Urban Regeneration Of The Melbourne Docklands Area Environmental Sciences Essay

Urban Regeneration Of The Melbourne Docklands Area Environmental Sciences Essay It can be a challenge to introduce sustainable mixed-use infill development elements into existing cities because of the density issue. Since the attitude of communities of the public is that; high densities contribute to crime (Dekle and Mofson 1997) While plans are created for the redevelopment of urban centres and former industrial areas in Australia (VicUrban 2006) and around the world, many existing cities, struggle with environmental, and economic problems, shattered urban areas, as well as present of public health social problems of inequality. Sustainability measures can be included as a key part of any infill strategy. to improve social equity (HSP and PIA 2009) The demand for new homes in Melbourne is unsatisfied as elsewhere around Australia. Redeveloping brown-fields to meet part of this demand can add valuable benefits other than meeting the need for homes within the city (Melbourne 2007). It can add to any city vitality, also it can reduce the need to develop  ¿Ã‚ ½green-fields ¿Ã‚ ½ sites. As well as closeness of homes near to centres of activity encourages use of public transport, walking and cycling in addition to reduces the dependency on private cars. (HSP and PIA 2009) Measures of diversity in the SD plan have to taken into concidiration needs are best met by ensuring that an appropriate range of small, medium and large family homes is available. So the market will not over supply of small homes and a shortage of  ¿Ã‚ ½lifetime ¿Ã‚ ½ homes The recent growth of urban brown-field redevelopment and greenfield initiatives is a positive indicator of the redirected priorities of the public and private sectors to re The following case study reveals how the inclusion of sustainable growth in a large-scale urban redevelopment can strengthen a shattered urban area and create an efficient functional and iconic ESD Case Study: Urban renewal of Melbourne Docklands, Australia Pre-conditions leading to infill development: The Docklands Area it is located on Victoria Harbor in South Australia (SA) in the heart of Melbourne city; situated nearby the Yarra River and directly southwest of the Melbourne central business area (DSE 2005). Since 1970 to 1990s the Docklands Area was a major source of pollution to the harbor neighbourhood in Melbourne city due to past industrial activities (DSE 2005) because of that the area has endure from disinvestment. However, the need for quayside areas in developed countries in the 1980 including Australia has reduced due to globalization; Shipping, heavy industry and manufacturing has been repositioned to developing nations such as China (Dekle and Mofson 1997). One of the difficulties to redevelop in Docklands was; land contamination, since most of it has been used for industrial activities for years (Commonwealth 2009). The Docklands area needed major design involvement to renew the vacant land as well as clean up the nearby stream (REF). Ecologically Sustainable Development (ESD): Melbourne Docklands In the recent peak oil era and the promote trend of globalisation and sustainability, it was apparently predictable that Melbourne CBD and Docklands area would be converted from heavy industry and shipping activities to a high-rise residential and light commercial areas (VicUrban 2006). In addition to the value of real estates in Australian cities, as in Europe increases; by means of closeness to both the central business quarter and waterfront (REA 2010) While Docklands land is state-owned, it has been developed in partnership between the government and the private sector with national and international developers. (VicUrban 2010a). Docklands redevelopment is one of largest Brown-field urban renewal projects in Australia (Commonwealth 2009). As shown in map below Docklands redevelopment is a 200-acre Brown-Field development (VicUrban 2010a) The Docklands redevelopment began in 1989 with the intention of setting a worldwide precedent to incorporate all aspects of sustainability; social, cultural, economic, and environmental (VicUrban 2006) There are eight ESD principles for Melbourne Docklands as indicated in the ESD Guide 2006: 1. Conserve and protect natural resources 2. Create long-term value 3. Maximise precinct opportunities 4. Balance economic, social and environmental outcomes 5. Set standards, requirements and benchmarks, and continually review 6. Develop a collaborative approach, and capture and communicate knowledge 7. Promote alternative transport opportunities 8. Create a healthy urban environment In 2004 the PIA Victoria Division has awarded the Docklands Development with Planning Excellence in the Community Based Planning Category and Planning for Health and Wellbeing (PIA 2004) The (VicUrban) Victorian Governments sustainable urban development agency has entered the award through a strategic plan that has engaged extensive research and consultation with local residence of Docklands community, local government and developers to deliver; public services and social sustainability at Melbourne Docklands.  ¿Ã‚ ½Place and Community: Implementing Sustainable Communities at Melbourne Docklands 2004-2020 ¿Ã‚ ½ plan (VicUrban 2004) Source: (Melbourne 2010) VicUrban Plan for community wellbeing identifies facilities, superiority of service and presents an on-going monitoring program that keep an eye on execution of the plan (VicUrban 2004). This Practical fresh approach is driven from innovative service organizations to deliver the needs of the existing and future community of Melbourne. The plan has advertise itself as  ¿Ã‚ ½healthy and active Docklands ¿Ã‚ ½ by focusing on variety of strategies and services intended to endorse diversity of community, its development and inhabitants wellbeing as well as workers and visitors (PIA 2004). In addition, the plan aims to create alternative active modes of transportation; such as walking and cycling, road safety (VicUrban 2004). As it is predicted by the Department of Sustainability and Environment in Victoria (DES); in 2030 population of Melbourne will grow by one million people (DSE 2005) as a result the need to redevelop or regenerate more of existing brown-fields sites in inner city is essential to achieve goals of sustainable environment, urban amenity and community development (PIA 2004). This approach has been adopted by Victoria government and VicUrban to change the face of Melbourne traditional CBD and to improve waterfront of the city by creating more compact with higher density developments that is easy to be serviced in a sustainable way. The plan is to create  ¿Ã‚ ½development that meets the needs of current generations without compromising the ability for future generations to meet their own needs ¿Ã‚ ½ (WCED, et al. 1987) pp1 To Achieve a Sustainable Developments (SD) in Docklands that meets present and future needs the plan focuses and balance between three aspects or the  ¿Ã‚ ½three bottom lines ¿Ã‚ ½ Environment, Social (Equity) and Economy (Gilbert et al., 1996). As shown in table below according with state of Victoria strategy population projections of Docklands it is estimated to increase from 6,000 residents in 2009 to 17,000 by 2020 (VicUrban 2010a) Population Start 2009 End 2009 2015 2020 Residents 6,000 6,500 11,000 17,000 Workers 12,000 19,000 30,000 40,000 Visitors 8 million p.a. 10 million p.a. 13 million p.a 20 million p.a. Development investment $5.5 billion $6 billion $9 billion $12 billion TABLE 1: DOCKLANDS POPULATION PROJECTIONS, Source: (VicUrban 2010a) While Docklands land is state-owned, it has been developed in partnership between the government and the private sector with national and international developers. (VicUrban 2010a). Docklands is one of largest Brown-field urban renewal projects in Australia (Commonwealth 2009). It is a mixed-use development includes eight precincts as shown in table XXX late 2009 $6 billion of development is either completed or under construction with a final development value of $12 billion by 2020 that will create a wide variety of jobs for 40,000 people (VicUrban 2010a)

Event Management Essay

Event management is a part of management studies that aims to apply science of project management to the organization of functions, festivals and special occasions with the aim of successfully conducting the entire event to achieve its purpose. The corporate and business world has realized the significance of a smoothly conducted business in their growth and expansion plan and therefore event management has emerged as an independent market and entrepreneurship area. Today concept and knowledge of event management is applied from events like Olympic, Asian games to corporate parties and even organizing a coffee evening with just 10 guests. The whole idea is infusing professionalism in the entire business of handling the events. The international corporate world has understood the significance of event management as a major public relation exercise that is required for it to seamlessly conduct its operations. This issue takes important form especially when multinational companies are increasingly diversifying their operations. Often they are required to hold promotional events, fete, programs and cultural-social evening in places where they have no prior exposure to the aesthetical tastes and preferences of the local population. Under such circumstances, a flaw or incorrect approach towards presentation and promotional activity can backfire, and bring discredit to the company and its further plans in the popular perception. Under these circumstances, a local event management company with understanding of local customs and tastes can help the multinational corporate giants by successfully organizing the event. Event management offers corporate heads with readymade set of solutions for a wide variety of situations, whether it is conducting franchisee meeting,   a Q&A round with employees, a corporate presentation, a sales and marketing presentation, product launching, satellite video meeting, trade shows and parties, sport shows, and almost every conceivable function involving logistic, management planning and effective and timely mobilization of resources . With integration and convergence of various streams of media, event management also now comprises over media management, press release and public address, thus helping to provide a completely polished front to the corporate sector. As it can be understood, event management requires a sound knowledge by the organizing company on the purpose of the event, target audience, securing sponsorship and exhibiting complete integrity in securing objectives of the event. As a lot has to be achieved in a limited time frame, every event runs on a risk that a slight mistake can result in a flop show, causing embarrassment to the sponsors and the promoters.

