Sonnet 71 And Annabel Lee Analysis - 1412 Words

â€Å"Sonnet 71† written by William Shakespeare, and â€Å"Annabel Lee† written by Edgar Allen Poe are two poems written with a common theme but also had distinct differences. A similarity shared in these poems is both poets putting their lovers first and show nothing but love for them. Shakespeare focuses on how he does not want his loved ones to mourn his death. Instead he wants them to remember he loved them, but as his body decays their love should as well. Poe writes about his lover, who was more than a crush as a child, it turned into a lifetime of love. He tells the readers about his lover dying and how he will not be able to completely live again. These poems both shared the theme of death and how painful this experience can be for†¦show more content†¦Both â€Å"Sonnet 71† and â€Å"Annabel Lee’s† stanzas contain a rhyme scheme. In the mechanics, they are different from each other. In Shakespeare’s poem, every other line rhymes, followed by the couplet which does not. Each verse in â€Å"Sonnet 71† is ten syllables and is written in iambic pentameter. It consists of three quatrains and a couplet. As for Poe’s â€Å"Annabel Lee,† it is also written in iambic pentameter. This poem also uses repetition. â€Å"In this kingdom by the sea,† (8) is seen variously throughout the poem. In the beginning of Shakespeare’s â€Å"Sonnet 71,† he says, â€Å"No longer mourn for me when I am dead† (1). He is writing to his loved ones telling them to not mourn his death when he passes. He wants them to forget about him, so they do not have to go through the pain that death brings upon people. Shakespeare says, â€Å"Give warning to the world that I am fled† (3), he wants the readers to announce to everyone that he is no longer here and that they should not spend their time grieving over this loss. Instead, he wants his loved ones to remember the li fe they had together in a positive way, he does not want anyone upset over his passing. Shakespeare believes that if people forget about him, it will be easier to go on with their lives. Love can leave people with a scar so deep even through the experience of death. The overall theme of â€Å"Sonnet 71† is when a loved one’s time comes, you should not mourn their death instead,

`` Utopia `` By John De Mol - 1719 Words

Ever since humans have existed on this earth the idea of a perfect world has been experimented with. Some examples are Brook Farm in Massachusetts, Fruitland also in Massachusetts, and one of the biggest â€Å"perfect world† is Jonestown in Guyana. All these â€Å"perfect societies† was attempted, but never succeeded. A positive perfect world, where every single member living in it joyfully and without worries is a Utopia. Dutch media tycoon John de Mol once said, â€Å" Utopia is a positive and constructive program that gives people the opportunity, if you can start all over again, start from scratch and create laws and make decisions, will you be able to build a society that is better than the one we have; will it be chaos or happiness†. I know for me my mind automatically thinks about the changes I would make in this world to make it perfect when I hear or see something I don t like. It just an automatic switch in my head. It happens to most people believe or not it happens. But who wouldn t want to make this world our own we all are a little bit selfish. Who wouldn t want to get rid of all the crimes, share all our riches with everyone, create a place where no one is judged, and produce an atmosphere where it s safe for our next generation to run around. Philosopher and author Thomas More would sure love to see all of these things happen. Thomas More wrote the first formal Utopia so he came up with this good or bad (however you want to view it) Utopia idea.Sir More imagined a

Damodaran on Valuation Security Analysis

Question: Discuss about the Damodaran on Valuation for Security Analysis. Answer: Introduction: Risk teams act like the defenders of the organization. Many risk and security teams will take the position that it is their job to protect the organization. That was why they were hired, and that is what they will do. This leads to multiple bad behaviors, such as telling the business units what they can and cannot do, banging a shoe on the table to demand budget in the name of protecting the organization, and fundamentally ignoring the needs of the business. Fundamentally adopting the role of the "protector" puts risk professionals in an adversarial position to the mission. In addition to being ineffective, this also reinforces that outdated dogma that this is just a technical problem, handled by technical people, buried in IT. In a risk-engaged culture, the dialogue is not about how to protect the business, but how to accomplish the business vision while engaging in appropriate risks (Lakshmi, 2016). It's a simple, but powerful dialogue change from "Here are all the risks with that idea" to "Here's how we can make that happen, given your budget and the probable risks we'll face." Mechanism of Financing Risk management is an increasing area of focus for most organizations, as risk profile complexity and interconnected relationships grow explosively. According to a 2016 survey of risk executives by the Risk and Insurance Management Society, 74% of respondents state that their ability to forecast critical risks will be more difficult in three years. Moreover, the leading obstacle to forecasting critical risks noted by these executives is the continued lack of cross-organization collaboration. To understand the full scope of risk, organizations require a comprehensive view across all business units and risk and compliance functions, as well as key business partners, suppliers and outsourced entities. As a result, new technology solutions are emerging to increase the collaborative nature of risk management, both within and external to the organization. Risk Management Model Over the past decade, risk management programs have matured to focus on more than just compliance and on the interconnected nature of operational risk across an enterprise. Gartner defines this approach to risk management as integrated risk management (IRM). IRM is a set of practices and processes supported by a risk-aware culture and enabling technologies that improve decision making and performance through an integrated view of how well an organization manages its unique set of risks. New leaders in digital risk also need the right metrics to make better business decisions by linking risk and performance. Risk metrics can also be used to direct audit and compliance resources to focus on the right areas rather than succumbing to the dreaded "check-the-box" syndrome. Gartner's research focus in 2017 will include views on how companies can link risk management and corporate performance management via metrics (Lakshmi, 2016). Using key risk indicators tied to key performance indicators , business leaders can deploy risk management resources to areas that will have the greatest impact on the future success of the business (Lau, 2016). Fire and engineering risk control Finally, to support your efforts to manage these new risks, you need the right systems. Gartner will explore the current trends for use of IRM solutions in areas such as legal, e-discovery and operational risk management. Gartner will also discuss new and future trends around the evolution of digital risk management technology. It also means accountability is measured in defensibility of decisions, and not a proxy for who to discipline when something goes wrong. Defensibility means that stakeholders would agree that the best decision was made with the information available at the time. Bad outcomes may trigger a review of defensibility, but bad outcomes do not equate to poor defensibility. A good risk-engaged culture supports a common understanding of defensibility (Damodaran, 2016). Risk-engaged cultures are sadly lacking in many organizations, and this undermines the very foundation of any risk process. If you don't have a good risk-engaged culture, then, regardless of process, decisions will not be defensible. Advantages of Risk Captive Culture Transparency is a very hard culture shift, but is absolutely necessary. It exposes the unwanted reality that you can't eliminate risk. When risk decisions are made, by definition, there will be residual risk, and many organizations suffer from reluctance to be transparent about known risks they have consciously chosen to not address. Challenges include everything from legal liability to looking bad in front of peers, management, the board, internal audit, regulators, customers, etc. However, given that there is no such thing as perfect protection, this transparency is only a reflection of reality. The benefit is that it creates better decision making and prioritization, which is good business (Damodaran, 2016). The failures of a poor risk-engaged culture are easy to spot by those who understand good risk engagement, but the impact is hard to explain to executives who have poor risk engagement. Following are some simple red flags for failing risk culture. Speculative Risk Cannot be insured It is common for executives who lack understanding of technology dependencies on business outcomes and are tired of reading headlines about hacking to declare that there is no acceptable level of risk. These are people who believe that, with the right investment and the right people, it is possible to prevent all possible security failures. There are board members who only invite the CIO to report to the board on cybersecurity so that the CIO can tell them, "Everything is going to be OK." It isn't. That isn't how technology risk works, but that gap in understanding and expectations makes it nearly impossible to engage these executives in an appropriate risk-based conversation. That is a failure of risk culture. On the other side of the spectrum, one Gartner client reported that executive management had created a sweeping and direct message to the entire organization: "Engage in more risk." There were good reasons for this, including a belief that the organization had become stagnant and predictable. Decision makers were reluctant to do most things for fear of something going wrong, and this had stifled innovation. Unfortunately this was done with no guidelines and, somewhat predictably, many managers immediately wanted to materially lower investment in cybersecurity and other technology controls where they saw no benefit. While it is possible that this an appropriate decision, the risk culture failure was that they were doing this with little or no knowledge of the attendant risks; they just wanted to jump (without a parachute). Methods of Individual Risk Rating An inconsiderate engagement of risk. Many organizations have created risk acceptance forms as a mechanism to engage executives. Gartner's experience indicates there appear to be only two types of people: those that will sign anything to get what they want, and those that won't sign anything no matter what it costs them. In both cases, the failure is not the amount of risk that is accepted, but rather the abdication of understanding the risk and the conscious decision making that makes a risk-based approach work. Engaging with risk is not about filling out a form, but in understanding all of the risks, including technology, time, cost and mission success, and determining the best way to achieve goals within an acceptable level of risk. Legal Liabilities Failures of accountability. In most organizations, "accountability" means "Who do we fire when something goes wrong?" This attitude results in a situation where no one wants to engage in any type of risk acceptance because the consequences are clear. This kills the proper engagement of any type of risk. Accountability is a critical success factor in a risk-based approach. As your risk culture evolves, accountability should more appropriately be dependent on the defensibility of the decisions that were made. Risks are always present and failures from time to time are inevitable, but when something goes wrong, the organizations should look back at the decisions that were made. If they were informed decisions with good, defensible reasoning for choosing a course of action, then it was a good risk to take. Don't fire someone for accepting a risk; fire him or her for not understanding the risk accepted. Risk Liability Failure to explain the risk. A risk culture does not sit only with non-IT executives. Risk and security teams also fail when they can't explain risk in terms of business outcomes. Executives cannot be expected to understand risks if they are explained poorly and buried in technology jargon. As in our stuntman example, a film director or producer should not be expected to understand the mechanics of practical effects such that they can independently make the call on what is acceptable. But neither can the stuntman compromise the director's vision simply because all risks can't be avoided. Indeed, engagement is the process of dialogue and compromise about what is possible with the limits of technology, time, cost and risk, and that dialogue and compromise must be two-way and thoughtful. Liability Crisis Senior business and technology leaders need to develop a narrative about risk in their enterprise. This narrative isn't about setting the "rules of engagement," but about defining the "commander's intent." It should include principles and ideals such as: "The customer experience is how we win; we must not jeopardize that experience through action or inaction." The narrative provides a "moral compass" of how the organization views risk and how risk-engaged decision making should take place. Moreover, it provides a framework for dialogue and how various stakeholders discuss risks. While this may seem trite and simple, such principles have powerful and lingering cultural effects. Consider the following two statements: "Failure is not an option" versus "Fail fast, fail early, fail often." Consider how those two statements of commander's intent would be reflected in organizational risk culture and the ongoing dialogue about risk. Simply stating publicly how the organization views risk, from the top down, and creating a framework for stakeholders to discuss and engage with risk can have a powerful impact on risk culture. References: Lakshmi, T. M., Martin, A., Venkatesan, V. P. (2016). A Genetic Bankrupt Ratio Analysis Tool Using a Genetic Algorithm to Identify Influencing Financial Ratios.IEEE Transactions on Evolutionary Computation,20(1), 38-51. Damodaran, A. (2016).Damodaran on valuation: security analysis for investment and corporate finance(Vol. 324). John Wiley Sons. Lau, C. (2016). Financial Management. Khan, M. N., Khokhar, I. (2015). The Effect Of Selected Financial Ratios On Profitability: An Empirical Analysis Of Listed Firms Of Cement Sector In Saudi Arabia.Quarterly Journal of Econometrics Research,1(1), 1-12. Robinson, T. R., Henry, E., Pirie, W. L., Broihahn, M. A. (2015).International financial statement analysis. John Wiley Sons. Hoberg, G., Maksimovic, V. (2015). Redefining financial constraints: a text-based analysis.Review of Financial Studies,28(5), 1312-1352.

