Hospitality and tourism marketing Essay Example | Topics and Well Written Essays - 3750 words

Hospitality and tourism marketing - Essay Example Tourism product portfolio has following dynamics. There are quality issues, relative uniqueness, themes and potential target audience. The product gets support from these elements. In order to comprehend this relatively new field of Hospitality and Tourism Marketing, one needs to refer to rudimentary aspects of Marketing (Dolnicar, 2008).Rationale for the above mentioned product portfolio has buying decision behind it. It deals with assessment on target customers in context of their aspirations (stimuli). It includes income, safety, visa, psychological goals and offer that are floated in core and supplementary offers. Availability of information about the offer is second step where by customer tends to check alternatives. Here information must be apt and attractive. This is because of the fact that stimuli might have been catered by the core and supplementary products but necessary conveyance of information is also important. Decision once taken will lead to post purchase analysis wh ich will be very important so far as suggestion/ feedback is concerned. Satisfaction leads to regular customer-ship. A study on rating by Chinese tourists stated that Shopping, Entertainment and Participatory activities bagged highest rating whereas tourism experts marked Dining/Eating out, Participatory activities and entertainments as the most favorite activities. In Amsterdam Market, the customers will be gauged on certain determinants.

Chapter Problems Assignment Example | Topics and Well Written Essays - 1500 words

Chapter Problems - Assignment Example The fourth Amendment to the U.S.A, states that human rights should not be violated from acts pertaining to unreasonable search and seizures (Scheb, 2011). The supreme court of the United States describes the security personnel as uniformed and armed private actors. In addition, if the security personnel are to be included in the Fourth Amendment protection, then they should be ready to serve the citizens just like the normal government officials (Cunningham & Taylor, 1984). This will ensure that crime and violence is curbed in all the states that have been experiencing increased crime rates. 6. What is the rationale for excluding from trial evidence obtained in violation of the Fourth Amendment? Is this a compelling justification for the exclusion of criminal evidence from the trial of a defendant accused of a serious felony such as aggravated battery? The main reason that is behind the exclusion from trial evidence obtained in the fourth Amendment may be due to the security officers (Hougan, 1978). It has been noted that the security officers are under estimated in their services. This is due to the fact that they are excluded from the Fourth Amendment protection. ... Since most of these guards are employed by the city government then they are required by the court to comply with the constitutional requirements. The court also proposes that instead of the private police arresting people for crimes committed, they should equip them with the Miranda laws (Cunningham & Taylor, 1984). 8. The Supreme Court has created a â€Å"good-faith† exception to the exclusionary rule where police rely on a search warrant that is later held to be invalid because the magistrate erred in finding probable cause for a search. Should the good-faith exception be extended to cases where police acting in good faith conduct warrantless searches that are later held to be unlawful? In the Fourth Amendment law, the term â€Å"good faith† is used to refer to the reasonableness state of a police officer in the belief of the existence of a warrant that is in fact invalid (Hougan, 1978). In a criminal prosecution, there is no exception to the Fourth Amendment require ment that all seizures and searches are reasonable in line with the good faith exception. Moreover, when the police violate this Amendment, the evidence is inadmissible to the victim of the search or seizure. Therefore, the only instance where a good faith is necessary is when police rely on a warrant in case of a search or a seizure (Feinman, 2010). When an officer performs a search based on his/ her own facts, and not one the basis of a warrant, then it is hard to claim that the police officer committed an unreasonable mistake. However, if a warrant or any other official authorization of search is required, then the police officer can be reported to have violated an individual’s Fourth Amendment