History of Film: Film Distribution

There were many changes in marketing and distribution of films from end of the silent period to the modern digital period. There was a studio system that existed at the end of the silent period and collapsed in 1949 with a court ruling. During this same time a sales era of marketing existed. After the Second World War the sales era was replaced with a new way of thinking and sales and marketing were not synonymous anymore.Marketing after World War II meant finding out what consumers’ needs and wants were and providing them with products to satisfy those needs and wants. Globalization began to occur rapidly in the 90’s and expansion in foreign market meant marketers had to concentrate on this market more than they had in the past. The digital period also meant changes of first runs and second runs for films. The studio system was a means of film production and distribution dominant in Hollywood from the early 1920s through the early 1950s.The term studio system refers to the practice of large motion picture studios (a) producing movies primarily on their own filmmaking lots with creative personnel under often long-term contract and (b) pursuing vertical integration through ownership or effective control of distributors and movie theaters, guaranteeing additional sales of films through manipulative booking techniques. A 1948 Supreme Court ruling against those distribution and exhibition practices hastened the end of the studio system.In 1954, the last of the operational links between a major production studio and theater chain was broken and the era of the studio system was officially dead. The period lasted from the introduction of sound to the court ruling and the beginning of the studio breakups; about 1927 to 1954, when the studios no longer participated in the theatre business. During the Golden Age, eight companies comprised the so-called major studios responsible for the studio system.Of these eight, five were fully integrated conglomerates, combining ownership of a production studio, distribution division, and substantial theater chain, and contracting with performers and filmmaking personnel: Fox (later 20th Century-Fox), Loew's Incorporated (owner of America's largest theater circuit and parent company to Metro-Goldwyn-Mayer), Paramount Pictures, RKO (Radio-Keith-Orpheum), and Warner Bros. Two majors, Universal Pictures and Columbia Pictures were similarly organized, though they never owned more than small theater circuits.The eighth of the Golden Age majors, United Artists, owned a few theaters and had access to two production facilities owned by members of its controlling partnership group, but it functioned primarily as a backer-distributor, loaning money to independent producers and releasing their films. The ranking of the Big Five in terms of profitability (closely related to market share) was largely consistent during the Golden Age: MGM was number one eleven years running, 1931 to 41.With the exception of 193 2 when all the companies but MGM lost money. One of the techniques used to support the studio system was block booking, a system of selling multiple films to a theater as a unit. Such a unit, frequently twenty films, typically included no more than a few quality movies, the rest perceived as low-grade filler to bolster the studio's finances. On May 4, 1948, in a federal antitrust suit known as the Paramount case but brought against the entire Big Five, the U. S. Supreme Court specifically outlawed block booking.Holding that the conglomerates were indeed in violation of antitrust, the justices refrained from making a final decision as to how that fault should be remedied, but the case was sent back to the lower court from which it had come with language that suggested divorcement the complete separation of exhibition interests from producer-distributor operations was the answer. The Big Five, though, seemed united in their determination to fight on and drag out legal proceedings for years as they had already proven adept at after all, the Paramount suit had originally been filed on July 20, 1938.The sales era is called the sales era because many companies' main priority was to move their products out of the factory using a variety of selling techniques. The sales era lasted from the early 20’s to the end of the World War II. Compare this to the cinema and both the sales era and studio system era align closing on a time period. During The sales era, companies felt that they could enhance their sales by using a variety of promotional techniques designed to inform potential customers about and/or persuade them to buy their products. This type of thinking was initiated by the economic climate of the time.The selling concepts related markets that already existed, where globalization hadn’t yet occurred and creating profit pools hadn’t even been thought of yet. However October 29, 1929—†Black Tuesday†Ã¢â‚¬â€marked the beginnin g of the Great Depression. This was the single most devastating financial day in the history of the New York Stock Exchange. Within the first few hours that the stock market was open, prices fell so far as to wipe out all the gains that had been made in the previous year. Since the stock market was viewed as the chief indicator of the American economy, public confidence was shattered.Between October 29 and November 13 (when stock prices hit