Updates and Revisions to previous project on Multigenerational Assignment - 1

Updates and Revisions to previous project on Multigenerational Leadership - Assignment Example Effective multi-generational team leadership is required across the spectrum of industries. This paper analyzes several characteristics of effective multi-generational team leadership and offers recommendations for management. Emphasis is on how effectively managing multi-generational work teams can lead to increased organizational success. While organizational success is the common goal of business leaders, many businesses have failed to achieve the expected level of success due to ineffective leadership. Leadership styles and methods vary, but many common practices exist. In the 21st century workplace, several generations of employees work together. Their varying beliefs and values add a uniquely important expectation of management. According to Martin and Tulgan (2003), multi-generational teams find it hard to embrace innovation, productivity, collective learning, and responsibilities. This challenges a leader’s leadership strategy. This paper considers this leadership challenge, and seeks to deepen understanding of the complexities of multi-generational work teams. The paper also seek to answer the question: What are best practices to effectively lead multi-generational work teams? The outcome of the study will be to advise business management on how effectively they can lead and inspire multi-generational work teams to create a business advantage. Leading multi-generational work teams presents unique challenges for management, because different generations of employees possess widely varying beliefs, values, and expectations. Fully understanding the unique characteristics of multi-generational work teams, and employing strategies for managing them, is a challenge for business leaders that must be met. Additionally, the leadership team itself is now comprised of individuals from multiple generations, adding even more complexity to this critical

Political Instability in Egypt Essay Example | Topics and Well Written Essays - 1000 words

Political Instability in Egypt - Essay Example Mubarak has been oppressing the rise of rebellion for many months in order to keep the centralized power. This clearly relates to Mill’s On Liberty, as the dictator is trying to maintain harmony and status quo. He clearly uses this to for explaining the necessity of a political sovereign state (Mill). Furthermore, he insists on a sovereign leader with absolute power that would bring security and calmness to people. In addition, he himself insists on this fact, since he witnessed a civil war that tore his country. The evil that lurks in unlimited power is the focal point of Mill’s argument. Undoubtedly, Mill’s argument for absolutism is due to the fact that the state of nature is indeed war (Mill). Mill’s main agenda is to show that, rationally, men will seek peace against the state of nature of conflict behavior. Mill’s bold attempt to convince the fact that men are creatures of peace in a state of nature is, nonetheless, a difficult thing to prove since mankind is struggling in constant warfare (Mill). Thus, Mill’s explanation of conflict is complex and hard to comprehend since, even in perfect conditions, certain man will rise to occasion to challenge authority (Mill). It’s human nature to seek pride, glory and fame; without doubt, humanity will continue to be engrossed in these acts because it can never be satisfied. Clearly, the author’s task is to show that the nature of men is complex. Mill’s theory elaborates that men are instrumentally designed to seek rationality in all instances for their best self-interest (Mill). Thus, this is the reason for the general tendency of mankind to desire power after power until death strikes them. The competition does not rise from the general scarcity of resources but Mill does not imply that. He implies that when distributed equally, even if insufficient for fulfillment of community needs, resources will never be sufficient for the satisfaction of certain p eople’s quest to obtain more power (Mill). People in their state of nature tend to have mistrust and compete for natural competition of power. Thus, the people of Egypt have revolted because of lack of free elections, high unemployment, corruption that plagues the country, and restriction of free speech. Egypt was less than a month away from holding parliamentary elections after Hosni Mubarak was ousted from power earlier this year. The natural competition for men to elect a leader that can protect their interest is crucial for Egypt (Brennan). Mill states that if the leader under power cannot provide his people with sustenance, a rebellion can threaten to change the status quo (Brennan). Clearly, Mubarak failed to give his people the free democratic elections he promised earlier. For many decades, the mass majority of the populous was surprised to see Mubarak’s party known as the National Democratic Party win by huge margins (Jensen, 2010). Many began to question the true cause of these results and accusations of vote rigging, fraud and bribery have been the focal point against Mubarak’s campaign. Hence, according to Mill, a revolution is almost guaranteed when individuals have little or no impact in the politics that govern themselves (Mill). Another key element Mill discusses in his work is brilliantly illustrated in this particular scenario. It is the fact that individuals are likely to rebel if unemployment plagues the region. This scene can be brilliantly depicted