Core Competencies Essay Example for Free

Core Competencies Essay A business or product which generates a sturdy, dependable flow of cash. Dog- a product with low market share in a slow growing market and thus neither generates more consumes large amounts of cash. Star- products that are in high growth markets with a relatively high share of that market. They tend to generate high amounts of income. Question Mark- growing rapidly and thus consumes large amounts of cash but because they have low markets shares they do not generate much cash 2. What are core competences? Core competences are critical capabilities to a business achieving competitive advantage. The starting point for analysing core competences is recognising that competition between businesses is as much a race for competence mastery as it is for market position and market power. Senior management cannot focus on all activities of a business and the competencies required to undertake them. So the goal is for management to focus attention on competencies that really affect competitive advantage. 4 Potential sources of core competences * Distribution * Marketing * Management * Manufacturing 4 criteria used to evaluate core competences * Valuable * Rare * Costly to imitate * Non substitutable 3. What should an audit of resources include? The resources available to a business whether it be owned or obtained through partnerships, joint ventures or simply suppliers arrangement with other businesses. The assessment of the strength and weakness of an organisation in conjunction with an assessment of opportunities and threats. It should have the key success factors for the markets and industries in question and the comparable strengths and weaknesses of competitors for the same customers. 4. What are the strategic options for competing in a Mature Industry? Prune marginal products and models * Emphasize innovation in the value chain Strong focus on cost reduction * Increase sales to present customers * Purchase rivals at bargain prices * Expand internationally * Build new, more flexible competitive capabilities 5. Define the Value System The Value System is the set of interdependent situations within a business which both directly or indirectly adds value to the customer and ultimately generates a net cash inflow. This also provides a key link between competitive strategy and shareholder value. Even though the value system bears some resemblance to Porter’s value chain, the latter is perhaps less flexible and less easily tailored to the variety of the modern business.

