1.a)Looking at the journal article, summarise your understanding of Essay

1.a)Looking at the journal article, summarise your understanding of word of mouth champions as discussed by the authors - Essay Example The answer is obvious that I will consult a friend who is well aware of that product before making a buy. After all, I am buying a cell phone, not a chocolate bar! And according to the authors of the article, ‘ Turning the amplification up to 11’, this friend of mine who talks about the product, knows mostly everything about it and has the ability to convince me to buy the brand that he is recommending is called as the ‘ word of mouth’ champion. In the marketing world, the consumers who communicate the information are divided into three types. One type of people are those who talk a lot to many people about a certain product, the second types are those who can give you loads of information about the product but this happens only when you ask them and the third type of people are those who has the ability to sell the product to you by convincing you about the worthiness of the product. But the champions are only those who are so passionate about the product and its functions that he not only discusses the product with whoever he comes in contact with but also enthusiastically provides you all the information that you need and with his passionate drive, becomes successful in making you to spend the money and buy it. So it is the passion that makes the word of mouth champions not just the ability to talk or give the information. Word of mouth is nothing but a way of telling customers about the product through people who are common people like others and whose words are trusted like that of friend’s. Mouth publicity can be done in numerous ways like discussing with friends,

Hard Rock Cafe Case Study Essay Example for Free

Hard Rock Cafe Case Study Essay 1. When the Hard Rock Cafe opened up it first location in London, England in 1971, their strategy was based on expansion, placing their restaurants in areas with heavy tourism. In recent years, this strategy has changed in a few ways. First off they began putting social factors into play by each location. For instance, they have tweaked some of the menus to satisfy local taste. For example, in London, they have replaced much of the burgers and beef with seafood dishes. Secondly, instead of focusing on tourist locations like they used to do, the Hard Rock Cafe has begun to place establishments in areas where tourism isn’t as heavily counted on. 2. Product the menus at each Hard Rock location has been made up to fit the personalities of each region. As stated earlier, in London much of the burger and beef dishes in the England locations have been switched out with seafood dishes. Location when the Hard Rock Cafe first began expansion, they decided to place restaurants in locations that attracted heavy tourism. Decades later they decided to begin putting Hard Rock Cafe’s in locations that arent as heavily relied on by tourists. Inventory at each location, they began to sell merchandise unique to each location. About 48% of the cafe’s sales come from its merchandising. 3. The Hard Rock Cafe fits within the multidomestic strategy. Although it has become a recognized name by most people, it is still growing worldwide with them having 157 facilities in 57 countries. They have used this strategy by customizing both their product offering and market strategy to match different locations. For example in London cafe s, they offer seafood dishes over some of their hamburger and beef dishes that are offered elsewhere. Also in each location they have merchandise, such as; t-shirts, pins, and even shot glasses that are unique to that location

An Argument Against Abortion :: essays research papers

Psychologist, Sociologists and Anthropologist all have their place when it comes to analyzing criminals. Any member from these fields of study would have an interesting time analyzing Eric Rudolph. Eric Rudolph has been held responsible for numerous bombings of anti-abortion clinics as well as the bombing at the 1992 Atlanta summer games. As a result of these bombings one person has been killed and over 100 injured. From a psychological standpoint, Mr. Rudolph had some very serious issues. He was ruled to be mentally unstable. Eric belonged to a great number of anti-abortion groups. From a sociological stand point these groups did a great deal to aid in the crimes committed be Eric Rudolph. Upon looking at this case form the point of view of an anthropologist it becomes very clear that there is international support for Eric’s cause and very little being done to stop such actions.   Ã‚  Ã‚  Ã‚  Ã‚  Mentally unstable, odd, unsociable and depressed were all words used to describe Eric Rudolph in his childhood. In grade six a teacher wrote the following in the comment section. â€Å"Your son is an odd individual, please seek help for him. He is incredibly bright and gifted yet awkward and anti-social.† Eric Rudolph was constantly being called a failure and being told he was a plague on the planet, by his alcoholic father Mike Rudolph. Eric needed something to believe in, he took a stand in anti abortion. Anti abortion was a cause he supported ever since a very young age. Eric believed his criminal activities were simply moves in a direction of ending abortion and saving a life. This was his way of striving to make a difference. Time magazine did a psychological analysis of Eric Rudolph and they concluded â€Å"†¦ very little ability to decipher right from wrong, Eric is a young man that exploded in the very same manner as his bombs did. He was a cl ock waiting for the right time to make some noise.†   Ã‚  Ã‚  Ã‚  Ã‚  In the words of the great philosopher, David Letterman, â€Å"Eric Rudolph is like the whore of the anti abortion world, he is in bed with every anti abortion organization imaginable, some peaceful and some not so peaceful.† The role of a sociologist is to look at what groups or organizations that the person belongs too. There is a great deal of groups that Eric Rudolph was associated with. It was these groups that were responsible for teaching Eric what he needed to know in order to make a bomb.