Watch Jack Neos Homerun Essay Example for Free

Watch Jack Neos Homerun Essay These two shows are very Singaporean. By this I mean that they contain many elements which are unique to my country, elements which only within the paradigm of our society will resonate with local viewers. Homerun, an Asian remake of the internationally acclaimed Iranian movie Children of Heaven is a movie directed by Jack Neo, who is a local celebrity best known for his comedic prowess and the many comedy shows under his name. Police and Thief is a relatively new weekly half-hour sitcom shown on Channel 5 which has yet to set a foothold in the heart of local audiences. These locally produced shows use, essentially different techniques in many areas to present the story to us while making use of our experiences as Singaporeans to help us understand and appreciate the shows from their story/plot to the surprises and nuances contained within. I will proceed to show you how the techniques used are also more different than similar. A distinction between the two shows is the element of narration. Cause and effect is employed to effectively present the story or stories in the shows. It is not uncommon to find secondary stories in an episode of a situation comedy or sitcom. These are often inserted into the plot and often come together in conclusion at the end of the episode. In Police and Thief, the show starts off on this episode with Lee Tok Kong the main character of the show wanting to get under the blanket with his wife and due to common reasons of tiredness and falling asleep quickly, has his pleas ignored. This scene is related to how Tok Kong later reacts to the wiles of a less than archetypical femme fatale. There is another story inserted in between, which shows how the neighbours sons, Rudy and Rafi having an unspoken conflict over a common love interest. This plot development has no explicit and implicit impact on the main story mentioned earlier. It almost feels like tokenism has taken place, either to fill up the half hour of screen time or to give emphasis to the other characters in the sitcom. In Homerun, it is quickly established that poverty leads to a lack of options and hence with the losing of shoes early into the movie, we see the main cause in the show that explains later effects. The show revolves around how the main characters are thwarted at every attempt to obtain a new pair of shoes or retrieve the old pair. We do not see scenes that have no relation to any other. In fact the entire narration of Homerun is about a search for a cause-shoes. Both the shows have different range of stories. There is less suspense buildup in Police and Thief and this is probably due to restricted narration where both the audience and the characters in the show know the same information at relatively equal times. The only example of unrestricted narration in the recent episode was when Rudy cheated on his promise to his brother Rafi behind his back to get a chance to go out with the girl, Cecilia, they both like. Rafi only found it out in another scene when Cecilia whom similarly does not know of the conflict called their home. In this case, we know more than several characters in the show at a particular time. In Homerun, during the opening sequence of Chew Kiat Kun running errands for his family, it is quickly established that a rag-and-bone man had taken away the pair of shoes which Kiat Kun had put down. Kiat Kun has no idea how the shoes had mysteriously disappeared and hence his sister Seow Fang too. In this scene alone, a beautiful play on camera angle suffices to keep us in suspense till much later in the show. This seemingly passing top down close up scene of the gnarled hands removing the shoes helps to tug hard at our heart strings when we later realize the rag-and-bone man is blind. The above is a good example of how both restricted and unrestricted narration can be developed from one scene. We know who had taken away the shoes (unrestricted narration) but like the characters in the show we have no idea he was blind (restricted narration). These two shows belong to the 2 commonest genres in Singapore. Police and Thief can be classified as belonging to the HDB genre. In fact this plot of this particular sitcom revolves around the conflict faced by two men who live in close proximity. It has an appeal particular to local viewers who are able to appreciate the familiar settings. One example which we can relate to is the scene of Lily, Tok Kongs wife who repeats a punch line in a scene where her face is framed in the center of our common older HDB window panes. It is common to see neighbours walking and talking from the same angle for those who have lived in HDB flats. Homerun is a social commentary and even as it is based in 1965, the year Singapore became independent, it reflects on socio-political situations which were prevalent during the time of filming i. e. the water issue between Malaysia and Singapore. Another genre which is mixed into both these shows is the coffee shop genre, featuring many scenes of meeting and interactions at local coffee shops. We see this in Police and Thief where Tok Kong was being interviewed by a lady near the beginning of the show and in Homerun, Kiat Kun helps out his teacher from school who is close to collapsing from shortness of breath at a roadside coffee shop. There is obvious stereotyping in Police and Thief. Tok Kong is your typical gangster or Ah Beng in colloquial terms. He has wild, pointy gelled hair and wears colourful clothing, even for sleeping attire (Opening scenes). His heavily accented Singapore Colloquial English (SCE) (Dont play with my heart) and his love for techno music scream Ah Beng. He is put in direct contrast with his neighbour and antagonist in the show Sergeant Dollah who is a policeman. Dollah is characterized with short hair, very neat and righteous. These stereotypes alone set the premise for tension and conflict as neighbours. It is akin to Phua Chu Kang versus his sister-in-law Margaret. The stereotypes in Homerun broadly differentiate the rich and the poor. A simple comparison can be made between Beng Soon and Kiat Kun, friends of opposite ends of the economic spectrum whose relationship sours then mends in the course of the show. Beng Soon is cast in shirts, clean with well-gelled hair (in school) and stands at a good head taller than Kiat Kun. His friend however is almost always dirty, with smudges on his singlet and/or face. Even during a game of soccer, Beng Soon provides the soccer boots and he is the only one on the field with soccer socks. Tok Kong as the gangster also becomes an icon easily associated with local shows of similar genres. There is no obvious icon in Homerun. It uses a motif rather, to play out the story. There were multiple scenes of close ups of your Bata white or dirty shoes (in the shops or in the background with Seow Fangs face in the focus). Many scenes of tension started because of shoes e. g.the shoes slipping off and into a canal full of rushing water and even in the scene where Seow Fangs teacher paces as the children are exercising). These scenes feature changes in music, close ups with dialogue in the background, all to draw attention to the motif in the show. During the scene at the well with the confrontation between the two groups of boys, we see wealth being equated with power, that Beng Soon who was the rich one could actually decide who got to use the well. This is perhaps the directors ideology portraying the way Malaysia hordes over us in the water issue. The premise of Homerun revolved around three things: shoes, intelligence and power being associated with wealth. Jack Neo parodies the socio-political situation between Singapore and Malaysia using the three elements with shoes being the water, Singapore being the more intelligent country and power that Malaysia holds over us due to their superior water resource. The two shows end differently too. The end of the sitcom is close without answered questions while the cryptic ending of Homerun leaves us pondering what the director would have us think as we leave the cinema. There is no element of suspense left in Police and Thief to entice the audience to look out for the next episode, unlike a soap opera. Even as both shows make use of our experience to enhance our appreciation and understanding of the shows, they obviously use several different techniques and some similar ones to bring forth the essence of each individual story. These different methods highlight certain elements essential to the plot of the stories and ultimately help us to enjoy the shows as Singaporeans. Word Count: 1512.