Women Struggling From Their Fate

It is amazing to know how people perceive the world differently. People from various walks of life have different interpretation of daily experiences. This is so clear when discussing the issues that arise in stories by great authors. In this essay, we take a look at the perception towards women struggling to gain control over their fates as written by Kate Chopin, Merge Piercy and Gilman in their stories the Story of an Hour, Barbie Doll and Yellow Wallpaper respectively.Advertising We will write a custom essay sample on Women Struggling From Their Fate specifically for you for only $16.05 $11/page Learn More In the Story of an Hour, Kate Chopin presents an often unheard view about marriage. Chopin has tackled the issue of marriage and selfhood concept by portraying Mrs. Louise Mallard, as a strong woman. This happened due to her reaction when she is informed about the death of her husband in train accident. The reader has a perception that Mrs. Louise would be greatly affected by the death of her husband when she learns it, but this is not the case. Instead Mrs. Louise Ironically feels a relieved when she receives the bad news. Her reaction probably shows that death does not necessarily cause grief to the close family members. One thing has to die for another to thrive as the death of Louise could have opened the door to a fresh new start of a life with so much freedom. Kate Chopin seems to have a lot of things in common with her husband Louise Mallard who is also a major protagonist. They both lived during the period when women had very limited rights and privileged, prejudiced based on their gender. During this era women were required to be very submissive to their husbands. Their opinions were not regarded since women were meant to be seen, but not heard. During those days, marriage was considered a sacred institution making divorce a rare thing. In the event that as divorce was necessary, the man would automatically have the legal of controlling of all of the property and children that he had with his woman (Hicks 1). Chopin grew up in a male dominated environment. She writes many controversial stories on abusive relationship and unhappy marriage. There were a lot of things that she did that were considered contrary to the societal norms of that period. Mrs. Louise Mallard’s emotions changes from one state to another within an hour. She gets upset by the sad news of the death of a loved one but when she comes out of the room she seem to have already accepted the situation and adapting to the new situation. Though she is saddened by her husband’s death, she at once gets delighted by the reflection of her awaiting freedom. Her passion for life is so evident. She anticipates for her new life in the future and how she would live as a free woman enjoying absolute freedom. As she begins to savor the sweet sense of freedom, her husband shows up at their house still breathing. On seeing him, she i s shocked and dies because of the reality that strikes her. She is unable to bare the drastic change of emotion on learning that her husband was actually not dead. This will eventually deny her the freedom she has been longing for (Ostman 6).Advertising Looking for essay on gender studies? Let's see if we can help you! Get your first paper with 15% OFF Learn More In the poem â€Å"Barbie Doll†, author Marge Piercy makes use of four paragraphs to scornfully describe the cultural and societal expectations of the girl child from her birth, the bringing up, life and death. A girl faces some serious social problems as she grows up in the community. These challenges include issues such as peer cruelty and societal pressure to conform to its normal and keep a certain kind of image of a woman which that society deems ‘ideal image of a woman’. A girl is shown to have a life that is full of challenges and less options to enjoy it. The society is depicting it to begin at birth, upbringing, the girl gets married and finally faces sad death. This literary piece depicts such life as boring and very short. The poem is presented in a tone of depression and sadness, depicting the culturally unacceptable image of our society. When this girl is born, she is â€Å"presented with dolls that did pee-pee/and miniature GE stoves and irons/and wee lipsticks the color of cherry candy† (Piercy 4). This exposes her to unwittingly ideals and expectations of society. The girl was given toys that were designed to teach her to adapt the life of a wife which was basically that of looking. This type of influence inadvertently pulls the girl into a different world or her subconscious without her noticing. When she hits puberty the sponge rings, sending a cascade of awareness over her. One of her classmates proclaimed to her that â€Å"you have a great big nose and fat legs† (Piercy 6). These nine simple words are not the foolish opinion of an imma ture classmate, but devastating news. Her attempts to conform to the ideals that the society teaches are no longer subconscious rather deliberate. She felt bad that she did not fit in these ideals. She kept going to and fro to her friends apologizing for her â€Å"fat nose on thick legs† which was all anyone could see. To her, no one saw that â€Å"she was healthy, tested intelligent, possessed strong arms and back, abundant sexual drive and manual dexterity† (Piercy 9), which are all good qualities, but her package wasn’t perfect. The societal pressures follow certain way of life or perception of a beautiful and attractive girl became and ultimately notion of a good woman faded away. She therefore cut her nose off and her legs too to offer them as her body and soul to the baseless societal pressures (Piercy L 12-15). She could have literally cut her nose and legs off but she sought to have them replaced by new technology of plastic surgery. This drained her phy sically and emotionally in attempts to get what society wanted her to get.Advertising We will write a custom essay sample on Women Struggling From Their Fate specifically for you for only $16.05 $11/page Learn More The fairy-tale about â€Å"Barbie Doll† depicts the society as being able to cause very destructive consequences because of the enormous pressure it puts on women requiring them to behave in certain ways of life like the looks and conduct in public. Gender roles weaken women’s self-confidence and cause havoc on their self-esteem. Piercy suggests that the creator of Barbie doll has participated actively in the male dominated society of the â€Å"patriarchal societal system† by promoting women stereotypes. As one of the leading toy selling in US, Barbie dolls have used the strategy of idealizing the female body, such that it have turned to be an iconic in the American culture. Parents purchase these dolls for their daughter s, who in turn try to attempt to imitate Barbie’s form, presentation and the values that it embodies. This symbolizes as a beautiful, though tasteless, blonde who does just anything she is told to (Beer 5). In the Yellow Wallpaper, it shows female person undergoing â€Å"treatment† for anxiety, a condition that signifies worry. It is ironical that the doctor happens to be her own husband. She is put in a room which was earlier on occupied by a mentally challenged patient. After a few weeks, the woman starts portraying symptoms of being paranoid and experienced hallucinations regularly. All the way through the story, the woman is seen to constantly refer to the yellow wallpaper (Mikolajczyk 67). The first issue that arises in the story is when interpreting the meaning(s) behind the wallpaper. The yellow color could possibly infer something concerning insanity which makes the woman to repeatedly refer yellow wallpaper patterns which are peeling off the walls. More to the point, the patterns could be suggestive of chaos erupting from orderliness. It is obvious looking at the number of times she mentions the wall pattern that it has a great impact on the mental condition of the woman. She could be delusional seeing woman move behind the wallpaper, as if she wants to break out from it. This could in fact imply that it is a ‘reflection’ of herself in the wallpaper or it she could just be hallucinating that someone behind the wall. At the end of the story, she assumes on the role of a â€Å"creeping† woman. She is seen to follow a blotch around the room and over the body of her husband who has fainted. In short, the woman has been trapped in the paper and tormented by Dr. John’s unsympathetic heart for her condition. With three kids to take care of, the mother is attempting to find humor and reflections amidst the chaos she is undergoing. When her husband was on overnight call, she could pack up the kids and head over to the h ospital for a visit. The kid could get some much needed father time and Dr. John always took a break from a very long shift.Advertising Looking for essay on gender studies? Let's see if we can help you! Get your first paper with 15% OFF Learn More In conclusion, the three stories clearly present the world’s perception towards women who are in constant struggles to gain control over their fates. They show us what a women’s life would have been if they remained silent without any struggle. Although they are fictions, but there is a lot we can learn from them. Works Cited Beer, Janet. The Cambridge Companion to Kate Chopin. Cambridge, England: Cambridge UP, 2008. Print. Gilman, Charlotte P.†That Rare Jewel.† Women’s Journal 17 May 1890: 158. â€Å"The Yellow Wall-Paper† and Other Stories. Ed. Robert Shulman. Oxford: Oxford UP, 1995. 20-24 Hicks, Jennifer. An Analysis of the Story of an Hour. 1999. 20 April, 2011. http://www.eliteskills.com/c/6576 Mikolajczyk, Michael. Literary analysis of Marge Piercy’s Barbie Doll. 2009. Web. Ostman, Heather. Kate Chopin in the Twenty-First Century: New Critical Essays Newcastle upon Tyne, England: Cambridge Scholars, 2008. Print. This essay on Women Struggling From Their Fate was written and submitted by user Frances Morse to help you with your own studies. You are free to use it for research and reference purposes in order to write your own paper; however, you must cite it accordingly. You can donate your paper here.

7 Ways to Close Out the Year with a Bang

7 Ways to Close Out the Year with a Bang At this point, 2016 is old news. It’s practically Christmas, which is practically New Year’s. But in the middle of all of the celebrating (or rushing to get projects done before your office is a ghost town for the holidays), there are some small (but mighty effective) things you can do to wind the year down in style. 1. Give your network some loveIf you had a mentor or colleague who helped you get through the year, now’s the time to let that person know how thankful you are. Nothing fancy required- a heartfelt note or a small token of your thanks is all you need to bolster your professional relationship with that person. I’m a fan of baking cookies for colleagues and friends this time of year- it’s a thoughtful, homemade way to say, â€Å"I’m thinking of you at the end of a great year.† (Of course, it’s good to know if this person has any special dietary issues if you go that route†¦ you don’t want to hand someone a plate of delicious peanut butter cookies if they have a major peanut allergy.)2. Set up your network for next yearThink about people you’d like to connect with in the new year to move your career forward. If you already know them and want to get to know them better, now’s the time to reach out with a simple holiday message that includes your hope to talk more in the new year. It’s best to try to set up a concrete date for coffee, lunch, or after-work drinks in January.3.  Take care of things on your pending listOnce you’re back in the office at the beginning of January, you won’t feel like going through and cleaning up loose ends from the year before. So do it now! Go through your inbox. If you have lingering to-dos that aren’t especially time-sensitive, now’s the time to put some time aside and check them off so that they’re not still haunting you later. While you’re poking around your inbox, take stock of any mailing lists you’re on. Which ones do you really need? Keep those, and unsubscribe from the rest.4. Clean your deskJust like your email inbox and your to-do list, you probably don’t want to come back to a messy desk. I know when I rush out the door and come back to a cluttered desk, it adds stress points before my day has even begun. Do â€Å"January You† a favor, and take some time to clean off your desk. Your pens don’t all have to be pointing in the same direction with your stapler at a perfect 90 degree angle (unless you’re into that, in which case have at it), but definitely get rid of any papers you don’t need anymore and toss outdated Post-It reminders you wrote to yourself back in May. If possible, do this as early in possible in December so that you’re not time-crunched and trying to get out of the office at the end of the month.5. Brush up your resumeDid you know that January and February are the most popular months for job change s or promotions? If you think you might be in the market for a new or upgraded gig soon, now is a great time to look at your resume and add any new skills or achievements that you’ve acquired  since you last updated it.Even if you’re not planning on changing jobs, this is still a great exercise to do annually. Be prepared! You never know when an opportunity will present itself- and wouldn’t it be great to say, â€Å"Oh, here’s a copy of my up-to-the-minute resume!†6. Revise your online profilesThis is an extension of updating your resume. What’s the point in getting your it in order if everything online still reflects the slightly outdated you? Make sure your LinkedIn profile- and any other online sites where you use your professional brand- is up-to-date and ready to go for the new year.7. Get ready to improve yourselfYou’re already fabulous, but who among us couldn’t use a few positive tweaks? Identify one or two areas wher e you could use some improvement, and come up with a game plan for 2017. Sign up for classes that start in January, or figure out where in your schedule you can take an hour or two per week to work on that skill area. Thinking about that now (and getting the ball rolling on any logistics) will make it easier to get started in January, before winter inertia settles in.So even though it may seem like 2016 is running short, you still have plenty of time for these small investments that could pay big dividends in the new year.