Premodern Religion

Paul Lambert Hum 251 Professor Horten 9 / 26 / 2012 The Facade of Pre-Modern Religion During the pre-modern age there was perhaps no larger an aspect of everyday life than religion. Today’s day and age is a stark contrast, as religion has for the most part taken a backseat in importance. From the pre-modern age to now, religion has changed completely. Pre-modern religion held political power locally, and all across Europe. Today religion holds a mostly spiritual power for the truly devout.This essay will discover the role and importance that religion played in the pre-modern age, and how it permeated the lives of those living in it. In pre-modern times there wasn’t a diverse society like the one we currently live in. In the pre-modern age everybody had their own role in the community. In this feudal society, there was very little opportunity for advancement. Because of the lack of education at this time people only had a few skills, which they would put to use to make a living. Most people were farmers who worked the land most of their lives to provide food for their village, and family.There were others that had specialty skills, who may have been a blacksmith, or a shoe maker; but what they all had in common was that they were all hard workers, who had hard lives. In a pre-modern village the noble family, or the wealthiest families, would have presided over the village. These nobles would have essentially ruled over the villages and made sure things ran smoothly. About the only chance of becoming something other than a craftsman, or farmer, was to be born into one of these noble families.If you were privileged you could become a knight, but many of these people would become clergy. These clergy were one of the biggest aspects of the pre-modern society. Each village had a church, and that church was the main center of community life. The priests or clergymen were at the center of this as well. The clergy played the role of intermediary to God. Th ese men were also some of the only educated people around, although their education may have been still somewhat limited. In addition to the church, the clergy would have run the monastery.Monasteries were multifaceted facilities where the sick in the community could be cared for, the poor fed, and where monks would have studied, and also made copies of books. Clergy would have been at the head of religious ceremonies, as we saw in â€Å"The Return of Martin Guerre,† where at his marriage the priest performs the actual marriage ceremony; along with blessing of the bride and groom so that they may be fertile and produce many children. The largest role that clergy would have played though would have been as the spiritual leader of the community.One of the biggest differences between religion in pre-modern times and today was the public nature of personal religious faith. Today our own personal religious beliefs are usually kept to yourself, unless you are talking with someone c lose to you, or are having a theological discussion. In pre-modern life everyone was religious, and your religious beliefs were a public matter. At a time when the mass public is so vastly uneducated, the need for counsel with clergy was in high demand.As we read in the book â€Å"Year of Wonders,† the local clergyman, Michael Mompellion, from the beginning of the book, because of his role of clergy, is always being asked for help. In the beginning of the book Anna has to work hard to keep Miss Bradford from bursting into the rectory to seek out the counsel of the Rector, Mompellion. Until the end of the book when we see Mompellion’s true colors show through, he does seem like a very good, level headed, leader for the community.Although his actual holiness may have been more of an act, due to some of his strange actions throughout the book; it seems that the village may not have made it through the plague without his leadership, both spiritual and actual. Michael Mompe llion is the one who first suggests that the village must quarantine themselves to prevent the spread of the plague to other villages. He is the one who stands up to the wealthy Bradford family, warning them of the potential for spreading the plague if they leave the village.In this confrontation Mompellion is shown to have the best interests of not only the village, but others surrounding by stating â€Å"but think