Oscilloscope The most useful instrument

Oscilloscope The most useful instrument INTRODUCTION Cathode Ray Oscilloscope (CRO): An oscilloscope is easily the most useful instrument available for testing circuits because it allows you to see the signals at different points in the circuit. The best way of investigating an electronic system is to monitor signals at the input and output of each system block, checking that each block is operating as expected and is correctly linked to the next. With a little practice, we will be able to find and correct faults quickly and accurately. The symbol for a CRO: The screen of a CRO is very similar to a TV, except it is much simpler. We will not go into the similarities except to say that the picture tube on a TV and the screen on a CRO are both a special type of valve called a Cathode Ray Tube. It is a vacuum tube with a cathode (negative electrode) at one end that emits electrons and anodes (positive electrodes) to accelerate the electron beam up/down and left/right to hit a phosphor coating at the end of the tube, called the screen. The electrons are called cathode rays because they are emitted by the cathode and this gives the oscilloscope its full name: Cathode Ray Oscilloscope or CRO. CRO IN DETAIL The main part of the C.R.O. is a highly evacuated glass tube housing parts which generates a beam of electrons, accelerates them, shapes them into a narrow beam, and provides external connections to the sets of plates for changing the direction of the beam. Internal Components K, an indirectly heated cathode which provides a source of electrons for the beam by boiling them out of the cathode. P, the anode (or plate) which is circular with a small central hole. The potential of P creates an electric field which accelerates the electrons, some of which emerge from the hole as a fine beam. This beam lies along the central axis of the tube. G, the grid. Controlling the potential of the grid controls the number of electrons for the beam, and hence the intensity of the spot on the screen where the beam hits. F, the focusing cylinder. This aids in concentrating the electron beam into a thin straight line much as a lens operates in optics. X, Y, deflection plate pairs. The X plates are used for deflecting the beam left to right (the x direction) by means of the ramp voltage. The Y plates are used for deflection of the beam in the vertical direction. Voltages on the X and Y sets of plates determine where the beam will strike the screen and cause a spot of light. S, the screen. This is coated on the inside with a material which fluoresces with green light (usually) where the electrons are striking. As well as this tube, there are several electronic circuits required to operate the tube, all within the C.R.O. along with the tube: A power supply, operated from the 110 volt 60 cycle per second electrical mains. This supply provides all the voltages required for the different circuits within the C.R.O. for operation of the tube. A sawtooth, or ramp signal generator which makes the spot move left to right on the screen. External controls for this circuit allow variation of the sweep width, and the frequency of the sweep signal. Because of the persistence of our vision, this sweep is often fast enough that what we see on the screen is a continuous horizontal line. Amplifiers for the internally generated ramp signal, and for the unknown signal which we hook up to the C.R.O. for the purpose of displaying it. Shift devices which allow us to control the mean position of the beam; up or down, or left to right. The synchroniser circuit. This circuit allows us to synchronise the unknown signal with the ramp signal such that the resulting display is a nice clear signal like a snapshot of the unknown voltage vs. time. C.R.O. Operation: Typical front-panel controls Front Panel On-off switch. INTENS. This is the intensity control connected to the grid G to control the beam intensity and hence the brightness of the screen spots. Dont run the intensity too high, just bright enough for clear visibility. Always have the spot sweeping left to right or the beam may burn a hole in the screen. FOCUS allows you to obtain a clearly defined line on the screen. POSITION allows you to adjust the vertical position of the waveform on the screen. (There is one of these for each channel). AMPL/DIV. is a control of the Y (i.e. vertical) amplitude of the signal on the screen.