French Trains Vocabulary - Prendre le Train En France

French Trains Vocabulary - Prendre le Train En France Taking the train is a fast, often comfortable and relatively cheap way to travel in France. Yes, there are strikes, but not all the time, and all in all, taking the train is quite reliable. I will be writing several lessons on this subject: tips to feel prepared when you travel by train, easy learn French in context story with English/French side by side translations  and even a useful questions and answers lessons. So make sure you subscribe to my newsletter to get informed of new releases. Un voyageur – a travelerLa gare – the station (watch out for the pronunciation – gAr, not gayr which is â€Å"la guerre: war)Un billet – a ticketUn guichet – a boothUne salle d’attente – waiting areaUn panneau d’information – information displayLe dà ©part – departureL’arrivà ©e - arrivalsLa seconde classe, la premià ¨re classe – 2nd  and 1st  classUn aller simple – one wayUn aller-retour – round tripUne place (assise) – a seatUne place duo – 2 seats next to each otherUn carrà © – 4 seats, separated in 2 rows facing each otherUne rà ©servation – bookingVoyager dans le sens du train – to be facing towards where the train is goingUn billet remboursable – refundable ticketUn billet à ©changeable – exchangeable ticketUn train direct – direct trainUne correspondance – transferUn changement – transferLe quai †“ the platformLe passage souterrain – the underground passLe rail, la voie – the track (rail is pronounced like rye in English)La voiture, le wagon (v sound) – the carLe bar – the snack carUn contrà ´leur – a controller Follow these links for more of my taking the train in France related articles: -  Master Train Announcements in French-  Lets Take the Train Together - Bilingual French English Story

Strategic analysis and directions for Google Essay

Strategic analysis and directions for Google - Essay Example Figure 1: Comparison between Tata and Toyota by volume manufactured). In some categories, such as heavy buses and heavy commercial vehicles, Tata Motors even produces more vehicles (see Appendix 1 for full data). Going by revenue, the automotive industry, which develops, designs, manufactures, markets and sells motor vehicles a significant economic sector of the world. The industry, though very capital intensive, yet is marked by fierce competition and demand elasticity being plagued by a host of recent political, economic and social macroeconomic developments such as: credit crisis, fuel crisis and technological changes necessitated due to global climatic change. Economic developments: The automotive industry suffered significantly during the previous ensuing years as part of global financial meltdown, which affected the American, European and Asian automobile manufacturers. Canada too felt the heat due to the Automotive Products Trade Agreement. Geopolitical developments: Substanti al increase in fuel prices triggered by geopolitical developments resulted weak car demand, which further weakened the automotive industry. Sports utility vehicles, pick-up trucks and other high gasoline consuming vehicles were under pressure due to fuel hike and their sales decreased substantially. Many American manufacturers such as Ford, GM and Chrysler were forced to roll out more fuel efficient vehicles. Technological changes required due to global climatic changes: Due to impact of global climatic changes and the resultant stringent emission norms increased investments in technology significantly. The tell-tale situation of the industry is marred by negative growth leading into the automotive industry crisis of 2008-2010. Table 2: Percentage change in global car manufacturing during 2007 to 2010. Year Production Change Source 22007 73,266,061 5.80% (OICA, 2007) 22008 70,520,493 -3.70% (OICA, 2008) 22009 60,986,985 -13.50% (OICA, 2010) Figure 2: Percentage change in global car production year 2007 - 2010 As a result of these macroeconomic developments, the industry is currently undergoing radical changes and is moving towards consolidation by means of mergers and acquisitions and strategic tie-ups and partnerships for joint production, and marketing and selling. Chances are that more weaker and unprofitable companies will further be taken over and acquired and in the end will leave only those strong enough to sustain the downturn. Under these circumstances, Tata Motors need to maintain economy of scale and need to invest more on R&D and innovation, and also need to explore new products and markets. All these have to be undertaken simultaneously under the constraints of the emerging geopolitical

Deregulation Research Paper Example | Topics and Well Written Essays - 2000 words

Deregulation - Research Paper Example A good example of deregulation is the airline and the telecommunications industries in most countries including Europe and United States. Deregulation often arise from economic agents who identify failures and problems in their regulatory framework, add pressure to the norms shaking the existing rules of game through institutionalized and legitimized logics change. As mentioned by Collier and European University Institute (1998, p. 3), two forces that have been key in driving pressure for change in industries that have embraced deregulation are the rising concern about negative impacts of economic regulation particularly on industries’ competitiveness, this has resulted in the drive for deregulation that focuses on the liberalization of the industrial sectors and privatization of some of the state-owned firms. Emphasis has particularly been on breaking monopoly powers and enhancing competition, while this has been critical, it has also been important for governments to identif y the environmental implications of deregulation in sectors like energy where free market forces and competition influences technology as well as fuel prices. The other factor that has been key in driving deregulation has been the command-and-control measures of environment and their effectiveness that have been highly scrutinized. Government intervention with policies and standard has been viewed as insufficient and too lax and this has driven the need for deregulation. Deregulation of the airline industry Airline market was one of the heavily regulated public utilities in the past few decades. Regulatory reform has been central in most countries’ economic policy trend since mid-1970s, airline deregulation rose from the failures of countries to arrive at multi-lateral settlement on pricing, traffic rights, and capacity mainly in Geneva in 1947, and in Chicago in 1944 that mirrored the protectionist policies and rules that hindered entrepreneurial and competition activities ( Winston 1263). Regulation of the mentioned aspects therefore became central in bilateral negotiations held by governments and airlines, these negotiations have seen dramatic changes whereby traffic rights are settled by states’ bilateral agreements, control of frequencies and capacity became subject to bilateral state agreements or to inter-airline agreements, tariffs setting came to be done by the International Airline Transport Association (the IATA). Airline industry in Europe is one of such cases in the economic policy reforms. Deregulation began as essential economic decisions concerning traffic rights (entry), capacities as well as pricing were ruled by either suppliers (representatives) or the governments. U.K and U.S signed the 1946 Bermuda agreement that opened for future agreements increasing freedom rights and ending the frequency and capacity controls (Collier and European University Institute 13). Bermuda agreement did not explicitly indicate that tariffs setting were to be done by IATA, in 1978, U.S. signed the act on domestic airline deregulation and this put pressure to the international airline regulatory system resulting in various bilateral negotia

The Perfect Pizzeria Essay Example for Free

The Perfect Pizzeria Essay Please answer the following questions applying OB concepts and theories as appropriate. While the case primarily focuses on motivational approaches, you find that other OB concepts that we have covered are applicable. 1. Consider the situation where the manager changed the time period required to receive free food and drink from six to twelve hours of work. Apply the appropriate motivational approaches (theories) to explain what happened. 2. For the situation in which the manager worked beside the employees for a time and then later returned to his ofï ¬ ce, which motivational and/or learning approaches (you may refer to previous chapters) can be applied to explain what happened? 3. Establish and justify a motivational program based on one or a combination of motivation theories to more effectively deal with the situation as it exists at the end of the case.