of those you are putting at risk†¦Ã¢â‚¬  (110). This is in stark contrast to Colonel Bradford whose family is looked up to in the village doesn’t take the responsibility of staying and setting an example for the rest of them. Colonel Bradford clearly states his main concern, â€Å"The colonel replied coldly. â€Å"I am merely doing what any man of means and sense must do: safeguarding what is mine. †(110).Mompellion is also shown to give tremendous spiritual leadership. Mompellion in his sermon to the village; embraces the plague, as a test from God . He implores the village to view the plague in the same way. Mompellion states that the plague has brought God nearer to the village than ever before, and perhaps as close as he will ever come in all of their lives. Mompellion tests their faith in God here, and even though most of the villagers stay, their behavior afterwards is less than holy. Throughout the book Anna and Elinor Mompellion tend to the needs of the villagers.The two help with births, and when villagers begin to fall ill, they tend to them until death; and Michael Mompellion tends to their spiritual needs. Michael Mompellion is never cast in the holiest of holies light from the beginning. In the first interaction we see him in he tells Miss Bradford to go to hell. Mompellion also takes advantage of vulnerable Anna towards the end of the book after his wife is murdered, and sleeps with her. Mompellion is seen taking advantage of his position in the community; even what relatively small power he does have, which is ve ry small compared to the Catholic Church of the time.The Catholic Church played probably the biggest role in religion in the pre-modern age. At the head of this church was the Pope. In the Catholic Church the Pope acted as a king. Cardinals came second in the hierarchy. The power of the Catholic Church saturated the pre-modern day. Although Europe was still made up of many different countries, the Catholic Church essentially over powered the political will of any one country. The Pope especially had an almost unlimited power both politically and religiously. The role of the Pope was to act as an intermediary to God on earth.This led to the uneducated pre-modern people of the time to blindly follow most if not all commands that came from the Pope. In addition to having the power of a king, the Pope pursued power and wealth as if he were one. Over time the Catholic Church amassed land and wealth. The Pope was anything but holy by taking advantage of his perceived power of intermediary to God. The Catholic Church furthered their power over the pre-modern people by perpetuating a view of God as a brutal enforcer, who dealt out punishment for sin with very little mercy.The church emphasized fearing God. This kept the people obeying the rule of the church, and the Pope. This rule continued for the most part until the reformation. At this time large gothic cathedrals began to be built. These churches were very tall, with thick stone walls, and large stained glass windows. The cathedrals were designed to give the pre-modern people a sense of the presence of God inside, and a sense of the power and majesty of the Catholic Church by the sheer size on the outside.Religion played a major role in the lives of pre-modern people in Europe. For whatever reason it may have been; fear of the Catholic Church, or excommunication, a desire to fit in, or just plain old true belief. I believe it was a little bit of all of those factors. But the role of religion in pre-modern life di d have several key functions for those clergy in power. It allowed them to be an inspiration to the people they overlooked. In the case of Michael Mompellion, he was the one who kept the cool head in the face of impending danger.That religious power was also easy to take advantage of, and led to the search for more wealth, land, and political power. By using the people’s belief that the Pope was really chosen by God as his voice on earth, the Catholic Church was able to hide behind their religious office, and make people think they were doing good, when in fact it was only a facade. Works Cited Vigne, Daniel, dir. Le Retour de Martin Guerre. 1982. Film. 11 Sep 2012. Brooks, Geraldine. Year of Wonders. New York: Viking Penguin, 2001. Print. Horten, Gerd. â€Å"Pre-Modern Age . † Concordia University, Portland. 9/5-14/2012. Lecture.