(There is one of these for each channel). AC/DC switch. This should be left in the DC position unless you cannot get a signal on-screen otherwise. (There is one of these for each channel). AB/ADD switch. This allows you to display both input channels separately or to combine them into one. +/- switch. This allows you to invert the B channel on the display. Channel A input Channel B input X POSITION these allow you to adjust the horizontal position of the signals on the screen. LEVEL this allows you to determine the trigger level; i.e. the point of the waveform at which the ramp voltage will begin in time base mode. ms/ µs This defines the multiplication factor for the horizontal scale in timebase mode. (See 15 below.) MAGN The horizontal scale units are to be multiplied by this setting in both timebase and xy modes. To avoid confusion, leave it at x1 unless you really need to change it. Time/Div This selector controls the frequency at which the beam sweeps horizontally across the screen in time base mode, as well as whether the oscilloscope is in timebase mode or xy (x VIA A) mode. This switch has the following positions: (a) X VIA A In this position, an external signal connected to input A is used in place of the internally generated ramp. (This is also known as xy mode.) (b) .5, 1, 2, 5, etc. Here the internally generated ramp voltage will repeat such that each large (cm) horizontal division corresponds to .5, 1, 2, 5, etc. ms. or  µs depending on the multiplier and magnitude settings. (Note also the x1/x5 switch in 14 above.) The following controls are for triggering of the scope, and only have an effect in timebase mode. A/B selector. This allows you to choose which signal to use for triggering. -/+ will force the ramp signal to synchronise its starting time to either the decreasing or increasing part of the unknown signal you are studying. INT/EXT This will determine whether the the ramp will be synchronised to the signal chosen by the A/B switch or by whatever signal is applied to the EXT. SYNC. input. (See 21 below.) AC/TV selectors. Ive never figured out what this does; find whichever position works. External trigger input INTRODUCTION FUNCTION GENERATOR A function generator is a device that can produce various patterns of voltage at a variety of frequencies and amplitudes. It is used to test the response of circuits to common input signals. The electrical leads from the device are attached to the ground and signal input terminals of the device under test. Most function generators allow the user to choose the shape of the output from a small number of options. Square wave The signal goes directly from high to low voltage. Sine wave The signal curves like a sinusoid from high to low voltage. Triangle wave The signal goes from high to low voltage at a fixed rate. The amplitude control on a function generator varies the voltage difference between the high and low voltage of the output signal. The direct current (DC) offset control on a function generator varies the average voltage of a signal relative to the ground. The frequency control of a function generator controls the rate at which output signal oscillates. On some function generators, the frequency control is a combination of different controls. One set of controls chooses the broad frequency range (order of magnitude) and the other selects the precise frequency. This allows the function generator to handle the enormous variation in frequency scale needed for signals. The duty cycle of a signal refers to the ratio of high voltage to low voltage time in a square wave signal. FUNCTION OF FUNCTION GENERATOR Analog function generators usually generate a triangle waveform as the basis for all of its other outputs. The triangle is generated by repeatedly charging and discharging a capacitor from a constant current source. This produces a linearly ascending or descending voltage ramp. As the output voltage reaches upper and lower limits, the charging and discharging is reversed using a comparator, producing the linear triangle wave. By varying the current and the size of the capacitor, different frequencies may be obtained. A 50% duty cycle square wave is easily obtained by noting whether the capacitor is being charged or discharged, which is reflected in the current switching comparators output. Most function generators also contain a non-linear diode shaping circuit that can convert the triangle wave into a reasonably accurate sine wave. It does so by rounding off the hard corners of the triangle wave in a process similar to clipping in audio systems. The type of output connector from the device depends on the frequency range of the generator. A typical function generator can provide frequencies up to 20 MHz and uses a BNC connector, usually requiring a 50 or 75 ohm termination. Specialised RF generators are capable of gigahertz frequencies and typically use N-type output connectors. Function generators, like most signal generators, may also contain an attenuator, various means of modulating the output waveform, and often the ability to automatically and repetitively sweep the frequency of the output waveform (by means of a voltage-controlled oscillator) between two operator-determined limits. This capability makes it very easy to evaluate the frequency response of a given electronic circuit. Some function generators can also generate white or pink noise. More advanced function generators use Direct Digital Synthesis (DDS) to generate waveforms. Arbitrary waveform generators use DDS to generate any waveform that can be described by a table of amplitude values. REFERENCE http://www.doctronics.co.uk/scope.htm http://www.9h1mrl.org/workshop/CRO-Ebook-1/html/CRO-P1-Intro.html http://denethor.wlu.ca/pc200/scope/oscilloscope.pdf http://cnx.org/content/m11895/latest/