Transplants and Diabetes :: essays research papers

Three Toronto scientists have developed an organ transplant procedure that could, among its many benefits, reverse diabetes. The procedure was developed by Bernard Leibel, Julio Martin and Walter Zingg at the University of Toronto and the Hospital for Sick Children. The story of their work began in 1978, when they delved into research which had never before been tried. They wanted to determine if the success rate of organ transplants would increase if the recipient was injected with minute amounts of organ tissue prior to the transplant. The intention was to adapt the recipient to the transplanted tissue and thereby raise the threshold of rejection. In the case of the diabetes experiment, this meant injecting rats with pancreatic tissue before transplanting islets of Langerhans, small clusters of cells scattered throughout the pancreas which produce insulin, glucagon, and somatostatin. In their first experiment, outbred Wistar rats were injected with increasing amounts of minced pancreas from unrelated donor rats for one year while a control group was left untreated. Then both the treated and control groups received injections of approximately 500-800 islets of Langerhans from unrelated donors. Of the five treated animals, two became clinically and biochemically permanently normal. Six months later, Martin examined the cured rats and found intact, functioning islets secreting all of their hormones, including insulin. None of the controls were cured. Encouraged by their first results, Leibel, Martin, and Zingg decided to repeat the experiment with rats with much stronger immune barriers (higher levels of rejection). Seven rats out of nine were cured. "We set up a protocol and worked patiently with small numbers," says Leibel, "but the results are indisputable." In addition to reversing diabetes, there are two other benefits to the pre-treatment procedure, according to the scientists. The first is that the pancreas produces all the other hormones of a normal pancreas, not just insulin. The second benefit is that the transplant recipient doesn't have to take immunosuppressive drugs, which are so toxic for diabetics. At present, diabetics who receive a transplanted pancreas must take such

Espionage Act and the First Amendment Essay

The Espionage Act of 1917 is a US federal law which was passed after the First World War under the administration of President Woodrow Wilson. The law puts it a crime against the state to leak information to outsiders under the intention of creating hindrances to the operation of the US armed forces. This was passed for the fear that oppositions at the middle of the war shall constitute a direct peril to the security of American victory. This crime shall render a maximum of twenty years in prison plus the fine to those who will be suspected to attempt â€Å"insubordination, disloyalty, mutiny or refusal of duty in the military or naval forces of the United States. † (US Espionage Act) However, Espionage Act was extended later on by the Sedition Act of 1918. This law made it illegal to speak anything against the government (US Code Collection). Part of this law forbids individuals from â€Å"willfully communicating† to any person, who in return is also held prohibited to receive certain information that the government deems to post threat to the country’s national security (Vladeck 5). The US Espionage and Sedition Acts were utilized in some prosecutions although these were considered unconstitutional and violations of human rights. Albeit oppositions and cancellation of some parts of this law, until the present time, major portions of the Espionage Act is still part of the current United States law. On the other hand, the First Amendment to the United States Constitution forbids federal legislatures that shall hinder free exercise of religion, laws that shall violate freedom of speech, infringe freedom of the press, limit right to peaceful assembly and limit the rights of the people to address the government with regards to their grievances (Collins). First Amendment to the United States Constitution is a part of the United States Bill of Rights. In an instant look, the connection between the Espionage Act and the First Amendment, would seem to be the case that the first violates the latter. Espionage Act violates freedom of speech of the Americans that is well constituted in the First Amendment to the US Constitution. † Though in contrast to the supposed protective purpose of the First Amendment, its constitution was efficiently manipulated by the Supreme Court in such a way that restriction for freedom of speech is permitted extensively. The Supreme Court instead of being protective to the rights of speech freedom has rather made restrictions on it and suggested that any form of speech or writing that endangers the state shall be subjected to punishment. However, there are no limitations or standards that would uniformly base a judgment on whether a particular speech will instigate threats to the state. Thus, the privilege to consider something a threat is being left in the hands of lawmakers, making it more dangerous and hazardous to civilians that are vocal to their opinion and ideas. The continuity of the Espionage Act and Sedition Law was further translated through the Smith Act, which on the other end was still protected under the First Amendment. The Smith Act made any means or attempt of overthrowing the American government by force or violence punishable. Ideally, it sounded as a form of protectionism for the government. But in reality, this was mainly used as a weapon to contain Communism during this era. And despite its questionable standing regarding the constitutionality of the Act, the Supreme Court made it possible to put its â€Å"advocacy of action† under protection through the tenets of the First Amendment. Thus making it possible to censor any form of speech that shall incite the overthrow of government, and in turn punish anyone that shall render this act. Thus, the Espionage Act works relatively in relation with the First Amendment. Though, Espionage Act is suppressive in nature, such that it limits, if not prohibits freedom of speech; the First Amendment has always been a protective shield for the would-be-violations of the Espionage Act. The First Amendment plays as a legalizing and legitimizing mechanism for the policies that are under the Espionage Act. On the other hand, the First Amendment, though ideally must support and encourage the freedom rights of civilians, journalists and even activists, it doesn’t serve its purpose but rather serves as sugar-coat for the continuing suppression of freedom of speech for most of the people. Consequently, the First Amendment has not been of any help for the protection of journalists because it always reasons out on the basis of â€Å"national security measures† which are at most times vague definitions (Vladeck 16). Thus the First Amendment only regulates the inflow of information, and in the process renders journalists the incapacity to deliver â€Å"good-faith† investigations that are of great public concern for it may be taken as something that shall threaten national security and harm national interests. Therefore, there exists a direct relationship between the two. Though ideally, First Amendment must take a part that is contrasting to the Espionage Act such that it shall serve as checks and balance to minimize violations of freedom rights, contrastingly though, the First Amendment serves as protection for the legality of the Espionage Act.