their lowest point), more than $30 billion disappeared from the American economy— comparable to the total amount the United States had spent on its involvement in World War I (Schultz, 1999). The amount of disposable and discretionary income that consumers had to spend on necessities and luxuries also decreased dramatically as the unemployment rate approached 25 percent. Companies found that they could no longer sell all the products that they produced, even though prices had been lowered via mass production.Firms now had to get rid of the ir excess products in order to convert those products into cash. In order to get rid of products, many firms developed sales forces and relied on personal selling, advertising signs, and singing commercials on the radio to â€Å"move† the product. Theodore Levitt(1960), a prominent marketing scholar, has noted that these firms were not necessarily concerned with satisfying the customer, but rather with selling the product. This sales orientation dominated business practice through the 1930s until World War II, when most firms' manufacturing facilities were adapted to making machinery and equipment for the war effort.Of course, the war dramatically changed the environment within which business was conducted. This also changed companies' philosophies of doing business. The marketing concept era, a crucial change in management philosophy can be linked to the shift from a seller’s market, where there were more buyers for few good and services, to a buyer’s market, w here there were more goods and services than people were willing to buy them. When World War II ended, factories stopped manufacturing war supplies and started turning out consumer products again, an activity that had practically stopped during the war.The relationship marketing era follows the marketing concept era. Relationship marketing succeeds the marketing concept era; however most firms are still practicing the marketing concept use of marketing. The advent of a strong buyers market created the need for consumer orientation by businesses. Companies had to market good and services, not just produce them, but sell them to. This realization has been identified as the emergence of the marketing concept. Marketing would no longer be regarded as supplemental activity performed after completion of the production process. Instead, the marketer ould play a leading role in product planning. Marketing and selling would no longer be synonymous terms. Today’s fully developed market ing concept is a companywide consumer with the objective of achieving long-run success. All facets and all levels of management of the organization must contribute first to assessing and then to satisfying customer wants and needs. Even during tough economic times, when companies tend to emphasize cutting costs and boosting revenues, the marketing concept focuses on the objective of achieving long-run success instead of short term profits.The firm’s survival and growth are built into the marketing concept; companywide consumer orientation should lead to greater long-run profits. Gone With the Wind, released December 15th 1939, was no doubt a cash cow. In the film’s 8th closing week it had already earned $5,567,000, where it began to see profit. By June 1st 1940 the film had already made its year and half goal of over 20 million; a very sizeable profit for the producers of the film. It did however require a large amount of investment from its producer David O. Selznick, of almost 4 million in production costs, and another million in marketing expenses.Adjusted for inflation it would have nearly been 50 million in production costs alone. David Selznick must have known his film was going to be a big hit. He paid $50,000 for the rights to a New York Times bestselling book. If the film was going to do as well as the book he knew he was going to see a large profit from his cash cow. It wasn’t common to have a worldwide release during the studio system era like it is today. Typically films would be released in their native country first and then a few months later it would be released in countries with speaking languages the same as the country of origin.In North America the first run of a film refers to the exhibition of theatres it would play in. A first run of a film would only play in the major cities in the downtown areas in the â€Å"de luxe† first run film theatre. These theatres would seat anywhere between 1500 to 5000 people in on e room to one screen. This is of course before the days of digitization where people can view the film on DVD, and before the days of multiplexes. First run films had a higher ticket premium than that of second run or subsequent runs of the film. Gone With the Wind is said to have charged $0. 5 for a matinee viewing of the film and up to $2. 20 at Manhattan’s Astor in its first run. Compare this to the $0. 23 average ticket price in that year, the price was very high. Gone With the Wind’s first run lasted two and half years and was seen by 203 million people. It played in 156 theatres in 150 cities domestically. Gone With the Wind was eventually released around the world. Box office revenue for foreign release is much harder to calculate. Gone With the Wind made $30 million in domestic revenue and $19 million in foreign revenue in its first run.Adjusted for inflation that amount would total about $755,821,500. 