Theatre Essays Samuel Beckett

Theatre Essays Samuel Beckett Discuss Samuel Becketts handling of identity in his plays Waiting for Godot and Happy Days. The work of Samuel Beckett can be seen to span both the Modernist and Postmodernist paradigms (Bradbury and McFarlane, 1991; Green and LeBihan, 1996), on the one hand being influenced by such canonical Modernist writers as James Joyce and Luigi Pirandello (Knowlson, 1996) and on the other relying heavily on Postmodern notions such as the transgression of the body, the performative identity and the failure of grand narratives such as language and truth. This point is made by Richard Begam in his study Samuel Beckett and the End of Modernity (1996): â€Å"Becketts conception of his undertaking, what we would now call his postmodernism, recognized that an absolute break with the past, a complete supersession of what had gone before, was itself the product of a teleological or modern form of thinking. Proust and Joyce therefore became not figures to be replaced or surmounted but telling points of reference in an ongoing dialogue between past and present.† (Begam, 1996: 14) Beckett’s position as a liminal writer, spanning two distinctly different but obviously connected intellectual regimes, allows us to examine not only his work but the larger context of critical and performance theory. With this in mind, in this essay I would like to look at two main areas of Beckett’s work that are both metonymous with changes in post-War theatre (and perhaps literature) as a whole. Firstly I would like to concentrate on the notion of Postmodernism as it relates to performance, looking at leitmotifs and tropes as they appear in Waiting for Godot (1955) and Happy Days (1961), and secondly I would like to go on to look at the whole notion of identity and its dissolution in these same texts before drawing conclusions as to what this treatment says about the place of performance in contemporary theatre and, perhaps, the wider context of society itself. First of all, however and as a foundation for my later exposition, I would like to offer a brief summary of Postmodernism. Postmodernism, as Fredric Jameson points out, can be best understood through its relationship and difference to Modernism, a philosophical and artistic concept that had it roots in the Enlightenment of the eighteenth century (Bradbury and McFarlane, 1991). In an artistic sense, the Modernist work was characterised by experiment and a rejection of the Romantic subjective self. Works such as T.S. Eliot’s The Waste Land (1989) and James Joyce’s Ulysses (1977) exemplify both the Modernist propensity for innovation and the removed authorial voice and we can certainly see this in many, if not all of Beckett’s theatrical works. Postmodernism, as Jean Francois Lyotard declared in his essay â€Å"The Postmodern Condition† (1991) reflected the breakdown and disillusionment felt by the failure of the very foundations of Modernism; foundations that included such hitherto accepted givens as truth, the self, the homogeneity of Literature and the Arts and many of the other systems of thought that Lyotard termed the ‘metanarratives’ (Lyotard, 1991: 36). Whereas Modernism sought newness and innovation, Postmodernism resulted in the adoption of style over content (Robertson, 1996: 3), the questioning of accepted constructs of knowledge (Foucault, 1989) and the language (Derrida, 2004) and, as we shall see with Beckett the exposure of the artistic machinery. This last point, I think, is crucial to an understanding of Beckett’s place as both a Modernist and a Postmodern writer. As I have already stated, we can recognise certain Modernist images and leitmotifs in Beckett’s work (Eagleton, 1992: 186): the starkly bare characterisation, the dour vision of humanity that we also find in Eliot and Woolf and the conscious effort to experiment and innovate but, underneath this, we also detect a distinctly Postmodern sensibility; one that delights in the deliberate exposure of the performative nature of both the theatre and life. In Waiting for Godot, for instance, there is a constant comic antagonism created between actor and audience, as ideas and lines of narrative are picked up and abandoned without the usual dramatic sense of resolution (Schechner, 1988). In the first Act for example, Estragon begins a joke that is never finished: â€Å"Estragon: Tell it tome! Vladimir: Ah, stop it! Estragon: An Englishman having drunk a little more than usual goes to a brothel. The bawd asks him if he wants a fair one, a dark one, or a red-haired one. Go on. Vladimir: Stop it!