Miller comments Essay

During ‘The Crucible’ the acts which unfold able some characters to empower themselves: most notably Abigail Williams, Mary Warren and even John Proctor. Some characters begin with little or no power, then abuse the situations to gain power, whereas others begin with power and lose it, sometimes justly and other times unjustly. This could be seen as a moral message for the audiences of the play, warning of power abuse which could lead to devastating consequences. In the introductory comments, Miller comments before the events begin to unfold how â€Å"†¦the children were anything but thankful for being permitted to walk straight† which shows before the witchcraft trials and accusations had begun, children were powerless under the authority of the male dominated society -children had no power to roam freely. One of the people that gained power in the play is Mary Warren, who is a servant and so is one of the lowest ranks of the Puritan society- much like the children of Salem. At first she does not have any power at all as she is taught that she has to follow orders from the Proctors, who she works for. This is seen when she â€Å"lept† with â€Å"fright† upon Proctors entrance. Yet, she manages to turn from a â€Å"mouse† to a â€Å"daughter of a prince† as she suddenly gains power from working in the court, trying possible witches. Her increasing power is also shown from her defiance of Proctor when she refuses his order of not going to â€Å"court again†, and responds that she â€Å"must† and â€Å"will be gone everyday†. It also shown through stage directions, when Mary is â€Å"terrified† of Proctor but quickly becomes â€Å"erect†, which highlights her ability to overcome her fear of Proctor because of her growing confidence and power. Mary even manages to intimidate Proctor in this part of the play. When threatened with the â€Å"whip† from Proctor, she manages to threaten him further by responding â€Å"I would have you speak civilly to me, from this out. † Mary, filled with this newly found power, is able to threaten Procter to stop beating her or she will not speak so highly of his family next time. By using the phrase â€Å"from this out† shows that Mary doesn’t usually expect that kind of treatment from the Proctor, yet now she is able to demand it because of the power gain. Again, further on in the play Mary is also able to â€Å"numb† Proctor when she overthrows his â€Å"grip† on her to tell the truth about the accusations, and instead turns on him. When pressured by Abigail and the other girls, once they start accusing Mary to save themselves, she is not able to stand her ground – which highlights her feebleness and weakness which was seen at the very start of the play. This is seen as she even admits she has â€Å"no power†. This links to her inferior position in the society and even within her social group, she is not popular, and respected. This is shown when Abigail tells Mary to â€Å"shut it† and Mercy Lewis starts â€Å"pointing† and â€Å"looking† at Mary as if she were to blame. However, the fact that Mary was able to then accuse Proctor of being â€Å"devil’s man†, who is a highly respected in the village, shows that she does have more power than she started with. But she is abusing her power, to save herself and because of her lack of power on her social circle. So, this once ‘innocent’ girl who thought they â€Å"must tell the truth† took advantage of the situation so she and her friends would not be â€Å"whipped†. Overall, Mary arguably, has the most progressive power of all the girls and possibly all of the characters in ‘The Crucible’, but that’s not to say she has the most power overall. Another character like Mary Warren who gains power throughout the play is Abigail Williams. Once shunned and scorned by the inhabitants of the village because of her â€Å"blackened name†, Abigail becomes a domineering power, and is treated like a â€Å"saint†. A mere accusation from Abigail or one of her girls is enough to convict even a well-respected inhabitant of Salem like Rebecca Nurse who does â€Å"great charities†. Even though in present day we would associate â€Å"saint† with good Samaritans, which would seem absurd to see Abigail called this in present day, she was seen in this way because in puritan society if you went against god, you went against the law. So Abigail’s act of bringing Salem’s attention to the presence of the devil, and then through the court eradicating it was seen as an act of greatness. Abigail starts off as a scared young girl which is seen through Millers stage directions, as she â€Å"quavers† when being questioned by Parris about Betty’s mysterious illness. However, soon she is able to assert her power of the girls by â€Å"smashing† Betty round the face and threatening all the girls not to tell anyone about the events of the previous night, or she will â€Å"come† to them at the â€Å"black of one terrible night†. This implies they could be her prey, and if they make a wrong move she could pounce on them, which again puts her in a domineering position. This characteristic allows her to control within the group which creates more tension because Abigail also seems to be possessive which is seen when she says â€Å"Now look you. All of you†. The repetition of â€Å"you† makes the phrase quite aggressive and short commanding sentences have a strong impact, and make Abigail seem hostile but ultimately powerful. Her empowerment is also documented as the inhabitants of Salem think the â€Å"sea parts like Israel† for Abigail, so her sins are overlooked, as people take her word to be an expression of â€Å"God’s will. † This allowed Abigail to control and manipulate even the most powerful men in Salem, which is seen when Abigail threatens that Danforth- a high court official. So, Abigail Williams, who was once powerless in general society, is a perfect example of someone who became empowered by deciding the fate of other people and, by controlling and threatening people. Although, Abigail did have a powerful status among her social group from the outset and throughout which is shown when she starts â€Å"pointing with fear† and accusing Mary of â€Å"hurting her†, and quickly all the girls chime in with her. The third character who is subtly empowered is John Proctor. Despite his prideful ways, John Proctor describes himself as a â€Å"sinner. † His conversation with Elizabeth in act two where he exclaims for Elizabeth to â€Å"judge him not† demonstrated his internal conflict and his own unwillingness to forgive himself for his act of lechery. There are moments when his anger and disgust towards himself burst forth, such as when he exclaims to Judge Danforth: â€Å"I hear the boot of Lucifer, I see his filthy face! And it is my face, and yours. † So, although it is not clear from the outset that John Proctor has been empowered, he has. He is able for the first time to â€Å"see some shred of goodness† in himself- his relief from his constant guilt- when he decides to deny his confession. In conclusion, all three characters were empowered through the play, which led to the unjust killing of numerous inhabitants of Salem through the false allegations of witchcraft. So, Miller uses this to show the audience the consequence of abuse of power. Abigail is the best example because she falls from her position of high power, and resorts to boarding a â€Å"ship†, in order to escape.

Ghazals, Short Lyrical Poems that Blend Arabic and American Cultures

Ghazals, Short Lyrical Poems that Blend Arabic and American Cultures Like  the pantoum, the ghazal arose in another language and has recently come to life in English despite the difficulties of technical translation. Ghazals originated in 8th century Arabic verse, came to the Indian subcontinent with Sufis in the 12th century, and flourished in the voices of the great Persian mystics, Rumi in the 13th century and Hafez in the 14th century. After Goethe became enamored of the form, ghazals became popular among 19th century German poets, as well as more recent generations like the Spanish poet and playwright Federico Garcà ­a Lorca. In the last 20 years, the ghazal has taken its place among the adopted poetic forms used by many contemporary poets writing in English. A ghazal is a short lyric poem composed of a series of about 5 to 15 couplets, each of which stands independently on its own as a poetic thought. The couplets are linked through a rhyme scheme established in both lines of the first couplet and continued in the 2nd line of each following pair of lines. (Some critics specify that this rhyme carried through the 2nd line of each couplet must actually, in strict ghazal form, be the same ending word.) The meter is not strictly determined, but the lines of the couplets must be of equal length. Themes usually are connected to love and longing, either romantic desire for a mortal beloved, or a spiritual longing for communion with a higher power. The closing signature couplet of a ghazal often includes the poet’s name or an allusion to it. Ghazals traditionally invoke universal themes like love, melancholy, desire and address metaphysical questions. Indian musicians like Ravi Shankar and Begum Akhtar made ghazals popular in the United States during the 1960s. Americans also discovered ghazals through the New Delhi poet Agha Shahid Ali, who blended Indo-Islamic traditions with American-style storytelling.