History of Cinema Essay

From the very beginning its existence the cinema has created works of art worthy to stand comparison with the masterpieces of painting, music, literature, and theatre. Even more than that, the cinema is irremovably embedded in the whole history of the twentieth century. It has not only shaped but also reflected the reality of the times. The cinema gave also form to the aspirations and dreams of people all over the world. This work will focus on the main historical factors and the conditions surrounding the history of film-making. However, it is also the case that it is simply impossible, in a work of this size, to do justice to all the many individuals, technologies and processes that have played noteworthy roles in the history of cinema. The history is not only interesting in its own right; it can also illuminate with particular clarity how the cinema works as a whole. This work consists of four main parts: the Early times, the Silent Cinema, the Sound Cinema, and the Modern Cinema from 1960 to the modern times. In each part the paper looks at history of the cinema in general. As far as possible this paper will cover each development from a broad international perspective. The Early Cinema From the beginning the cinema developed quickly. What in 1890 had been just a dream had by 1913 grown into a whole industry. First films were just moving snapshots. They were only one minute in length and nearly all consisted of just one shot. By 1905, the films were usually five to ten minutes in length and included changes of site and camera position to create a story or show a theme. Later, in the early 1910s, when the first ‘feature-length’ films appeared, there little by little emerged new techniques for handling complex stories. At this time the process of creating of films had itself grown into a large-scale business. Specialist offices had emerged, exceptionally intended to the making of films. During the 1910s the heart of supply became Los Angeles – Hollywood. The early cinema of from the mid- 1890s to the mid-1910s is often called ‘pre-Hollywood’ cinema. The cinema of this period has also been called pre-classical. Actually the styles of filmmaking common in the early years have never been completely shifted by Hollywood or classical modes, even in America. Many films continued to be pre- or at any rate non-Hollywood in their style for a long time. But it is right to say that much of the cinema development in the years from 1906 or 1907 can be considered as laying the ground for what later became the Hollywood industry. Silent Cinema On the contrary to popular belief, the history of animation did not begin with Walt Disney’s sound film Steamboat Willie in 1928. Before that film there was a popular tradition, a film industry, and a vast number of films – considering nearly 100 of Disney’s (Hayward 234). The general history of the animated film begins with the use of transient trick effects in films around the turn of the century. As several genres emerged (Westerns, chase films, etc. ). During 1906-10, there appeared at the same time films made all or mostly by the animation technique. Since most films were a single reel. There was little programmatic difference between the animated films and others. But the multi-reel film trend developed after around 1912. Animated films retained their one-reel-or-less length. Until the First World War, animation was a completely international phenomenon. However, after about 1915 the producers in the United States began to control the world market. In a quarter of a century, the silent cinema created a tradition of film comedy. The cinema arrived at the end of a century that had witnessed a rich development of popular comedy. Later, the new proletarian audiences of the great cities of Europe and America found their own theatre in music hall, variety, and musical comedy. With these popular audiences, comedy became constant demand. When life was bad, laughter was a comfort; when it was good, they wanted to enjoy themselves just the same. Famous comedy mime troupes of the music halls, like the Martinettis, the Ravels, the Hanlon- Lees, and Fred Karno’s Speechless Comedians, can be seen as direct predecessors of one-reel slapstick films. Karno, in fact, was to train two of the greatest film comedians, Charlie Chaplin and Stan Laurel (Hayward 56- 58). The term ‘documentary’ did not become popular use until the late 1920s and 1930s. In the beginning it was applied to various kinds of ‘creative’ non-fiction screen practice in the post-First World War, classical cinema era. Originating films in the category have typically comprised Robert Flah erty ‘s Nanook of the North ( 1922), various Soviet films of the 1920s such as Dziga Vertov’s The Man with the Movie Camera (Chelovek s kinoapparatom, 1929), Walter Ruttmann’s 11Berlin: Symphony of a City (Berlin: die Sinfonie der GroBstadt, 1927), and John Grierson’s Drifters ( 1929) (Cook 89). Early documentarians used the magic lantern to create complex and often sophisticated programs out of a succession of projected photographic images. The images were accompanied by a live narration, with an occasional use of music and sound effects. By the turn of the century, films were gradually replacing slides. This in turn gave rise to the new terminology. The documentary tradition preceded film and has continued into the era of television and video. In this way it was redefined in the light of technological innovations, as well as in the context of shifting social and cultural forces. British films of the period were often quite sophisticated, particularly in the comic and actuality fields. Narrative editing, too, was often innovative. Sound Cinema The development from silent to sound cinema marks a period of revolution in the history of cinema. The revolution 4can be easily dated from 6 October 1927, with the New York premiere of Warner Bros. ‘ The Jazz Singer in which Al Jolson pronounces the immortal line ‘You ain’t heard nothin’ yet’ with more or less perfect synchronization between his lips in the film and his voice recorded in parallel on a disc (Hjort 90). Filmmakers began to use innovative sound technology that produced panic in cinema industry. In the same time it encouraged experiments and hopes too. While it decreased popularity of Hollywood’s films for several years, it stimulated a rebirth of national film production all over the world. This period in the history of cinema has specific features that make it unique in comparison with the years before and after. The coming of sound itself, and its world-wide implications is the first look. Then the focus is on the world of the studios, how the system operated – particularly in Hollywood – and how different aspects of