â€Å"idle and vulgar†. This stands in such contrast to the song, almost making a mockery out of it because the language and situations described in it is at times so vulgar â€Å"if you are ever lost your teeth and you are out to dine, borrow mine†. This is part of the songs' purpose- to be humors, silly, fun. The song talks about a very different notion of friendship- one that's always there to help, almost to un-realistic measures â€Å"when other friendships have been forgot, ou rs will still be hot† The tone and register are also influenced by the purpose of the text. The account of friendship in the essay is of someone describing a very specific, special person, who is very important to him. This, although he knows it is a friendship with out obligations, and that he should not look to his friend for help, we as readers still get the notion that this friend is still very important to the writer and that he, by his own description, feels very secure and welcomed, at the presence of his friend. This is again seen in the language, where the writer carefully chooses imagery and words to describe the person in question â€Å"the husk, the shell of humanity is left at the door, and the spirit, mellowed by time, resides within!†. In the song the register is different. It seems like the singer is addressing the ‘friend' directly, telling him that he will always be there. However, there is not one single line telling us about the friend in more detail, or any clue at any de eper emotions or more complex relationship. This is because of the nature of songs. Very smartly it allows us to apply it to anyone- because of the lack of specifics it can be affiliated with any per of people, but at the same time the direct form of address allows for the feeling of personalization; it can be used between two people. In both texts the imagery used is closely linked with the notion of friendship it is describing. The essay using â€Å"his silver accents, beautiful, venerable as his silver hairs, but abundant, flows as a river† creating gentle, delicate images. From the imagery we learn that the man described is probably older, and has and air of knowledge and advice to him. â€Å"his hand is closed, but what if that? His eye is ever open†¦Ã¢â‚¬  his eye is ever open suggests that he is very observant, knows a great deal and constantly aware of the situation around him. The closed hand, however, is a powerful metaphor for the lack of obligation and physical help. This stands in such contrast to the song, where it seems that the friendship is based on constant physical being. All the imagery stands along the lines of ‘if you need a hand when in trouble just call my name†¦', everything is to do with actions not words. Further more, all imagery is vulgar, everyday colloquial language, funny unreal situations. Is this the reflection of the friendship? I believe it is merely because of the appeal it has to have to the public. Thus we get imagery like â€Å"if they ever cook your goose, turn me loose†. To conclude, I think the differences of the texts out-weigh the similarities, and that they are quite noticeable. I got the feeling that the essay is almost mocking the song and that in light of the essay it shows that the song has no real message or statement concerning friendship. It almost ridicules itself, the imagery and the rhymes flattening the notion of friendship making it something so explicit, so out of touch with reality and how friendships truly work, with all the subtleties. The song is there for the sake of entertainment alone. However, it interesting to see how in both texts the language, imagery and tone were so effected by the purpose.