Free sample - The US Government Should Not be Funding Arts.. translation missing

The US Government Should Not be Funding Arts.. The US Government Should Not be Funding Arts.Introduction First, what does "funding" refer to? Funding can be either direct or indirect. The US government was funding arts in this country before 1965 but that it took in-direct forms, including land grants, tax exemptions to educational and cultural institutions such as museums, and tax advantages for private donations of art to the public. This paper delves more onto direct state funding of the arts. The US arts system has no single control but instead, has a variety of public subsidies composing of roughly 13% of the nation’s total investment in nonprofit arts groups. The National Endowment for the Arts-NEA is the largest single funder of the arts across America, but the majority of direct public funding still flows from a combination of other federal, state, regional and local agencies. NEA in 2009 had a budget of US$155 million.   Even before the creation of the NEA in 1965, the issue of government in funding of the arts had been a contested one. Some justifications for governme nt arts funding are found, but it is noted that in embracing these justifications inappropriate consequences may be occur. Thus, in this paper it is urged that we refrain from government funding of the arts because the effects of such funding, would be deleterious to the art world. Much government funding is aimed at what might be thought of as the preservation of culture. It supports museums and repertory companies and is intent on keeping our culture intact. Other objectives of government funding target community art centers, regional theaters, and school programs. And funding may also be directed to professional artists for the purpose of enabling them to produce new works of art.    Whereas funding of museums looks to the past of our culture, funding professional artists is futuristic.   The preservation of culture, of course, is involved with education, which falls under the jurisdiction of the state . More to that, though not clearly, art preservation keeps us aware of who we have been, which informs our practical decisions about who we shall become. Support for the production of modern day art can also be defended as educational but, bluntly, contemporary art is not our heritage yet; nor is it clear how much of it will be or how far it will stand time.   If the aesthetic value of contemporary art would be used to justify prospective arts funding, it also will have unfortunate consequence in that it only warrants the funding of certain kinds of art, the art of the beautiful, the sublime, and that expressive of psychically balancing qualities. If no further justification can be found, the ill consequence of this is that the state can only fund a certain typ e of art. Artists pursuing certain non aesthetic aims cannot be funded by the state. If the government places large investments behind one type of art, the evolution of the art world will undoubtedly be affect ed. Whole avenues of artistic development will appear less viable than the production of aesthetic art. And from the contemporary art world's point of view, this kind of arts funding might be regarded as having a regressive effect overall.    Another justification used by proponents of arts funding is that it may function as an economic stimulant, promoting prosperity by, for example, attracting tourists. As far as this funding can be pegged to the state of the economy, it would appear to be a legitimate course of action, since functioning of economy is related to the state responsibilities. It is often difficult to imagine the way in which grants to individual artists for new works as opposed to city art centers can spur economic growth. An economic growth argument identifies the value of arts funding not with aesthetic or artistic value, but as an economic instrument. But despite this, the argument seems acceptable, although it can only be mobilized under certain constraints. Where   arts funding is employed to stimulate tourism or some other form of economic activity in a given area, the state must be convinced that there is no alternative form of intervention of comparable cost would yield greater prosperity in that area. More to that, where national rather than local economy is at issue, the state must supply some rationale why it is undertaking to stimulate tourism in one geographical region rather than another.      Another justification put forward is connecting arts funding to   employment. If state funding is not forthcoming, then many artists will be unemployed. Unemployment is a genuine matter of concern to the state. Massive unemployment is one of the great tragedies of our society, and we must demand that the state do something about it. Artists do not constitute a group that is comparable to unemployed youth. Justice and equal opportunity do not seem to bear on the issue of artistic unemployment. For instance, I may not be able to support my family as an unemployed poet; but that does not mean that I can't do it in another way, say, as a cook or a copywriter. It does not fall under the state's responsibilities in regard to the unemployed extend to guaranteeing that everyone have the job he or she most desires. The case of artistic unemployment involves people not able to pursue the line of work they most like, while youth unemployment at large involves people excluded from the work force altogether. Fairness can be used to ground government arts support. If a given government subsidizes the building of sports arenas, then, in all fairness, arts production should also be supported. If the government facilitates the pursuits of sports fans, then it should, as a matter of treating people equally, also facilitate the pursuits of arts fans, perhaps by means of supporting the creation of new art. But what, in such a context, justifies the subsidizing of sports? If nothing does, then perhaps what is required is that neither sports nor the arts be subsidized. Of course, a subsidy for a sport might be defended on the grounds that it stimulates the economy of an area; but then arts funding can, in principle, be similarly defended. Again, it does seem correct to say that if a majority, call them sports fans, demand sports funding in the face of opposition by a minority, call them arts lovers, then fairness urges that the leisure activity of the latter group also be supported, though perhap s not to the same extent. The deeper question, however, is whether any leisure activity should be supported. The advancement of the leisure professions may just not be an area the state should enter at all.    One of the earliest arguments in favor of government support of the arts is that the arts perform a moral function.   If art can function as a means of improving morality, then the state is justified in supporting it. Some art enables us to see the world from a different perspective, thus not only promoting the acquisition of a formal requirement of morality, but also enabling us to understand situations of different classes, races, creeds, and genders. Art, then, can foster greater tolerance within society and thereby bolster the moral order. If we argue from these grounds then state funding on moralizing grounds will be justified ,but   then only to that art which will increase moral sympathies. This will require some serious   research into the moral importance of different kinds of art. Art that afford no moral uplift cannot be funded. This raises problems like those encountered in an earlier discussion of the aesthetics value. If the state is funding only certain kinds of art and it enters the art world, putting its resources behind only moralizing kinds of art, then there is a danger that the development of the art world will be skewed in a certain direction. This violates our understanding   that   art should be pluralist and   independent of considerations of social utility.    Public arts funding primarily benefits the already advantaged. An artist is a person engaged in one or more of any of a broad spectrum of activities   related to creating art, practicing the arts and/or demonstrating an art(Wikipedia). Artist should be able to use their rare skills to improve their well being.    