† (Beckett, 1955: 16)   Ã‚  Ã‚  Ã‚   The antagonism and frustration engendered by this un-ended joke is more than a mere literary device it is also a performance device that sets up a markedly different actor/audience relationship. Unlike, say, classical Aristotelian dramatic theory that asserts the imperative of the â€Å"incentive moment† (Hartley and Ladu, 1948: 14) the â€Å"rising action† (Hartley and Ladu, 1948: 14) and the resolution, here Beckett (as indeed he does throughout the play) creates a deliberate anti-climax that immediately calls in to question the binary between reality and performance. The same also could be said about much of the dramatic structure of Happy Days, as the workings of the performance are constantly exposed to the gaze of the audience. Here, for instance, Winnie second guesses the thoughts of the audience members as she talks to a passer-by: â€Å"Winnie:†¦What’s she doing? He says – What’s the idea? He says – stuck up to her diddies in the bleeding ground – coarse fellow – What does it mean? He says – what’s it meant to mean – and so on.† (Beckett, 1961: 32)  Ã‚   Here Beckett deconstructs the very essence of the performance itself, exposing the bewildered reaction of the audience to his own drama. In a Postmodern dissolution of identity boundaries, the performer here becomes playwright, audience, character and actor as not only are the thoughts of the character exposed but so too the thoughts of the audience. This is not the only deconstruction of performance Beckett employs in the play. We see, for instance, the questioning of dramatic convention; Happy Days is, for all intents, a monologue but it features two characters, it is about the movement of time but, ironically, the main actor is static throughout and although it is primarily a play about words and not actions it is peppered with pauses and space. All factors that point to both plays as being as much rooted in Postmodernism as Modernism. We have touched upon it already but the overriding sense in both Waiting for Godot and Happy Days is the search and struggle for identity and this also, as we shall see, has a marked impact on the performance of the play and what it means regarding the audience/actor dialectic. The social background to Happy Days was described, in an affective way by Harold Clurman in an early review: â€Å"Beckett is the poet of a morally stagnant society. In this society fear, dismay and a sort of a stunned absent-mindedness prevail in the dark of our consciousness, while a flashy, noisy, bumptious, thick-headed complacency flourishes in the open.† (Clurman, 1998: 235) It is against this backdrop that the characters in the play struggle to maintain their scant identities. Even before the action begins we are made witness to the difficulties in establishing an individual existence as the characters’, names, Winnie and Willie, straightway blur their respective personal boundaries. We see this also to a greater extent in Waiting for Godot, as Gogo, Pozzo and Godot, combine to form a linguistic homogeneity that suggests a group rather than an individual identity. The mise en scene of Happy Days is part Eliotesque wasteland: â€Å"Expanse of scorched grass rising centre to low mound. Gentle slopes downto front and either of stage. Back an abrupter fall to stage level† (Beckett, 1961: 9)   part Postmodern irony, as the backdrop reveals itself to be a self conscious trompe-l’oeil that represents â€Å"unbroken plain and sky receding to meet in far distance.† (Beckett, 1961: 9). Within this, Winnie literally stands as part of the scenery, only half visible that is, in itself, a symbolic representation of both time passing and the extent that she has already lost a great deal of her personal identity. As I have already hinted at, Winnie deconstructs the notion of movement and stasis; on a psychological level she moves quickly between times as in this passage where she and us are taken back into her personal history prompted by the news of a death of a friend: â€Å"Winnie: Charlie Hunter! (Pause) I close my eyes – (she takes off spectacles and does s, hot in one hand, spectacles in other, Willie turns page) – and am sitting on his knees again, in the back garden at Borough Green, under the horse-beech.† (Beckett, 1961: 14) Physically however she is literally trapped, unable to move or stop the flowing of time swallowing her completely. Her identity becomes fashioned by her memories as at first, in the initial Act, they form a reasonable homogeneity and then, in Act Two become more and more diffuse, more and more fractured until by the end of the play she exists as merely snapshots of a life that has been: â€Å"Winnie: Win! (pause)Oh this is a happy days, this will have been another happy day! (Pause) After all (Pause) So far. Pause. She hums tentatively beginning of song, then sings softly, musical box tune.