Lessons Form the Classroom Essay

A. I think my main strength is that I like interacting with people. In my career thus far I have worked in multi-disciplinary teams, made daily presentations and managed teams so working with people is natural and comfortable for me. I’m friendly, inclusive and approachable. I think this is an asset that will carry me far as a teacher. I have experienced teachers who were intimidating and I found it detrimental to my learning. I want my students to feel comfortable to ask me anything, repeat anything, or explain anything. I think that as time progresses in the classroom I’ll be able to develop good relationships with the students where they feel safe and uninhibited. I am naturally and therefore normally well organised and prepared which I think is a key skill in ELT. At my university induction lecture the speaker said ‘fail to plan, and plan to fail’ which I think was valuable advice and which has stuck with me. Planning my lessons appropriately helps me to better understand what I’m teaching, embeds it in my mind so I’m more confident in delivering it and helps me to predict possible problems and their solutions. I think that as my confidence and skills grow I will be able to compose highly detailed lesson plans that will deliver my objectives. I am a creative person and like devising innovative approaches to problems. I like to challenge the standard to create new ways of doing things. The results have engaged and generated new perspectives. I hope this will translate well into the classroom where I can devise games and exercises that will appeal to the students and accelerate their learning. As my confidence, knowledge and skills develop I plan to combine my own methods into my teaching. My main weakness is my inability to express grammar rules and understand grammatical terminology such as ‘present continuous’. Although my primary school was strict with grammar, punctuation and spelling, we were not taught the labels of grammar terms beyond the basics of nouns, verbs, and adjectives. So whilst I can speak and write sentences that are clear and grammatically correct I am finding the terminology challenging. As an English language teacher this is obviously something that I need to remedy as soon as possible! I am studying several grammar reference books from the suggested reading list and using mind mapping to help me understand and learn the rules. I remind myself that I already know the grammar rules I just don’t know that I know them! I have never used an interactive white board (IWB) before and have historically been reluctant to embrace new technology so I have not made full use of it as yet. As the teachers have used the IWB extensively in classes I have seen how convenient and flexible it is. I am keen to address this challenge as I believe it will be enormously beneficial to me in the classroom and therefore improve and accelerate my learners’ experiences. I am going to take advantage of break times to practise using it to build my confidence and then set myself a deadline to incorporate it into a lesson. I am sure that after using it in a few lessons I will feel more composed and will easily integrate it into classes. I would like to improve my ability to communicate with the students in a more concise and succinct way. I have found that my instructions have been too complicated and lengthy and thus caused confusion. As well as cultivating this skill I’m going to try to integrate more gestures, demonstrations and pictures to resolve the issue. My research has produced a checklist for communication, (concise, concrete, clear, correct, coherent, complete), which I will use to test my instructions going forward. B. I have been impressed with the eliciting skills of the Celta teachers. In particular James Johnson has been demonstrating how to proficiently organise materials and structure questions to draw out desired responses. He is adept at posing questions that produce the target language or lexis. His seamless ability has demonstrated how effective this technique is in encouraging the students to think for themselves rather than simply giving them the answer, keeping them alert and assessing their language level as well as understanding of the concept being taught. In this way he truly engages with the students and thus his lessons are memorable. This is a very unnatural communication for me so to be able to smoothly incorporate this skill into my teaching would be a triumph for me. All of the teachers have a very calm, confident and charming disposition, which pervades the classroom. They are clearly highly skilled and experienced, which generates trust. I think these qualities are fundamental for effective learning. These qualities seem to be intrinsic to the instructors but I’m hoping that over time I will ripen or at least acquire the ability to convey a fraction of this demeanour. C. When I have completed my Celta training I will be just at the beginning of my career so continuing professional development will be paramount to consolidate what I’ve learned so far, keep my skills up to date, learn new and different techniques from other teachers and experts, and keep abreast of industry trends. I love learning and developing myself and regularly take classes, workshops and courses for fun and personal development as well as career development, so I am highly motivated to continue my ELT development. My research has made me aware of various online communities, which could be a great way to exchange ideas. I also intend to stay in touch with my peers on the course so we can continue to learn together, share experiences, ideas, problems and solutions.

Siddhartha

Siddhartha had one single goal in life. His goal is to become empty, to become empty of thirst, desire, dreams, pleasure and sorrow - to let the Self die. No longer to be Self, to experience the peace of an emptied heart, to experience pure thought - that was his goal. When all the Self was conquered and dead, when all passions and desires were silent, then the last must awaken, the innermost of Being that is no longer Self - the great secret Siddhartha, according to his actions, was constantly in search for knowledge, regardless of what kind, or what he had to do to obtain it. In the book titled Siddhartha, by Herman Hesse, this is shown to us by Siddhartha's leaving home to join the Samanas, and all the actions leading to his residence alongside the river. Leaving his family and home everyone loved him, showed that Siddhartha not only knew what he wanted in life, but will do anything to attain it. Siddhartha did not leave his father's chambers until he had gotten his way, until his father had submitted to Siddhartha's wishes and agreed to let him leave home to join the Samanas. This stubbornness, this patience with people and situations is also a large part of Siddhartha's character. It enables him to out wait anyone or anything, which teaches him how to do without and also helps him through his time with the Samanas. "Siddhartha learned a great deal from the Samanas he learned many ways of losing the Self". Despite the new knowledge he acquired, Siddhartha realized that it was only " . . . a temporary palliative against the pain and folly of life". His next decision was to leave the Samanas and go in search of the Buddha in order to learn perhaps something he did not already know. Through this learned that Siddhartha, having !all tha t is possible in one place, moves to another in search for more wisdom in search for the secret of how to obtain inner peace, how to find the Self. This action also shows his change by showing ...