Spanish Cinema During Dictatorship Film Studies Essay

Spanish Cinema During Dictatorship Film Studies Essay Filmmakers living under whatever military dictatorship are basically deprived of any open criticism of the regime as all cultural activities, including cinema, are rigorously controlled by censors. In order to share their ideas and produce films they want, they have to resort to the indirect methods of expression such as parables, metaphors, allegories, symbols and allusions and apply them in cinema language. The elements metaphorised during Francos years in Spain formed the basic criteria of the censorship Faith, Fatherland and Family. Hence, family as a microcosm became a condensed and concealed reference to the state for such directors as Carlos Saura Fernando Palacios, Luis Garcà ­a Berlanga to cite only a few. The questions that this essay raises concern the family category and family relationship in Crà ­a Cuervosà ¢Ã¢â€š ¬Ã‚ ¦/Raise Ravens [Carlos Saura, 1975]; code of the figurative language in Spanish national cinema of the Francos years, along with the script, filming an d editing styles that convey internal impulses and foreign influences of that epoch in terms of single family. RR was shot and released during the period marked by the collapsing of Francisco Francos dictatorship that lasted for thirty-five years. It is necessary to bear in mind that the last decade of his governing was characterised by economic growth, social modernisation, population mobility, tourist development caused by domestic and external conditions. But the legacy of his flowering regime that is particularly identified with hispanidad and National Catholicism, gender, political and trade oppression, military regime, strict censorship and dominance of patriarchal family values was still in the air (Ibid., 173-183). In order to raise an issue of the burden of such politics Carlos Saura exploits the tragic story of the family where three sisters have lost both parents and become in charge of a strict aunt. The plot of child-centred RR might be considered as a long flashback of adult Ana recalling her infancy twenty years later in 1995 (DLugo 1991, 132). Thereby, reading this film as retrospective suggests mediation on Anas morbid childhood, on complex issues of family relations and grieves, their interplay and impact on her personality. But on the metaphorical level, audience is invited to meditate on the state of affairs of actual Spain caused by the loss of Empire (1898), unfruitful Second Spanish Republic (1931-39) resulted with the Spanish Civil War (1936-39) that paved the way for the military regime of Franco (1939-75). The opening credits sequence of RR proves Sauras ingenious realistic editing style that results in a non-linear structure and peculiar editing. Indeed it starts with the camera slowly moving across the photographs of child Ana [Ana Torrent] in order to compress the narrative time illustrating moments of her childhood and identifying her as the potential first-person narrative of the film. Further the viewer discovers that the visible limit between fantasy and reality is absent and transition takes place only through camera movement while characters enter the shot directly (07 min 02). From the technical point of view, the flying sequence of child Ana (15 min 35) is remarkable because the transition is realised by means of zooming, changing angle from low to high and subjective camera: in this sequence Ana escapes from her prison-house and it can be interpreted as the rejection of the authority. The passage from present to future is ensured in particular through the dolly shot and the off-screen voice of adult Ana [Geraldine Chaplin] (17 min 55) or solely by means of her voice-over (66 min 35). However the memories from the past are reconstructed from the photographs that are frequently fixed in tight shots (19 min 55, 35 min 06). As a result, the panoply of techniques contributes to the alternative editing and narrative in RR. The use of natural lightning and contemporary realistic settings enhance the authenticity, though complex, of the Spanish society. The establishing shot introduces the location of the gloomy family house and the further mise-en-scà ¨ne articulates the films space concentrated in this roomy isolated house situated in the centre of Madrid that symbolises the impoverished bourgeoisie by the end of the Spanish Civil War. The mansion is surrounded by overgrown garden and boasts an empty and ruined swimming pool connoting the decay, emptiness and death with an allusion to the dead-end political situation of the regime. The entering of the outside world into the closed space via consumerism is expressed by comics (09 min 36), glossy magazines (29 min 23) and billboards. Even the international influence on economic and cultural transformation of Spanish society is visualised in the national flags of the USA (14 min 46, 28 min 20). The only sequence set outside the city takes place in the ho use of servicemen Nicolà ¡s Garate [Germà ¡n Cobos] where children play outdoors and the diegetic birds singing (72 min 27) contrasts to the diegetic sound of heavy traffic heard in their garden (14 min 48, 16 min 28, 101 min 58). The ambiguity of adult Ana and Anas mother Maria [both by Geraldine Chaplin] contributes to the time, space and identities shift in the film. While mixing up memories and fantasies of child Ana with the reality of adult Ana and joining time layers of past, present, future and unreal together, Saura creates a concentrated reality where all characters and epochs interact and enter the field. Child Ana, the ambiguous protagonist, becomes a main link between Maria and adult Ana. As means to emphasise the importance of Anas viewpoint in the film, Saura applies the close-up on her face (03 min 35, 25 min 21, 46 min 37, 62 min 47, 67 min 17 etc.), and camera is also often placed at the level of her eyes despite the sequences with adults participation (07 min 11, 21 min 43, 30 min 35, 57 min 26, 58 min 22 etc.). This can be interpreted as the innocence of childs viewpoint and an appeal to viewers to adopt it. The films title RR as a part of popular Spanish saying states for Raise ravens and they will peck out your eyes could become a allegorical moral that not only the children could return evil for evil to their parents, but the unsatisfied country is able to take revenge on its former ideological leaders. Child Ana remains a powerful metaphor for Spains future that is still indefinite and unsure to defeat the regime, but potentially strong as her viewpoint is distinctly lucid, penetrating and analysing (DLugo 1991, 134-135). Thus, through the silent shots, she