† (Beckett, 1961: 47)   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   As John Pilling suggests in his study of Samuel Beckett (1976: 85), the playwright twins the enormity of the search for identity in an alienating world with the minutiae of everyday living, as Winnie spends a great deal of the play’s time conducting worthless searches for toothbrushes, or lipsticks or many of the other incidental objects of existence. Ultimately, her search for a personal identity is proved fruitless as she becomes subsumed in that which surrounds her, perhaps a particularly twentieth century vision of the struggle of the personal psychology in the face of the modern city. Waiting for Godot, I think, concerns itself with similar themes and similar characters. Martin Esslin characterised Beckett’s Waiting for Godot as â€Å"concerned with the hope of salvation through the workings of grace† (Esslin, 1968: 55) and we can see that is certainly a major thread in the play. However, we can also note that it concerns itself not with a general salvation but with a very a personal one, with each character desperately searching for their own identity amid the alienation and ennui of the surrounding environment. Most of the play’s linguistic rhythm arises out of the characters’ attempt to assert their own identity in the face of the others: â€Å"Vladimir: Charming evening we’re having. Estragon: Unforgettable. Vladimir: And its not over. Estragon: Apparently not. Vladimir: Its only beginning. Estragon: Its awful. Vladimir: Its worse than being in the theatre.† (Beckett, 1955: 34)   The tooing and froing of the dialogue here is a perfect example of this point, with neither Vladimir nor Estragon willing to surrender themselves to the other. The same can be seen in a more graphic sense with the Pozzo/Lucky relationship that is, at its heart a Hegelian dialectic of the master and slave, with each party attempting (and failing) to break away from the other. In the comic scene towards the end of the play that depicts Vladimir and Estragon exchanging symbolic identities in the form of their hats (Beckett, 1961: 71-72) we can note Beckett’s observation on the ironies of Postmodern life: â€Å"Vladimir takes puts on Lucky’s hat in place of his own which he hands to Estragon. Estragon takes Vladimir’s hat. Vladimir adjusts Lucky’s hat on his head. Estragon hands Vladimir’s hat back to Vladimir who takes it and hands it back to Estragon who takes it and hands it back to Vladimir who takes it and throws it down.† (Beckett, 1955: 72)      The absurdity of this scene arises from the fact that each hat is the same, or at least very similar, so that it makes very little difference which hat ends up on which head. This is, I think, symbolic of the larger treatment of identity within the play; with the playwright suggesting the absurdity of the search for personal individuation. Are not identities much like hats, asks Beckett, remarkably the same? If Happy Days is a study of the search for identity under the crushing weight of time passing, Waiting for Godot is the search for identity within the lightness of forgetfulness. Time in the latter is meaningless, it passes with no affect in fact Estragon can not even remember the events of the day before. Within this, the characters desperately cling to the remnants of their identities whether that be in the form of an oppressive relationship to another, an item of clothing or the feint hope of someone who will never arrive. We can see then that the treatment of identity within Beckett’s two major plays mirrors the questions arising out of Postmodernism, questions that concern the nature of identity and the Self. For Postmodern theorists like Judith Butler (1999) and Michel Foucault (1990) the Self is a performative construct, both given to us by society and adopted as a mask and we note some of this sense in Beckett. Ultimately, then, Beckett’s work deconstructs the very notion of a theatrical performance, suggesting that this is merely one of a number of performances that occurs at any one time. The relationship, then, between the audience and the actor changes from one of passivity to one of dialogue as the former is exposed as relying as much on performance as the latter. This can be seen to be a reflection of Antonin Artaud’s assertions on the Theatre of Cruelty in his second manifesto: â€Å"†¦just as there are to be no empty spatial areas, there must be no let up, no vacuum in the audience’s mind or sensitivity. That is to say there will be no distinct divisions, no gap between life and theatre.