00 today. (Dollar Times) Most of Gone With the Wind’ s came from domestic revenue, about 63. 3 percent. Enter 2009. Many things have changed. Firstly a new marketing era is now in place. The studio system has collapsed. Globalization is not a competitive advantage of the studio system period, it is a competitive necessity. Films that do not compete in the global market do not compete at all. First runs last only weeks, months if the film is a really big hit.First runs are not only in the downtown theatres but also in the neighborhood theatres, and now in the muitlplex theatres. A second run in today’s language is when the film hits the new release section of the rental shop. In its third month Avatar is a big hit. At the time of this writing it is still playing in its first run. How does it compare to Gone With the Wind? Avatar is currently being seen on 3,452 theatres in hundreds of countries. Estimated to cost $280 million to make Avatar is much more expensive to make, even for adjusting inflation that Gone With the Wind.Curr ently domestic box office revenue is $710,842,764, and its foreign box office revenue amounts to $1,839,000,000. This is prove of the globalization of the cinema industry. The majority of the box office revenue no longer comes from domestic revenue but rather from the foreign market. Avatar is not only seen on the traditional 2D screens that Gone With the Wind was but it also seen on 3D screens, and IMAX screens, allowing for price alterations between the different formats the film is viewed in. It will be interesting to see how Avatar does when it ends its first run and enters its second run.A film that has ended its first run and second run is much more accurate to compare with Gone With the Wind since the film would have been shown at neighborhood theatres two and half years after it was first released. Titanic was released in 1997 and has ended both its first and second run. How did these two films compare? Titanic’s production budget was $200 million compared to Gone Wit h the Wind’s adjusted for inflation budget of 50 million. Total gross revenue for Titanic has reached $1,843,201,268, while Gone With the Wind has reached $400,176,459.Adjusted for inflation Titanic would have reached nearly 3 billion in total gross revenue at $2,996,049,690. If Gone With the Wind were adjusted for total gross revenue it would reach $3,099,918,548. Total gross revenue includes first run, second run, and all other revenue that comes from the film, including T. V rights, rentals, VHS and DVD sales. It can be concluded that the importance of globalization in the film industry is more important now than it was during the studio system period. The way in which films are exhibited today is very different than it was during the studio period.First run theatres do not exist in the same way they did during the studio system period. Second runs of films were in theatres and now they are a way in which the audience may view the film on their terms, following the marketi ng concept idea. Consumers choose the way in which they consume products. The industry adapts to this and finds new ways to market their ideas and invents new products for the consumer to consume.Works Cited ‘Avatar' Passes ‘Titanic's' Overseas Record. The Hollywood Reporter, 24 Jan. 2010. Web. . Boone, Louis E. and David L. Kurtz. Contemporary Marketing. [Mason, Ohio]: Thomson South-Western, 2006. Print. Box Office, Associated Publications. â€Å"What If the Government Wins Its Suit? † Editorial. Boxoffice 1 June 1940. Print. Crane, Fredrick G. , Roger A. Kerin, Steven W. Hartley, Eric N. Berkowitz, and William Rudelius. Marketing 6th Canadian Edition. Toronto: McGraw-Hill Ryerson, 2006. Print. Frankly, My Dear â€Å"Gone with the Wind† Revisited. Yale University Press, 9 Feb. 2009. Web. . HBrothers. â€Å"Inflation Calculator The Changing Value of a Dollar. Web. IMDb. com, Inc. â€Å"Avatar, Titanic, Gone With the WInd. † Avatar, Titanic, Gone Wit h the WInd. IMDb. com, Inc. , 4 Mar. 2010. Web. . King, Clyde Lyndon, Frank A. Tichenor, and Gordon S. Watkins. The Motion Picture in Its Economic and Social Aspects. New York: Arno, 1970. Print. Rebecca Keegan, Rebecca. â€Å"How Much Did Avatar Really Cost? † Vanity Fair 22 Dec. 2009: 112. Print. Shindler, Colin. Hollywood in Crisis: Cinema and American Society, 1929-1939. London: Routledge, 1996. Print. TIME. â€Å"SHOW BUSINESS: Record Wind. † TIME

Definition and Examples of Philippics

Philippic is  discourse (traditionally an oration) that is characterized by fierce condemnation of a subject; a diatribe or rant. The term philippic (from Greek philippikos) is derived from the virulent denunciations of Philip II of Macedon delivered by Demosthenes of Athens in the fourth century BC. Demosthenes is commonly regarded as the greatest orator of his age. See Examples and Observations, below. Novelist Donna Tartts Philippic Against Prescriptive Usage Michael Pietsch: Before I began editing your book, you sent a philippic against standardization. You declared that spell-check, auto-correct, and (if I recall correctly) even sacred cows like Strunk White and the Chicago Manual of Style are the writer’s enemies, that the writer’s voice and choice are the highest standard. Do you have advice for other writers confronted with editorial standardization?Donna Tartt: Was it really a philippic? I thought it was more a cordial