There is also an argument that public funding is necessary to promote innovation and dialogue among diverse points of view, so that groups that want to use the fine arts to challenge the status quo and advocate their unpopular world views and lifestyles can have a forum. However, while the common good requires tolerating the expression of unpopular points of view, the fact that most people do not share them suggests that the common good may not be served by supporting their expression. Even if it is, the government has no more business providing subsidies for such purposes. Indeed, many unpopular world views and lifestyles are at odds with traditional theism, and subsidizing them while not subsidizing theism would give the former an unfair advantage. People who think the expression of an unpopular viewpoint desirable should be fund it themselves just as religious believers should support their churches and missionary activities. The argument that public funding is necessary because some people have great and rare gifts that, due to lack of a market, otherwise will be lost. That might be true but the common good of political society is limited. It is not the proper role of the U.S. government to pursue all human goods in every possible way, and therefore not its business to subsidize every gift that otherwise will be fruitless. Some argue that subsidizing what initially appeals only to a few are necessary to foster a wide variety of creative initiatives that will elevate popular taste and tomorrow serve the multitude. Whether the funded work elevates anyone’s taste is arguable, but even supposing it does, can this indirect contribution to the common good justify the subsidy? Moreover, while some creative efforts that initially appeal to few eventually serve the masses, most do not, and it is hardly possible to show that public funding of some portion of art work is necessary for future cultural development. There are other needs calling for public funding, and some, plainly more pressing than this- for example, better basic education for the very poor- will surely put it to fruitful uses. One cannot justify spending for a dim and uncertain result when there are many urgent and promising alternatives. A recent argument draws a distinction between to view points of culture, Culture provides the particular paintings, performances, and novels, designs, sports and thrillers that we value and take delight in; but it also provides the structural frame that makes aesthetic values of that sort possible and makes them values for us. This structural frame includes a wealth of associations, references, images, and contrasts, which, like language, supply us with the tools with which we forge and map our common life. It insists that it is better for people to have a complex and multifarious cultural framework and that we owe future generations at least as rich a cultural framework as the one we inherited. Both these values can be achieved by promoting the creation of innovative art. Government support in this area is necessary because it "helps protect the fragile structure of our culture. This argument to endorse indirect rather than direct arts support by the government. But he does countena nce situations in which government support could be direct. At least two problems, however, beset this approach. First, there is the assumption that the structure of culture is fragile. When we look at the structure of culture, we note that it comprises many ingredients beside art-social dances, children's games, fashion, sports, religion, indeed the whole gamut of our symbolizing activities. These images become part and parcel of our ways of thinking; they are the very weave of our common culture. But it seems dubious to consider them to be fit beneficiaries of public funding. Yet if art deserves public funding because of its contribution to our cultural framework, so does anything else that similarly contributes, including, potentially, every sort of symbolizing activity, and notably some outlandish ones: hoopla-hoops, comic books, Billy Graham, the Watergate break-in, and so on. Government funding of anything involves government control. Proponents of arts funding are unaware of this peril when they praise the role of the national endowments as an seal of approval on artists and arts groups. This could lead to politicization of arts. Another claim used to justify public funding of arts is equal arts participation.   Participation in arts can not only be attributed to state funding and subsidy but may also be attributed to two other possible factors, that is; Groups that are inclined to participate even without state funding especially those with high income and highly educated may be attending in higher numbers; or, groups that formerly attended in lower rates for example, low income and education and certain ethnic groups may also be participating more given the rise in public support. Accordingly, If state art support truly makes the arts more available and accessible, then   it would be expected that an even more evenly distributed scenario of participation in states that provide more funding would be witnessed. Unequal participation in arts appears on several levels; in education, income, race, and geographic location. People will always participate in the arts at unequal levels, and statistical evidence confirms that participation in arts differs by various populace groups. Although income alone may not accurately predict participation at the individual level, a more complete picture is seen when economic   theory of choice is combined with other social and individual background characteristics that help determine preferences such as education level, racial alignment, income, and location. Therefore, participation inequalities occur not only because of variations of individual tastes, but also because of other social and cultural influences on the choice and ability to participate in arts.   The cultural equity argument for government support, depends on the problem of unequal access. The depends on the fact that factors beyond individuals’ immediate control prevent them from taking part in opportunities availed by participation in arts. Equal access can be categorized into three concepts: equality of opportunity, rights, opportunity, and of participation. Use of state funding to correct for unequal access is a form of redistribution. Redistribution through arts funding is skewed, since it favors those to whom art and the aesthetic are more important over those to whom it is less important. So, the best form of redistribution of state resources would be direct transfers to the less fortunate. Proponents of state funding will also argue that by funding arts the state is safeguarding the welfare of the citizens. But welfare, as it applies to as a state role, refers to assistance to individuals in need of the basic commodities that comprise a living. Is it practical to suppose that arts funding provides some such a commodity?   An analogy would be to say that someone needs Y is to say that they lack it, they will suffer injury, sickness, madness, hunger, or avoidable death. Does the production of contemporary artworks assist individuals in needful situations such as these? The answer is no. Some proponents of public funding will attempt to connect state arts support to the state's welfare function by   introducing a concept of aesthetic welfare. Aesthetic welfare is defined as all the aesthetic levels of the experience of members of the society at a given time. It is then suggested that there is a prima facie government duty to preserve the aesthetic wealth of society wh ere that wealth-pictures, plays, and so forth-is what gives rise to aesthetic welfare. It is not certain, however, that this particular notion of aesthetic welfare helps the case for prospective arts funding since it may be that, if there were such a prima facie duty, retrospective arts funding might suffice to discharge it. Also, one must question whether the connection between "aesthetic welfare" and the concept of welfare relevant to government activity is really unequivocal. First, "aesthetic welfare" doesn't correlate with de-finable needs, especially basic needs; nor does being below the poverty line imply being aesthetically disadvantaged. And clearly promoting individuals' aesthetic welfare will not raise them over the poverty line. More-over, the state's welfare responsibility under this conception of aesthetic welfare doesn't seem to be directly connected to individuals but is a matter of ensuring that there will be a large number of aesthetic objects around so that people can have aesthetic experiences if they want them. The state is to ensure the permanent possibility of high levels of what is called aesthetic welfare but might better be called aesthetic well-being. This well-being is to be secured for society at large, construed additively, whereas the state's welfare responsibilities are discharged toward particular per-sons, viz., anyone in need. Thus the notion of aesthetic welfare" appears not to refer to welfare of the kind that defines the state's proper domain of activity; it is merely a homonymous term that, though sounding like the concept employed in the discussion of the state's welfare responsibilities, is actually quite separate. Lastly, the idea that art will disappear if the government does not support it, and if the state does not fund new art, no one else will. Of course, this is a false claim, and a dubious one at that. The arts flourished in democratic societies before the coming of direct public funding; there is no reason to suppose that they will disappear without the direct government funding of new arts. Where people are interested in art, there will still be an audience to support new work. Were there no audience whatsoever, it would be difficult to determine on what basis the government would justify funding new art. SUMMARY In conclusion, there do appear to be some theoretical justifications for possible government funding of art. The two important   justifications seem to be those concerning the aesthetic environment and the moralizing effects of the arts.   For they endorse the funding of only certain types of art. Government support for only certain types of art may indeed disturb the structure of artistic production and perhaps destroy the art world as we know it.