† (Artaud, 1985: 84)   Beckett’s work says as much about the identities of the audience as the characters and as much about the performative nature of the wider society as the performance of the theatre. References Artaud, Antonin (1985), The Theatre and its Double, (London: John Calder) Beckett, Samuel (1961), Happy Days, (London: Faber and Faber) Beckett, Samuel (1955), Waiting for Godot, (London: Faber and Faber) Begam, Richard (1996), Samuel Beckett and the End of Modernity, (Stanford: Stanford University Press) Bradbury, Malcolm and McFarlane, James (eds) (1991), Modernism: A Guide to European Literature 1890-1930, (London: Penguin) Butler, Judith (1999), Gender Trouble, (London: Taylor and Francis) Cormier, Ramona and Pallister, Janis (1998), â€Å"En Attendent Godot: Tragedy or Comedy?†, published in Culotta Andonian, Cathleen (ed), The Critical Responses to Samuel Beckett, (London: Greenwood Press) Clurman, Harold (1998), â€Å"Happy Days: Review†, published in Culotta Andonian, Cathleen (ed), The Critical Responses to Samuel Beckett, (London: Greenwood Press) Eagleton, Terry (1992), Literary Theory: An Introduction, (London: Blackwell) Esslin, Martin (1968), The Theatre o f the Absurd, (London: Pelican) Foucault, Michel (1990), The History of Sexuality: Volume 1, (London: Penguin) Green, Keith and LeBihan (1996), Critical Theory and Practice: A Coursebook, (London: Routledge) Hartley, Lodwick and Ladu, Arthur (1948), Patterns in Modern Drama, (London: Prentice Hill) Jameson, Fredric (1991), Postmodernism, or the Cultural Logic of Late Capitalism, (London: Duke University) Kenner, Hugh (1973), A Reader’s Guide to Samuel Beckett, (London: Farrar, Strauss and Giroux) Knowlson, James (1996), Dammed to Fame: The Life of Samuel Beckett, (London: Bloomsbury) Lyotard, Jean Francois (1991), â€Å"The Postmodern Condition†, published in Jenkins, Keith (ed), The Postmodern History Reader, (London: Routledge) Pilling, John (1976), Samuel Beckett, (London: Routledge and Kegan Paul) Robertson, Pamela (1996), Guilty Pleasures: Feminist Camp from Mae West to Madonna, (London: Duke University) Schechner, Richard (1988), Performance Theory, (London: Rout ledge)

How useful is Personality Theory? Essay

What motivates human behaviour? Why is the past present and future important to the development of personality? How constant is human behaviour? These questions along with many others determine the need for a theory that will answer some of the questions. Personality Theories aim to provide a viable description for people’s individual differences, it attempts to answer the questions mentioned above and assign some kind of meaning into people’s behaviour. (Furnham & Heaven pg10) There are many different theories in order to explain personality; some would explain people’s unique behaviour as being a product of our environment or social situations, personal learning or part of our genetic makeup. Personality theory attempts to explain the how is our behaviour shaped, what makes us behave in certain ways in certain social situations and why do we behave in this manner. The notion is that people are unique and no two people behave alike in a predicament, no matter how close they are. (Furnham & Heaven pg4) The method in which personality theorists look at the development of personality all differ, some examine the structure which attempts to reach below the surface of observable trait type behaviours. Some explain the actual processes of personality; others investigate the development of personality. An important reason for studying personality is to gain scientific knowledge and to try to assess people so that deviant behaviours can be modified. (Roth pg365) Concerning the different personality theories only one theory will be mentioned in this essay, that being the trait-type approach which explains personality as inherited differences that are biological. This theory of personality is used quite often in our every day life and the benefits and implications of using personality theories will be examined in detail, throughout the progression of this essay. Personality is a pro-active process and the theories attempt to stabilise one’s behaviour, and because personality is an implicate theory we can predict that people will behave in a certain way. The well-known scale for introversion and extraversion as described by (Hippocrates, Galen, Winott, Jung, Eysenck, and Cattell among others) has been shown to be directly related to mental health, learning and education, risk taking, criminality and other social behaviours. These behaviour patterns may not become known by observation, or just meeting a person, this is why this approach has some benefits. (Wallace pg10) Individual differences in personality have long been recognised, in the last hundred years psychologists have made a great deal of progress in developing