unveils what adults as censors try to conceal: adulteries of her father [Hà ©ctor Alterio] as an antithesis of canonised marriage (05 min 28, 74 min 20); grieves and pains of her mother standing for agony and frustration with the Francos regime (46 min 10, 55 min 22); quarrel of her parents proving the dominating role of husband in the family (58 min 02); affair of her aunt [Mà ³nica Randall] (88 min 19) contrasting with her a uthoritarian manner (21 min 17). Ana seems to understand that spontaneous stories of housemaid Rosa [Florinda Chico] with her genuine speech (24 min 37, 74 min 33) are more sincere than the orders of her aunt. The kitchen, which is Rosas realm, is also accentuated by means of bright lightning and grows into Anas safest place in the whole house. All in all, Anas character invites the audience to participate in estimation of cause-and-effect relations of the precedent and current epochs, depicted in her parents, as well as their impact on her future. As for the Anas surroundings, her household is characterised by double absence of parents and feminine composition. Since in Francos time the patriarchal family structure prevailed and the man was supposed to be the head of such mà ©nage (Helen Graham 1995, 184), this role is successfully played by Aunt Paulina whose iron discipline substitutes maternal affection. As Ana has already disclosed the illusion of the paternal system when she found her father dead in the arms of his mistress [Mirta Miller] at the beginning of the film (05 min 28), she does not obey her aunts orders and refuses to kiss her dead father (13 min 27). The symbolic meaning of this act lies in disapproval of established Catholic and militarist models embodied in her aunt and the servicemen present at her fathers funeral. Anas further rebel against her aunts rigorous education up to attempt to shoot (88 min 41) and to poison her (91 min 09) in the climax could be interpreted as an appeal for emancipation of the n ew generation, the yearning to burst the bonds of patriarchal family and to uphold womens rights in the society (Helen Graham 1995, 329). Yet Ana re-plays this rebellion in the scene with a doll blaming her disobedience (66 min 09). Girls dynamism and thirst for action are opposed to her grandmothers [Josefina Dà ­az] immobility and passivity. Her paralysed and silent figure stands for the nostalgia for the glorious past of the Spanish Empire and is a true allusion to her powerlessness in Francos society. Her life was destroyed by wars and regimes; she remains merely a silent witness of the present epoch finding her comfort in photographs that accompanied by an old-fashioned song  ¡Hay, Maricruz! bring back her sweet memories. Moreover, Saura attributes an emblematic soundtrack to every women generation in the film. The opening credits start with the melancholic piano piece  Cancià ³n y Danzas N.6 by Federico Mompou; it is performed later by Anas mother with a symbolic reference to her abandoned career of concert pianist and her unfortunate marriage (Helen Graham 1995, 308). Finally, Jeanettes rhythmic tune Porque te vas (Because You are Leaving) is a pop song about the failed relationships but it also has a connotation of Anas revolt and vitality. Thus, the self-conscious role of diegetic music makes characters and their ideological values more vivid. Being an example for masculinities, Anas father Anselmo does not have any associated tune: he is a former military officer from the Blue Division devoted to his Fatherland, though unfaithful tyrannical husband and neglecting parent. Overflowed with authoritarianism, Anselmo stands for a purest metaphor for the Francos military regime with all its dreads, oppressions and gender inequalities. His dominating position is illustrated in one of the photographs from the opening credits where he rides a horse (01 min 13).The legacy of the Spanish Civil War subsists in the sequence when children put in order their fathers cabinet asking questions about his military role (87 min 00). His gifts (pistol, gun and colours) could signify the transmission of values of the dying regime, e.g. violence, brutal power and nationalism. Furthermore, Anselmos character reveals and completes the image of his passive wife Maria. Being the typical spouse of the Francoist society, she renounced her vocation so as to accept the upbringing of children (Helen Graham, 183-193). Indeed, she was not convinced of her success and this can suggest a hidden parallel to the dictatorship, when none of the artistic activities was beyond censors attention. Maria is also a vivid example of a victim recluse in the house dying in agony, as it was the destiny of the Second Spanish Republic that did not lived up to Spaniards expectations. Redefinition of gender roles of the parents takes place in the domestic play staged by the children where Ana and her elder sister Iren [Conchita Pà ©rez] act their parents (37 min 59). Performing the mise-en-abà ®me of their conflict, Ana metamorphoses her mothers character according to her rebel head that stands for a shift in the new generations mind. This scene appeals to the open-ending (102 min 06) when girls leave their family house for the school accompanied by the soundtrack Porque te vas foreshadowing Spains optimistic opening to the world. All in all, these examples do not pretend to be exhaustive but seem sufficient to evaluate Sauras creative authorial insight and his attempt of dramatising the historical background in terms of family life. So the childs trauma in the film refers to the disease of the nation under the infamous Francos dictatorship. The semiotic of Sauras film including the non-linear narrative, cinematographic blurring of the events due to the camera movement and its different angles; use of diegetic music and sounds, natural lightning as well as actors play, all this might have contributed to censors confusion and they allowed its release without any cut, moreover it was awarded the Grand Prize of the Jury at Cannes Film Festival. RR can be also compared to the earlier works by Saura: La prima Angà ©lica/Cousin Angelica [Carlos Saura, 1974] and El jardà ­n de las delicias/Garden of Delights [Carlos Saura, 1970] which plots are also built on the family life with inevitable political subtext orienta ted on the intellectually engaged viewer. Word count: 2236 words Filmography Title: Crà ­a Cuervosà ¢Ã¢â€š ¬Ã‚ ¦ (Raise Ravens) Director: Carlos Saura Screenwriter: Carlos Saura Cinematographer: Teodoro Escamilla Editor: Pablo Gonzà ¡lez del Amo Music: Federico Mompou Year of release: 1976 Production Company: Elà ­as Querejeta Producciones Cinematogrà ¡ficas S.L. DVD reference: E166377