soliloquies in the merchant of venice :: Free Merchant of Venice Essays

  Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚  Ã¢â‚¬Å"The Merchant of Venice† is a play that relies on soliloquies to advance the plot, create mood and atmosphere, and to develop character among all the actors.   Ã‚  Ã‚  Ã‚  Ã‚  I am here to prove how this happens in two different soliloquies and show you why Shakespeare put them into the play.   Ã‚  Ã‚  Ã‚  Ã‚  My first soliloquy is from Lancelot Gobbo and it is taken from Act 2 Scene 2.I know that Lancelot is a secondary character, but this speech is really important in the outcome of this scene. He is talking about if he should run away from his master, who just happens to be Shylock. This soliloquy has all the makings of what a soliloquy should do.   Ã‚  Ã‚  Ã‚  Ã‚  It creates the mood that Lancelot (Shylock’s jester) is having alot of troubles trying to decide whether to run away or not. It must have alot to do with how Shylock treats him since he calls Shylock â€Å"a kind of devil† and also says that he can’t handle being â€Å"ruled by the fiend.† He must have really been mistreated under Shylock’s care to go as so far as to run away from him. It creates the mood of sadness and hatred in Lancelot, and a dark evil kind of feeling towards Shylock for what he has done.   Ã‚  Ã‚  Ã‚  Ã‚  It develops the character that Lancelot is a hard working man who is just trying to make a decent living but cannot because of the way he is being treated by Shylock. It also shows us that Shylock may be the character that, in the play, is the character to fear. We don’t know the details of what Shylock did to Lancelot so we have to cut him a little slack. But whatever he did to Lancelot has made him very angry and disgruntled.   Ã‚  Ã‚  Ã‚  Ã‚  And it develops the plot by starting off the main reason for this scene which is for Bassiano to get into the picture and for Gratiano to ask him if he can go to Belmont with him. It gets to this stage by Old Gobbo asking Bassiano if he will employ Lancelot, which he agrees to. It also tells of what to expect from Shylock in the later scenes which is unheartedness and ruthlessness.   Ã‚  Ã‚  Ã‚  Ã‚  My second soliloquy is taken from act 3 scene 2. In this scene Portia asks Bassiano to wait a few days to before he makes his choice on which casket to open in order to see if he will be able to marry Portia, but Bassiano refuses and wants to make his choice immediately. He makes his choice and