procedures for assessing personality. A large number of assessment methods, tasks and gadgets have been used to assay mans behaviour, attitudes, thoughts, aspirations and deviations. All of these approaches to assessing categorising, or measuring personality, have involved collecting responses from, or making observations about, the subject which could be used to infer more general personality traits or status characteristics. (Butcher page 4) The use of personality testing in occupational assessing has been increasing over the past two decades. Some recent surveys have, for example suggested that up to two thirds of large organisations in the UK use personality assessment for selecting managers. The vast majority of organisations use tests responsibly and wisely, although it is undoubtedly true some do not. The British psychological Society (BPS) aim to promote responsible use. (Dr Russell Drakeley pg29) Personality assessment can be used for staff selection, promotion, individual personality development, team development, career guidance, counselling, educational or learning difficulties or clinical personality assessment. The possibilities of personality testing are varied, and some of the ones included in the above list would not meet with universal approval. Using personality tests for promotion and redundancy are especially controversial and in the past have caused much consternation, both within and outside occupational psychology. (Dr Russell Drakeley pg28)

The Theory Of The s Theory - 1408 Words

1. According to Kelly, our self is a collection of our personal constructs at a specific time. These constructs are tools that we use to anticipate and interpret our environment. Kelly disagreed with behaviorists that behavior is shaped solely by the environment, but Kelly also disagreed with the concept of phenomenology, which is that reality is only what people perceive it to be. Kelly argues with Personal Construct Theory that both reality and our interpretation of it are important, and he agreed with Adler that our interpretations are the more important of the two. However, Kelly took it one step further and claimed that time was also a factor. Essentially, the way we interpret our reality is affected by the dimension of time. The†¦show more content†¦Next, the Five Factor Model argues that our self is composed of three central components, which are basic tendencies, characteristic adaptations, and self-concept. First, our basic tendencies such as: OCEAN, cognitive abilities, sexual orientation, etc. are long lasting stable personality components. They’re the building blocks of our personality. Second, we have characteristic adaptations. All skills that are acquired, like chemistry or driving, are characteristic adaptations. How quickly we learn these skills would be a basic tendency. The key difference between basic tendencies and characteristic adaptations is that the latter is flexible. They change according to our environment. Our basic tendencies direct the ways in which they will adapt. Lastly, we have our self-concept. According to the FFM, self-concept is a characteristic adaptation itself. Our self-concept is what gives us a sense of identity and purpose in life. Our feelings and beliefs that we have about ourselves influence the way in which we behave. The FFM argues that personality has a strong biological basis, but the environment does influence our personality to an extent through our characteristic adaptations. 2. The self can be defined as the â€Å"me† that is experiencing the world around them. Our schemas, self-concept, identity both personal and social are some of the parts that make up the unified self. These different components of the self were once thought to

Copyright, Trademarks and Patents - Free Essay Example

Sample details Pages: 8 Words: 2380 Downloads: 1 Date added: 2017/06/26 Category Law Essay Type Narrative essay Level High school Topics: Act Essay Did you like this example? Contents Introduction Copyright: The qualification of copyright protection: What is the length of copyright terms lasts of the South African Copyright Act.? Trademarks Patent: Copyright in an Existing case: Trademarks in an Existing case: Patent in an Existing case: The protection of product of designers: Process of protection intellectual property: Bibliography: Don’t waste time! Our writers will create an original "Copyright, Trademarks and Patents" essay for you Create order Introduction The copyright laws was of four formerly-independent provinces proceeding for the unchanged, this was happening after the process of the Union of South Africa in 1910. The Patent, Design, Trade Marks and Copyright Act was enacted by the Parliament in 1916. So