The Importance of Harry Hoveden in Making History Essay example -- Mak

The Importance of Harry Hoveden in Making History In making history, Brian Friel uses Hugh O’Neill to define the characters in the play, and the way in which his actions affect them gives the audience some characteristics to decide on the personality of particular characters. Harry Hoveden is obviously an important character in the play because he plays a major part in the play, and appears in most of the major scenes. It is also clear that he is important to O’Neill because he is often the one person he turns to in times of crisis. Harry is presented as a very loyal and sober character by, he serves to balance out some of the other characters almost like a buffer. His calm nature in times of distress or excitement contrasts with the brash and aloof persona’s of other characters like O’Neill. As well as stabilizing the mood in the play as presented, if the play was reality, he would act as a soothing and calming presence to help particularly O’Neill. There is a direct link to his calmness and soothing nature in the comparison of him to dill. Every character i...

Emily Dickinsons Use of Humor and Irony Essay -- Emily Dickinson Poem

Emily Dickinson's Use of Humor and Irony While much of Emily Dickinson's poetry has been described as sad or morose, the poetess did use humor and irony in many of her poems. This essay will address the humor and/ or irony found in five of Dickinson's poems: "Faith" is a Fine Invention, I'm Nobody! Who are you?, Some keep the Sabbath Going to Church and Success Is Counted Sweetest. The attempt will be made to show how Dickinson used humor and / or irony for the dual purposes of comic relief and to stress an idea or conclusion about her life and environment expressed by the poetess in the respective poem. The most humorous or ironic are some of the shorter poems, such as the four lined stanzas of "Faith" is a Fine Invention and Success Is Counted Sweetest. In "Faith"..., Dickinson presents a witty and biting satirical look at Faith and its limitations. While it still amuses readers today, it must be mentioned that this short poem would have had a greater impact and seriousness to an audience from the period Dickinson lived in. Dickinson was raised in a strict Calvinist household and received most of her education in her youth at a boarding school that also followed the American Puritanical tradition she was raised in. In this short, witty piece Dickinson addresses two of the main obsessions of her generation: The pursuit of empirical knowledge through science, faith in an all-knowing, all-powerful Christian god and the debate on which was the more powerful belief. In this poem Dickinson uses humor to ease her position in the debate on to the reader. Dickinson uses her ability to write humourously and ironically (as seen in her suggestion of the use of microscopes) to present a firm, controversial opinion into w... ...ntuate the humor in the juxtaposition of the objects in order not to trivialize her own beliefs, but allows enough humor to enter the description to stamp the poem with the child-like free spiritedness found in ...Nobody.... Again in this poem, the poetess' desire for seclusion and unconventionality is expressed eloquently through a light-handed treatment of the subject matter. In conclusion, it can be stated the examples of Emily Dickinson's work discussed in this essay show the poetess to be highly skilled in the use of humor and irony. The use of these two tools in her poems is to stress a point or idea the poetess is trying to express, rather than being an end in themselves. These two tools allow her to present serious critiques of her society and the place she feels she has been allocated into by masking her concerns in a light-hearted, irreverent tone.