Hobbling and Cobbling

Hobbling and Cobbling Hobbling and Cobbling Hobbling and Cobbling By Maeve Maddox I could hardly believe my ears this morning when I heard a highly educated author being interviewed on NPR about a new book. A graduate of two prestigious Eastern universities, the author talked about â€Å"hobbling together† a political alliance. She meant â€Å"cobbling together.† Naturally, I hopped on the Web to see if anyone else was misusing this common expression. The following examples indicate that quite a few speakers are: I could barely hobble together some clips from wagnaria some audio from hockey highlights and some sound effects in Imovie That is the big flaw with my car a VW. No cupholders except for one for the back seat. Ive had to hobble together aftermarket bits to hold my coffee.   I finally had the time to hobble together an open source version of the headless Raspberry Pi config interface I’ve been working on. It’s not just the tweeters and the bloggers: Eagan’s head coach Mike Taylor had to hobble together a line-up after losing both first line wings to injury the night before. Global markets USA: Bruised computer giants hobble together (headline over a story about a Compaq-HP merger) I even found the altered expression in printed books. Here’s one example: The Babylonian cosmos, or at least the picture of it that scholars have managed to hobble together over the last two centuries, presents us with a scene by now quite familiar to the reader Used figuratively, the expression â€Å"to cobble together† means â€Å"To put together or join roughly or clumsily, usually from bits and pieces of whatever materials are available. The verb cobble, of unknown origin, already had the meaning of â€Å"to mend clumsily† or â€Å"to patch up† in the 15th century. In the 16th century it was used to describe the mending of shoes; a cobbler was a mender of shoes. Shakespeare plays with the word cobble in Act One, scene one of Julius Caesar (1599); a cheeky commoner offers to â€Å"cobble† a tribune. Here are some examples of the expression being used correctly: Freelancers cobble together part-time jobs to make portfolio careers Adjunct Professors Try to Cobble Together a Full Workload BJP hopes to cobble together alliance in  TN Lower Makefield officials cobble together $3.5M to pay judgment in eminent domain case involving golf course land The expression â€Å"to hobble† means to fasten an animal’s feet together to prevent it from straying. Figuratively, it means to impede someone or something. For example, a lack of money could hobble a company’s efforts to bring out a new product. Here are some examples from the web in which hobble is used correctly: U.S. says global effort has hobbled a cybercrime ring Lewisville zoning extension effort hobbled in N.C. House Markets hobbled by low volatility Teaching Your Horse to Stand Hobbled If something is being put together from bits and pieces, it’s being cobbled together. If something is being crippled, it’s being hobbled. Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Expressions category, check our popular posts, or choose a related post below:16 Substitutes for â€Å"Because† or â€Å"Because Of†Capitalization Rules for Names of Historical Periods and MovementsQuiet or Quite?

Architecture and Strategic Management Essay Example | Topics and Well Written Essays - 1500 words

Architecture and Strategic Management - Essay Example (Hale, 2000; P 5) Clustering distribution centers in a single geographic area is among the new trends. There is also a move towards transportation specialization, such as companies that depend on substantial parcel air transport. Labor availability and technology advances are factors driving many companies to consolidate their distribution and structural systems into fewer but larger, regional facilities. However, not all companies are consolidating their distribution centers: in many areas, the consolidation trend itself is producing a new generation of smaller, local distribution centers. Experts say that new logistical handling systems and greater outsourcing-in particular, the increased use of third-party logistics providers-seem to be driving this trend. This trend has had a large bearing on how architects are being perceived. With the advent of management as a wholesome science that has trickled into every industry and profession, architects are now expected to handle the managerial aspects of construction and design. One of the major implications for this is cost control and financial projection, health and safety management as well as development control. When involved in a project, the major fo... When involved in a project, the major focus is on the economics and what can be achieved within a given budget. Passing this down to the architects has various dimensions to it. The creative part can be better coordinated and decided in the initial stages so as to avoid chaos later. The demerit of this is that the focus might shift from the creative to the strategic management options where some architects might be ill equipped to handle such responsibilities. The solution to such a problem is a short course or orientation program in financial and development management when educating or selecting architects. Incident Command System for High Rise Buildings Risk is also a major part of the strategic management and development part of a structure. The above diagram is a depiction of an example of sectorisation for a high rise building. The sectorisation for high rise buildings must consist of the optimum deployment and utilization of resources. Managing a high rise building is a matter of creating sectors so as to give out commands easily and smoothly in case of strategic, tactical and operational importance. The sectors for operation must include: Vulnerability assessment & intrusion detection systems Risk assessment & risk management Backups & business continuity planning Disaster recovery planning Computer incident response teams Digital investigation & incident post-mortem Privacy & anonymity in cyberspace; censorship & content filtering Management responsibilities & liabilities The future of information assurance Professional development The Harrow Court Incident The Harrow Court Incident refers to the tragic chain of events where two firefighters - Firefighter Wornham and Firefighter Miller - lost their lives on the 2nd of February, 2005. The