the cinema were combined together during the studio period. The studios were not entirely free to make films simply for the market. The system also encountered problems of how to regulate itself to take account of political, social, and moral concern. While other countries experienced political censorship of varying degrees of severity, the Hollywood cinema suffered relatively little interference from central government. The Hollywood was instead faced with carefully orchestrated demands for a moral clean-up and the risk of intervention by local censor boards (Neale 78-79). Along with spoken dialogue, the major innovation of the sound cinema was synchronized music. The art of musical illustration that was used during the silent period was changed by the synchronized music. A considerable difference was, certainly, that filmmakers began to use music as a part of the fictional world. For instance, music could now be introduced when the film showed an orchestra or an actor performing a song. Then, sound film would use music not only to the picture, but to dialogue as well. Music became pure background. Composition, performance, and recording were all subject to studio control, and the production of musical tracks of high quality can be counted one of the greatest achievements of the system. Outside Hollywood music tracks were often less polished. But directors were more often free to work with composers of their own choice, and Sergei Prokofiev’s music for Eisen stein ‘s Alexander Nevsky (1938) provides an interesting contrast to two classic Warner Bros. scores of the same period – Erich Korngold’s The Adventures of Robin Hood (1938) and Max Steiner’s Casablanca (1943). Modern Cinema  The most significant change in world cinema since 1945 was that produced by the breakdown of the Hollywood studio system and of its competitors and imitators elsewhere. By the early 1960s the Hollywood system was in severe disarray. Declining audiences and a series of costly flops left the major studios on the verge of bankruptcy or open to hostile take-over. While the studios experienced difficulties, new enterprises such as American International Pictures emerged. These companied made low-budget movies that were intended for the new youth and drive-in markets. Many new genres came into being. One of such innovations was the road movie. It proved to be influential not only on more mainstream American films but throughout the world. The mainstream itself was forced to innovate, drawing inspiration both from the down-market competition and from the new cinemas emerging in Europe. In Europe the most important single event was the sudden explosion on to the scene of the French New Wave – the Nouvelle Vague – with first features by Claude Chabrol, Francois Truffaut, Jean-Luc Godard, and Alain Resnais following each other in quick succession in 1958 and 1959 (Hjort 123). The New Wave had been briefly preceded in Britain by the ‘Free Cinema’ movement, and was followed by the ‘Young German Cinema’ which announced its existence in the Oberhausen Manifesto of 1962 and went on to renovate the lackluster West German cinema later in the decade. In Italy the change was less sudden but none the less significant, with the creation of Federico Fellini’s La dolce vita and Michelangelo Antonioni’s L’avventura in 1960. It was beginning of a new art cinema. Changes in the 1960s were not confined to Europe. The Cuban Revolution in 1959 gave an impetus to the growth of new cinemas throughout Latin America, notably in Brazil (Cook 45). In Japan the studio system which had nurtured the work of the great masters such as Mizoguchi and Ozu was also in crisis, and in the changed situation allowed for the entry on to the world stage of directors like Nagisa Oshima, who was to play a role in Japanese cinema similar to that of Godard in France. The new cinemas greatly extended the boundaries of film art. They brought new audiences into the cinema, for whom films assumed an unprecedented cultural importance. Throughout the 1960s and into the 1970s the cinema spoke more directly to these mainly young audiences than did any of the more traditional art forms. But outside Italy, France and England the innovate cinema with the new realities was not popular. Because of the limits on the size of the audience, the new cinema had to be low-budget or propped up by subsidy (sometimes both) in order to survive (Guneratne 67). The ‘new’ period in Hollywood cinema begins from the 1975 release of Steven Spielberg’s Jaws. The film signaled the birth of a new, younger generation of Hollywood directors. Born mainly in the 1940s, they both studied the films of classical Hollywood and were influenced by the filmmakers of world cinema. George Lucas and Steven Spielberg made blockbusters with classic principles. One of the most famous filmmaker in the 1980s has been Woody Allen. Allen has made famous films, such as Interiors (1978) and Stardust Memories (1980). Conclusion There exists recognition of the fact that from the beginning the cinema has developed in remarkably similar ways all over the world. But it is also recognized that from the end of the First World War onwards, one film industry – the American – has played a main role in the creation of world’s cinema. However, many nations have created their own, culturally identifiable, genre films that proved extremely popular during the 1970s and 1980s. In India, for instance, a remarkable 250 film-making companies, using more than 60 studios, continued to produce 700 feature films a year throughout the 1980s (Kindem 23). The central government encouraged the making of Indian films by requiring all commercial cinemas to screen at least one Indian film per show. A star system, much like Hollywood’s of the 1930s and 1940s, is strong in all parts of the world. Indeed Indian stars working on several productions at the same time can become enormously wealthy. The nations survived mainly by learning from Hollywood cinema. At the same time Europe produced a product that corresponded to needs that Hollywood cinema could not supply. Asian countries have been strong producers of film. Hong Kong, a country of only 5 million people, produces more films than Hollywood. In the 1990s Hong Kong’s citizens watched Hollywood and native productions in about equal numbers. In the 1980s Hong Kong martial arts films were distributed world-wide in large numbers. With broadcasting systems combined with the rise of satellite-distributed services Hollywood penetrates even these markets. Hollywood produced the most famous icons in the world such as Steven Spielberg and Arnold Schwarzenegger. With its international control, the Hollywood corporations could and will define standards of film style, form, and content.