Analysis of an Ethical Dilemma Essay

One very debatable ethical dilemma in today’s society is euthanasia. Euthanasia, like any other medical treatment should be seen as a choice. As a society, there are obligations to the sick that should be up held, but morally and legally may not be supportable. There are many aspects that go with this choice besides the obligation. There are also stakeholders to consider as well as social values, morals and religious implications. Euthanasia is Greek for good death which translates into English as easy death or mercy killing. It was accepted by the ancient Greeks and Romans. Three Asian religious traditions accept euthanasia: Buddhism, Shintoism, and Confucianism. It was rejected by the 3 main monotheistic religions: Christianity, Judaism and Islam. It has its supporters and opponents in all countries. Two types of patients are involved in euthanasia: (a) a patient in a persistent vegetative state who is awake but is not aware of self or the environment. Such a patient has no higher brain functions and is kept alive on artificial life support (b) patient in terminal illness with a lot of pain, psychological suffering and loss of dignity. The patient may or may not be on life support. There are different types of euthanasia. Active euthanasia, an act of commission, is taking some action that leads to death like a fatal injection. Passive euthanasia, an act of omission, is letting a person die by taking no action to maintain life. Passive euthanasia can be withholding or withdrawing water, food, drugs, medical or surgical procedures, resuscitation like CPR, and life support such as the respirator. The patient is then left to die from the underlying disease. Sometimes a distinction is made between normal nutrition and hydration on one hand and medical nutritional support involving intravenous and naso-gastric feeding on the other hand. Euthanasia can be by the patient or by the health care giver. Euthanasia can be voluntary when the pat ient takes the decision, non-voluntary when the decision is made by another person for an unconscious patient and involuntary when the decision is made contrary to the patient’s wish. There are ethical implications of European and American arguments for and against euthanasia. Two arguments are made for active euthanasia: (a) mercy killing because of pain, psychological and physical suffering (b) the utilitarian argument is that euthanasia is desirable because it relieves the misery of the terminally ill. Two arguments are made against active  euthanasia: (a) killing is morally wrong and is forbidden by religion (b) unexpected cures or procedures may be discovered to reverse the terminal condition. Nurses are the gatekeepers of the healing facility, although they may have their own outlooks based on their own ethical, cultural, and religious views (LeBaron, 2010). There are always value conflicts when it comes to euthanasia, which can be demonstrated by examining utilitarianism and rights. The nursing practice should be to keep patients alive, do no harm, do everything possible to save the life, and do good to everyone by respecting the right or autonomy of the individual patient. Although most of Americans presently think that physician-assisted suicide should be legal and no existing federal laws prohibiting the practice of euthanasia in United States, voluntary/assisted euthanasia is yet considered illegal and killing in all of the States but in Oregon, Washington, and soon Montana (Webster, 2009). First, Oregon and recently Washington passed a Death with Dignity Act and are actually the only places where euthanasia in terminally ill patients is legally and openly authorized (Blizzard, 2012). In 2009’s Baxter v. Montana case, the Montana Supreme Court declared that no law in state constitution stops patients from practicing voluntary/assisted euthanasia (O’Reilley, 2010). Any time the legislature can act to join Oregon and Washington in the public arena. According to both States’ laws, an adult competent patient must address three witnessed solicitations, two verbally and one in writing, to his/her attending physician for a fatal medica tion. Then the patient administers the dose on her/ his own. Obviously, the Death with Dignity Act unambiguously bans assisted euthanasia that obliges another person than the patient to take part in administering the medication (Exit International Australia, 2012). As euthanasia is observed from a diversity of different perspective, the stake holders’ opinions are considered. In front comes the patient who wishes and requests to discontinue her/his life in respect to human right to select the time and manner of death when she/ he is terminal ill by stopping unwanted, burdensome and/or futile medical treatment. Other people entrusted with the euthanasia dilemma include physicians/healthcare professionals, the family, insurance companies, religious groups, and the government. The second stakeholder is families that have to admit and follow the desires of their loved one to die in nobility. The involvement in this kind of decision  may be an unbearable load for some families who would be would be either not ready to let their darling one go, which could generate a catch-22 mainly if they are bending patient’s wishes, or emotionally scarred by the death. Other stakeholders in this situation are physicians