this annul the provincial laws and incorporated the British Imperial (Copyright Act 1911) this is for the South African law. South Africa became part of the unit of Berne Convention in there way of right in 1928. In 1961 South Africa became in the form of government. The parliament established their own copyright law and then was separated from the United Kingdom of the Copyright Act 1965. As this was a British Copyright Act 1956 that was largely based. Then it was changed by the Copyright Act 1978 and that remained force. British law and the text of Berne Convention was from the 1978 Act. It was improved and got the attention in 1992 because of the maker of computer programs of the protection of the work. This was then brou ght into the line with TRIPS agreements in 1997. Copyright: The law of South Africa is the right of control in the use of the act of manner of artistic and creative works. This is the Copyright Act 1978. The different kind of an addition to the act and manage of the Company and Intellectual Property Commission in the Department of industries. The party of South Africa had the TRIPS Agreement with Berne Convention. The agreement was not given as a formal approval. The Copyright term in South Africa for the literacy, music, art work, and the photographs, is 50 years from when the creation was published or with in the not the publishing of 50 years. When work was given as Anonymous is covered from the 50 years it is published and then also of it was reasonable take when it assume the death of the author. The qualification of copyright protection: The way that copyright developed was to a significant extent, explaining the works copyright protection. When the original work was been qualified saying it is the persons work is to make it qualified by the copyright protection. When it is talked about the work is original is when the work is design by through the work of the author all the creativity and the labour. To be referred to be a representative of South Africa of the Berne Convention country. This is part of the (No. 98 of 1978). What is the length of copyright terms lasts of the South African Copyright Act.? It depends on the type of work that is designed and in the copyright term it is 50 years. The artist work that have the existing copyright of the life, when the end of the time when the author dies there will be a 50 yearsà ¢Ã¢â€š ¬Ã¢â€ž ¢ time from the first time it is published. The transformation of copyright is much like the properties of the copyright that is transferred by the assignment with the testamentary disposition with the law. There is a license for the copyright policy. The exclusive license that exclude anything else and that includes the author for the creation that is used. There must be a writing and been signed to be valid. Trademarks The Act in 1993 of the trademarks of the South African government of trademarks in a system that is registration. The descriptions with the Distinctive signs that is having the ability of the graphical representation of the legal trademarks. The following of the International Classification is of the service of the 42 classes. If you do not stay in South Africa you will need a lawyer to provide the application for you. People have to register through a lawyer for a trademark. The fee for a registration for a trademark is R590.00 for the class of the service that is given. The money will not be given back if the application is declined. If you do not stay in South Africa for the time of 5 years someone else has the right to remove the registration of the trademark. A trademark can be used by some other people on the service that it is registered. In the term and conditions as it is approved with a payable fee. Trademarks can be sold by the person that own the property. The regist ration is changed to ownership and the conditions is changed. The registration should be payable with a fee that is noticeable. A name of a company can be used for a trademark with the identical registration on the register. Patent: The patent in South Africa is the system of Government by the Act (1978). It is the protection that affords of the patents for the inventions with the process. In South Africa the patent when the it is in the state of being away in the way that it is in the quality of being new and the protection that is declined in the noticeable invention. There should be a completed specification that is first filled in certain time and then established within the application accompanied specifications that is provisional. The term of a patent is 20 years from the date that the completing of the specification filled. Every year a patents should be renewed and from the 4th following date. Copyright