Victimization of Women in Society with Regard to Anita Nair, S Ladiescoupe Essays

Victimization of Women in Society with Regard to Anita Nair, S Ladiescoupe Essays Victimization of Women in Society with Regard to Anita Nair, S Ladiescoupe Essay Victimization of Women in Society with Regard to Anita Nair, S Ladiescoupe Essay etc. , shrink from grandeur to petty profit-taking. (48) The question ‘Who conquered whom’ melts into insignificance: â€Å"history is written by victors, but in the case of India, it’s not always clear who won, is it? 90) It is that both the victor (West) and the vanquished (East) mutually enriched the sensibility of the two cultures. It is a strange divine coincidence that John Mist’s creation of the â€Å"Mist-Nama† and â€Å"Mishtigunj† is along a line which the ancient tradition of India endorses. The discovery of such a wonderful treasure is made possible by the research work of an Indian immigrant in America, Tara. Both John Mist and Tara are in a way immigrants. The philosophical axiom is that cultures are not fixed entities like â€Å"quantity. Naturally ‘being’ and’ becoming’ are not static. The mutations have repercussions. Though the word Ã¢â‚¬Ë œbeing’ created a misleading picture of fixity and permanence, it has the character of fabric. The British conquest of India forms the context of the new in which these issues are raised indirectly. The history of Mishtigunj created by British Hindu John Mist puts obstacles in the way of glibly accepting the two categories ‘being’ and ‘becoming’. What determines history is not its concern with outward form but the ‘inner implications’ is which it unconsciously creates. It is this history which has created a martyr, John Mist. Tara Lata Gangooly represents the best of the East and her predecessor John Mist represents both the best of the East and the best of the West. Characters like Virgil Treadwell are more concerned with the British form and decorum than with the essence of life. Both John Mist and Tara Lata Gangooly live at a deeper level while men like Virgil Treadwell move on a superficial plane. There are many places where Virgil Treadwell is compared to Churchill and Nixon and he is satirized subtly. Both John Mist and Tara Lata died a martyr’s death. The former was hanged in 1880 on a charge of disobedience of the British Colonial venture and the latter died in a prison in 1943 on the same charges of treason, sedition and disobedience. These events and situations by themselves are utterly insignificant. But the effect and impact they leave have a lasting value. It is this fact which enable the readers arrives at a philosophical link between being and becoming both is that the reality of life permits a movement between being and becoming. Liking John Mist, Tara Lata, Virgil and their life styles lead the leader draw an intelligent interference events and circumstances keeps them in a state of transition and transformation. It is a great achievement on the part of the novelist to aim at an imaginative-historical reconstruction of Mishtigunj. Bharathi Mukherjee is not a thoughless immigrant. Her loyalty to the essence of life gives her a new responsibility to rephrase the issue of the contact and correlation between being and becoming.

The first group of European essays

The first group of European essays This is characteristic mostly of new constitutions that deliberately try to adopt the generally accepted standards of the Rule of Law and constitutionalism. The German Basic Law can be considered an example of this effort and philosophy, and for the moment is the only Western constitution examined here that explicitly states the principle of separation of powers. Article 20, section 2 of the Basic Law says: All State power emanates from the people. It shall be exercised by the people by means of elections and voting and by specific legislative, executive and judicial organs. The philosophy of the German Basic Law and this is common with other European constitutions is built upon the following postulates: 1. The people is the holder of the whole State power. 2. The State power forms a unity4, and is indivisible. 3. The principle of separation of powers outlines and determines the organization and content of the exercise of State power. 4. The former premises result from the democratic principle under this principle the separation of powers does not divide State power into branches of different origin, it marks only the different functions of the unified power according to the Constitutional Court, it is an organizational and functional principle.5 Constitutions of some former socialist countries expressly state the principle of separation of powers presumably as a reaction to the previous ideology which rejected the idea of separation of powers, and as an expression of commitment to Western standards of constitutionalism. Russia is a good example of this argument. According to Marxist-Leninist doctrine all powers were concentrated in the hands of the soviets. In 1992, after the Soviet Union fell apart, the principle of separation of powers was added to the text of the old Constitution as a foundation of the new constitutional regime. This led to a discrepancy between...