and other practitioners who might come across a real impasse because the euthanasia breaches the â€Å"do no harm† Hippocratic Oath. The insurance companies may drive the patient in opting for death to conserve the money on an individual who does not hope of staying alive. Some religious groups are against euthanasia and consider it a suicide. Lastly the government intervenes in the stake holder in this state of affairs in defensive position for citizen from illegal measures. Voluntary/assisted euthanasia is an ethical dilemma, and creates issues and disagreements amongst those involved (Gore, 2012). Netherland and Belgium are the two countries in the world to legalize euthanasia. In the US, Oregon and Washington also legalized euthanasia. The main barriers to legalize euthanasia are the government, religion, fear, education and the media. More religious people are against euthanasia. Education also plays a major role in euthanasia. The more education a person has he/she believes all individuals have the right to autonomy and therefore the person has the right to decide to end their life. Euthanasia has pros and cons. Pros include relief from pain, relief from low quality or vegetative state of life, relief from financial strain on health care system and the resources can be used for other people. The cons include family members can kill another family member if they don’t like them or reduce financial burden, loss of respect of human life and according to religious view God can only choose when to end life. In Euthanasia legalized countries, such as palliative care nurses in Belgium have important roles and responsibilities in working with euthanasia requested by patients and their families. The nurse involvement starts when the patient requests to euthanasia and ends by supporting family and loved ones. They are in key positions to provide valuable care to the patient and family. Nurses assist the health care team after the life threatening procedure. Pain management and comfort care are their main goals at that time. Nurses are open-minded and have unique relationships with the patient and family. â€Å"In the twentieth century, a number of social and technological changes made euthanasia a morally acceptable choice to growing numbers of people† (Wells, 2006). There are two  types of ethical theories that are going to be focused on. The first is utilitarianism, which is an action that is morally correct if its consequence is good for the greatest numbers. It generally focuses on the greatest good for the greatest number, and neglects the individual rights. The other theory is called deontology, which takes into consideration the way something is to be done and not just on the consequences of that action. One may tell a lie to the doctor, just to save a friend but doesnâ₠¬â„¢t think of the grave consequences they have to suffer later on. A person making a voluntary euthanasia uses the utilitarianism theory when making such a judgment. One might choose to voluntarily do euthanasia if the person has reached an all-time low and the only other option is to the act. The person has to have thoroughly thought about the consequences and make sure his or her judgment is not biased or is not taken personal. There are certain conditions that apply for one to request voluntary euthanasia. Conditions are an unlikelihood of recovering from a cure, suffering from a terminal illness, and most importantly, they must have a voluntary wish to die. As can be seen by the multiple views of the authors, euthanasia is not an easy topic to side on. Due to many religious beliefs, one may feel euthanasia is wrong. But as a nurse that sees suffering every day, this same person would support euthanasia if not condemned by his/her religion. With the support of the ‘do no harm’ belief, it can also be construed that assisting in euthan asia is not doing harm, but preventing harm for those with chronic severe pain. There is no nationwide movement for the majority of the states to legislate for euthanasia, but thankfully there are two, soon to be three compassionate states that have in-acted this law. References Blizzard, R. (2002). Right to die or dead to rights? Retrieved from http://www.gallup.com/poll/6265/Right-Die-Dead-Rights.aspx?version=print Euthanasia: The nurses role (2011). Issues in nursing. Retrieved on 10/3/12 from Nursing students 417.wordpress.com Exit International Australia (2012). Death with Dignity in Oregon (soon to be Montana. Retrieved from http://www.exitinternational.net/page/USA Gore, J. (2011) Stakeholders in Euthanasia. Retrieved from http://jacktgore.edublogs.org/2011/08/03/stakeholders-in-euthanasia/ LeBaron Jr, G. (2010). The ethics of euthanasia. Retrieved October 3, 2012, from http://www.quantonics.com/The_Ethics_of_Euthanasia_By_Garn_LeBaron.html Purtilo, R., & Doherty, R. (2011). Ethical dimensions in the health professions (5th ed.). St. Louis, MO: Elsevier. Task Force on the Nurse’s Role in End-of-Life Decisions, 2011. (2011). Journal of Social Work Values and Ethics, 8(1). Webster, B. (2009). Assisted Suicide/Voluntary Euthanasia. International debate education association. UK. Retrieved from http://www.idebate.org/debatabase/topic_print.php?topicID=55 Wells, K. R., Frey, R. (2006). The gale encyclopedia of nursing and allied health ed. In J. L. LONGE (Ed.), (2 ed., Vol. 2, pp. 993-996). DETROIT, GALE