in an Existing case: There was five plaintiffs with the issues against the defendant in the South Gauteng High court, they state to be such that they were the owners of copyright works consisting of musical and relating work that was known as a musical à ¢Ã¢â€š ¬Ã…“ Umojaà ¢Ã¢â€š ¬Ã‚ . They stated further that the defendant had violate the copyright of performing that whole part of à ¢Ã¢â€š ¬Ã…“Umojaà ¢Ã¢â€š ¬Ã‚  they made recording of the films and then broadcasted it. This was the provisions of the Act 98 of 1978 Copyright. That is the cause of an argument part case that is based on provisions. The claim that relates to that the defendant also had a pledge act of breaking the law in a numerous amount of countries. The importance that is compared with the break of law that plaintiff that is depended on the Copyright Act on the countries individual. This was taken places in 2011 in South Africa. The act of accepting the raise of the defendants the question of the jurisdiction in a directiv e way. In the way that there was breaking of law that it is stated in process of the copyright institution of the local court founded in the Act of Copyright and as the plaintiff attempt to apply the legislation if the copyright that is relevant of the foreign states. Trademarks in an Existing case: The case number: 39872/2013. In the High Court of South Africa (Gauteng Division, Pretoria) the respondent was a corporation existing under the laws of Japan made application with their trademarks 2009/207770-1 in classes 5 and 32, in terms of the provisions of section 10(12) and 10(14) of the trademarks act. 194 of 93 (the Act). The respondent business was founded in Japan and was producing, developing and manufacture of pharmaceutical and health related products and to commercialize. The respondentà ¢Ã¢â€š ¬Ã¢â€ž ¢s trademark device is used in numerous countries worldwide. This was referred to the High Court by the registrar of trademarks in terms of the provisions in section 95(2) of the Act. The Applicant is an American Company how also provide natural products, that is based form aleo vera and other natural elements, with also promote wellness and vitality and health. These products include nutritional and weight-management products, beauty product and health rings. The Ap plicant products are marketed on a device that depicts an eagle. The distributor in South Africa, inclusive of those products marketed under the applicants registered trade mark is Forever Living Products South Africa (Pty) Ltd- South African Company. The applications that was advertised with the position is the reason in the Patent Journal on 24 November 2010, the Respondent trade mark. Both the applicant and the respondent has an eagle trademark with different designs. Confusion and deception is present when there is a probability that the substantial number of persons is deceived into thinking that the products are of the same material and connection between the two products. In this case it was proven that the two trademarks different distinctive and dominant component s and could not give conclusion that a reasonable deception or confusion exist (it follows that the application must fail). The application was dismissed. All costs was ordered to be paid by the applicant. Patent in an Existing case: Court case between 3MFuture Africa and MTN Mobile Money. The Company 3MFuture lodged a case against MTN Mobile Money and Standards Bank for the infringement on its card security technology patent. MTN and Standard Bank had used the same à ¢Ã¢â€š ¬Ã…“on/offà ¢Ã¢â€š ¬Ã‚  functionality to disable cards as an authorisation system to their clients. The court found that 3MFuture had the right on the patent long before MTN and Standard Bank using the same technology. The court case took longer than the expected two weeks. 3Mà ¢Ã¢â€š ¬Ã¢â€ž ¢s budget for the case was not counted for. The ruling in 3Future Africa Company has won the case on merit and have since just grown with intellectual property rights. The request in against a judgment of Sapire AJ that is in the Commissioner of Patents in court of the Commissioner of Patents of Republic of South Africa. The person that applies in the higher court for the person lower was the order of security for the cost of R 100000. The Plagiarism that affect the design world. As a designer for example graphic designers use images to make their product or illustration look better for the sets of principles and the branding. The examples would be like web-designers and logo designers. When a designer design something from another designers without permission the person is plagiarising. When the product or design have a copyright sign on it then you may copy it but still