memorandum.Pietsch: Two-thirds of the way through a set of notes to the copy editor, you wrote: I am terribly troubled by the ever-growing tendency to standardized and prescriptive usage, and I think that the Twentieth century, American-invented conventions of House Rules and House Style, to say nothing of automatic computer functions like Spellcheck and AutoCorrect, have exacted an abrasive, narrowing, and destructive effect on the way writers use language and ultimately on the language itself. Journalism and newspaper writing are one thing; House Style indubitably very valuable there; but as a literary novelist who writes by hand, in a notebook, I want to be able to use language for texture and Ive intentionally employed a looser, pre-twentieth century model rather than running my work through any one House Style mill. Tartt: Well--Im not saying that the writers voice is always the highest standard; only that a lot of writers who are fine stylists and whose work I love wouldnt make it past a contemporary copy editor armed with the Chicago Manual, including some of the greatest writers and stylists of the 19th and 20th century. (Donna Tartt and Michael Pietsch, The Slate Book Review Author-Editor Conversation. Slate, October 11, 2013) Paul Simons Simple Desultory Philippic I been Norman Mailered, Maxwell Taylored.I been John OHarad, McNamarad.I been Rolling Stoned and Beatled till Im blind.I been Ayn Randed, nearly brandedCommunist, cause Im left-handed.Thats the hand I use, well, never mind! . . .I been Mick Jaggered, silver daggered.Andy Warhol, wont you please come home?I been mothered, fathered, aunt and uncled,Been Roy Haleed and Art Garfunkeled.I just discovered somebodys tapped my phone. [Paul Simon, A Simple Desultory Philippic (or How I Was Robert McNamarad into Submission). Parsley, Sage, Rosemary and Thyme by Simon Garfunkel. Columbia, 1966] The Philippics of Demosthenes (384-323 BC) From 351 BCE, until his self-induced death by poison in 323 BCE (to avoid death at the hands of Philip of Macedons soldiers), Demosthenes turned his talents to public affairs, particularly to rallying the Athenian people against the imminent threat of invasion by Philip...The Philippics are speeches delivered by Demosthenes between the years 351 BCE and 340 BCE. There are four Philippics orations although Dobson doubts that the fourth is legitimate. The first two Philippics are calls to the Athenian people to resist Philip before Athens itself is threatened with domination by the barbarian from the north. The Third Philippic occurs after Philip has gained control of many parts of the Athenian empire and is about to march on the city of Olynthus. Demosthenes pleads urgently and desperately for a military mission to help the Olynthians and prepare for war. Despite his failure in rousing the Athenian people to arm themselves against Philip, Demosthenes Philippic orations are considered masterpieces of rhetorical invention and technique. (James J. Murphy, Richard A. Katula, and Michael Hoppmann, A Synoptic History of Classical Rhetoric, 4th ed. Routledge, 2014) The Philippics of Cicero (106-43 BC) With Julius Caesars assassination in 44 BCE Cicero re-entered a political arena that granted him an opportunity to renew his consular voice and use his Republican rhetoric, now against Caesars lieutenant Marcus Antonius. These Philippics allowed Caesar to revive his Demosthenic persona and to provide a capstone to his claim to be the near embodiment of the [Roman] Republic, boasting at the start of the Second Philippic that in twenty years there has been no enemy of the Republic who has not also simultaneously declared war on Cicero... Ciceros proscription by the triumvirs and his brutal murder showed that he miscalculated his rhetorics power to impose his image of the Republic upon this changed political landscape.Ciceros final stand on behalf of the Republic in his speeches against Antony secured his heroization as the orator who embodied the Republic and its values, his contradictions and compromises largely forgotten.(John Dugan, Rhetoric and the Roman Republic. The Cambridge Com panion to Ancient Rhetoric, ed. by Erik Gunderson. Cambridge University Press, 2009)Despite the final outcome, Ciceros fourteen extant orations against Antony (perhaps three more are lost) may be felt to represent his finest hour. . . . Cicero invokes a rhetoric of crisis, in which good is pitted against evil with no room for compromise (cf. Wooten 1983; Hall 2002: 283-7). Even his style has changed. Sentences are shorter, periodic structures less frequent, and main ideas are not kept in suspense until a sentence ends . . ..(Christopher P. Craig, Cicero as Orator. A Companion to Roman Rhetoric, ed. by William Dominik and Jon Hall. Blackwell, 2010) The Lighter Side of Philippics A PHILIPPIC*Down with that phrase soporific, bromidic--Whatever that is--Relic of days paleozoic, druidic--Whatever that is.Does one remark, in a tone unspectacular,I think the comet diffusely opacular,Some one will cry in the vulgar vernacular:Whatever that is!Curses on him who invented the sloganWhatever that is!Jump on his neck with an ensiform brogan--Whatever that is.Phrase without meaning, bourgeois and pestiferous,Phrase that is wearying, dull and somniferous,Here is anathema umbraculiferous--Whatever that is.*Whateverthatis. (Franklin Pierce Adams, By and Large. Doubleday, 1920)