Colette Dowlings The Cinderella Complex: Womens Hidden Fear of Indepe

Colette Dowling's The Cinderella Complex: Women's Hidden Fear of Independency In her book, The Cinderella Complex: Women's Hidden Fear of Independency, Ms. Colette Dowling states her belief in a condition which she names "the Cinderella complex", being an intricate system of beliefs put upon women which make them feel as if they must be submissive to the wills of others, seemingly less intelligent than they truly are. However, with a more detailed analysis of the tale of Cinderella, Dowling would have realized that this is not a completely accurate naming of her discovered complex. But in order to prove this, we ourselves must take a closer look at the tale of Cinderella. In the classic version of Cinderella, that written by Charles Perrault, we are presented the image of a girl completely submissive to the will of her stepmother and of her sisters. Not quite flattering to the modern woman. However, let us examine the author and the circumstances surrounding his retelling of the story. Charles Perrault was a French nobleman, whose project was to collect tales from all over the world and rewrite them in such a format as would make them suitable for his intended audience, namely the French court. In the world of royalty, it is the man who is truly important, the sole purpose of his wife being to bear him children and make him look good in public. Perrault's Cinderella is a perfect example of what, in the eye of his audience, would be considered the perfect wife. She was a hard worker, who never objected to anything that she was told. She was "sweetness itself", according to Perrault, a perfect girl without a trace of animosity in her being--as is shown in her final treatment of her stepmother and sisters. She would ne... ...lking on our drive home from school, I said to her, "if I were a girl, it's not like I would turn 19 and suddenly say I have to get married now', it's more like you know, maybe I am ready to get married'." But she responded that it's not that simple...that she felt pressured to get married quickly, because if she would wait, all the good husbands would be gone already. She also mentioned that girls who wait longer take on a status of being less than prime candidates for matches. This shows an evident external force acting on women to make them fear their own independence. (However, I cannot state the existence of such a condition in the same manner anywhere outside the American religious Jewish community.) Sarah was married on December 29th, and moved to New York three days later. So perhaps the condition would be more appropriately named the "Sarah complex".

Protests at Parihaka Essay

The events around the non-violent protests at Parihaka took place mainly from 1860 to 1900 and have not only affected Taranaki culturally, but the whole country politically and spiritually as well. At the end of the second Taranaki war in 1866, Parihaka was created as a Maori settlement after the Government had taken away almost all Maori land in Taranaki as a way of punishing â€Å"rebel† Maori. The settlement was founded by Maori Chief Te Whiti o Rongomai, who had already fought in the previous Taranaki wars. He did this to not only distance himself and his people from European contact, but also to distance himself from warlike Maori tribes. Fellow chief Tohu Kakahi and Te Whiti also joined Rongomai. The pa was stationed between the sight of Mt Taranaki and the sea, in a clearing that was surrounded by hollow hills and a stream. In late 1866, Maori King Tawhiao (leader of the Waikato tribes and second Maori King) sent 12 ‘apostles’ to live at Parihaka to build a bond between the two tribes. By 1871, there was a reported 300 people living in Parihaka. Taranaki’s Medical Officer had said that Parihaka was the cleanest, best-kept pa he had ever visited . Te Whiti o Rongomai and Tohu Kakahi were both committed to non-violent actions in order to resist invasion and protect Maori independence. The both believe in ancestral and Christian spiritual ways, which build on their non-violent views and political leadership. Throughout the wars of the 1860’s, Rongomai and Kakahi forbade the use of arms and violence. Parihaka was a neutral party throughout. They challenged the Government over the illegality of the wars, the confiscation of the land and the policies set against Maori. They developed monthly meetings at Parihaka, which were to take place on the 18th day of each month; both Maori and Pakeha leaders were invited to discuss and strategies for resistance to the Government taking the land. When Europeans intruded on Maori land and caused a threat to all Maori  settlements, Te Whiti sent out his people to block the surveys and to plough the confiscated land. The men who were sent to plough were arrested, but they offered no resistance, even when treated harshly. In 1880, the Parihaka people created barricades, removed survey pegs and escorted road builder and surveyors out of the district. After this, Parliament passed a bill that let the government holding the protesters without trial. By September 1880, hundreds of men and children were exiled to the South Island prisons where they were forced to build the structure of cities. In 1881, resistance and imprisonments continued. On November 5 1881, an invasion force entered Parihaka. More than 2000 people sat quietly on the marae while children met the army. An hour later, Te Whiti and Tohu were led away to the South Island. The destruction of Parihaka began straight after and women and girls were raped.