make it your own by changing the concepts. Then when a designers copy a other designers work he should use the work of the designer as inspiration. There is also when a working colleague bounce of ideas form a co-worker and when the employee share the idea with another employee and the employee takes the ideas and explain and present it as his own work is qualified as plagiarising. When you not referencing the work that you researched from the internet and not change it in your own words that is plagiarising because it is someone else w ords that is just copied and transformed as their own. There is also of plagiarising happening in the designerà ¢Ã¢â€š ¬Ã¢â€ž ¢s world. Another example of a graphic designer is when there is a Blog designed there should be a permission written to publish articles from a different blog. When companies use other websites content to post content that is matching or having the same feel is plagiarism. The protection of product of designers: When your design is registered you have all the rights on the design being an owners of your product. The time of the registration of a product is 25 years that is paid with a renewal fee with every 5 years. The protection of a design that you wanted to protect too should then be a registered design that will be suitable. This product or design can be sold or licenced when the product is registered. The product can be sold of licensed when it is registered as a design. It would be better to have a protection so let people not copy your product as the existence of the product registration that act is then able to intent to a deter. Process of protection intellectual property: The Intellectual property is having the rights of the legal identified with the exclusive of the creation of the mind. There are exclusive right under the intellectual property of law as an owner. The types of intellectual property is having the rights that is part of the context is copyright, trademarks, patents, industrial design rights, trade dress and the jurisdiction of the trade secret. The legal principles of the governing intellectual property that has evolved right over centuries. The term of the intellectual property was since 19th century and then been used until late 20th century. Bibliography: Polity.org.za | South Africa | Legal Briefs | Law Firms | Case Law. 2014. Polity.org.za | South Africa | Legal Briefs | Law Firms | Case Law. [ONLINE] Available at: https://www.polity.org.za/page/case-law. [Accessed 31 May 2014]. Google. 2014. Google. [ONLINE] Available at: https://www.google.co.za/#q=the+South+african+legislation+of+trademarks+in+design. [Accessed 31 May 2014]. Required documents for designs, trademark and patent registrations. 2014. Required documents for designs, trademark and patent registrations. [ONLINE] Available at: https://www.hahn.co.za/design-documents.htm. [Accessed 31 May 2014]. Companies and Intellectual Property Commission . 2014. Companies and Intellectual Property Commission . [ONLINE] Available at: https://www.cipc.co.za/TradeMarks_FAQ.aspx. [Accessed 31 May 2014] . 2014. . [ONLINE] Available at: https://www.justice.gov.za/sca/judgments/sca_2010/sca10-096.pdf. [Accessed 31 May 2014]. 2014. . [ONLINE] Available at: https://www.justice.gov.za/sca/judgments/sca_2011/sca2011-169.pdf. [Accessed 31 May 2014]. Examples of Plagiarism in the Workplace | Chron.com. 2014. Examples of Plagiarism in the Workplace | Chron.com. [ONLINE] Available at: https://smallbusiness.chron.com/examples-plagiarism-workplace-11971.html. [Accessed 31 May 2014]. 2014. . [ONLINE] Available at: https://www.ipo.gov.uk/d-basicfacts.pdf. [Accessed 31 May 2014]. Intellectual property Wikipedia, the free encyclopedia. 2014. Intellectual property Wikipedia, the free encyclopedia. [ONLINE] Available at: https://en.wikipedia.org/wiki/Intellectual_property. [Accessed 31 May 2014]. Patent and trademark litigation in South Africa, South Africa Patent specialists. 2014. Patent and trademark litigation in South Africa, South Africa Patent specialists. [ONLINE] Available at: https://www.hahn.co.za/patent-litigation.htm. [Accessed 31 May 2014]. 3MFuture wins patent case against Standard Bank and MTN | Telecoms Technology | BDlive . 2014. 3MFuture wins patent case against Standard Bank and MTN | Telecoms Technology | BDlive . [ONLINE] Available at: https://www.bdlive.co.za/business/technology/2012/08/31/3mfuture-wins-patent-case-against-standard-bank-and-mtn. [Accessed 31 May 2014]. 2014. . [ONLINE] Available at: https://www.justice.gov.za/sca/judgments/sca_2011/sca2011-169.pdf. [Accessed 31 May 2014]. Google. 2014. Google. [ONLINE] Available at: https://www.google.co.za/#q=patent+court+case+in+south+africa. [Accessed 31 May 2014].