InTERNATIONAL STUDIES IN BUSINESS Assignment Example | Topics and Well Written Essays - 250 words - 1

InTERNATIONAL STUDIES IN BUSINESS - Assignment Example Conventional theory argues that liberation in trade should benefit the developing countries more than it benefitted the developed countries because globalisation is supposed to assist the countrys joining the bigger economies have access to their markets. On the contrary, it is the developed countries which have been gaining instead. On April 10, 2006, immediately after the director general had announced that they were planning to implement the Doha strategy some countries like U.S started demanding benefits for its own economy in case they provide aid to LDCs. I agree; WTO is meant to improve comprative advantage and hence increase international trade. WTO has made progressive in balancing trade between developed countries and developing countries, however, for globalization to be achieved, WTO will have to lower export tarrrifs for LCDs. Also developed countries should provide a good political

ECONOMICS Essay Example | Topics and Well Written Essays - 1500 words - 1

ECONOMICS - Essay Example So, for example, when Americans receive more income from their overseas investments than foreigners receive from their investments in the United States, American GNP will be somewhat larger than GDP in that year. If Americans receive less income from their overseas investments than foreigners receive from their US investments, on the other hand, American GNP will be somewhat smaller than GDP (http://www.context.org/PEOPLE/celeste/gnpp.htm). Equivalent estimates of GNP (or GDP) produced in a given year may theoretically be arrived at through at least three different accounting approaches, depending upon whether the transactions that determine the prices of final goods and services are looked at and tallied up by focussing on the buying or by focussing on the proceeds from selling or by focussing on the nature of the products themselves. Using the expenditure approach, you can estimate total GNP as the sum of estimates of the amounts of money that are spent on final goods and services by households (Consumption), by business firms (Investment), by government (Government Purchases), and by the world outside the country (Net Exports). Using the incomes approach, you can estimate total GNP by summing up estimates of the different kinds of earnings people receive from producing these same final goods and services: (Plus certain adjustments to account for wear and tear on productive assets like plant and machinery -- depreciation -- and what are called indirect business taxes). Using the product or output approach, you can estimate GNP by summing up the output of all the various organizations producing goods and services in the country, subtracting out the costs of their raw materials to avoid double counting and making suitable adjustments for depreciation and for the value of imports and exports. (Butt 2002, Kopecky 1995) (In theory, all three

Services and Relationship Marketing Essay Example | Topics and Well Written Essays - 1750 words

Services and Relationship Marketing - Essay Example Additionally, services could be seen as peripheral activities designed to boost the delivery of a core product, for instance, provision of a courtesy car. Service as an organization involves the entire business or not-for- profit structure that resides within the service sector (Buttle 1996). The Origin of Service Marketing Service marketing was founded upon the basic concepts of marketing. Its advancement over the years has been associated with the philosophy of customer orientation. A marketing orientation is bound to position the customer at the middle of the purposes and activity. Numerous organizations and companies have manifested philosophy, which argue that customers are the kings and that everything that is done in organizations or companies is inclusive of customers’ preference (Machtynger et al 200). Essentially, philosophy in marketing orientation concentrates more on ensuring that customers are well looked after, and that they are fully satisfied in the context of competitive assistance whereas at the same time ensuring that the assistance remains money-making. Customer reaching philosophy has dictated marketing activity throughout its history (Egan 2008). Concept Relationship Marketing Relationship marketing is the process in which relational exchanges are acknowledged, developed, sustained and terminated with the purpose of boosting performance. Relationship marketing has been perceived as a new phenomenon in the province of marketing (Baron et al 2010). The initiation of mass marketing and mass production has surrounded the idea of Relationship Marketing for a period of time. There has been stern competition, erosion of brand loyalty, unethical wars on prices in various organizations and companies. Moreover, relationship marketing has...Relationship marketing primarily aims at building closer relationships with customers in order to overcome challenges such as obtaining global competitive advantage, dealing with rapid changes in technolog y and reducing time to market new products. Relationship marketing is vital in accordance to the pros and cons involved in the engagement and sustainability of exchange relationships. Through relationship marketing, there are more returns for companies or organizations that engage themselves with existing customers and increase the loyalty of the customers than it is to make an effort of attracting new customers. Hence, relationship marketing emphasize that exchange relationships are ongoing over the lifetime of the relationship. Relationship marketing has been used by competitive marketing as a functional way of enlarging business performance. According to Gilmore 2003, relationship marketing is characterized as the identification, establishment, maintenance, and enlargement, modification, and execution of relationships with customers, a situation that results to value for customers and profit for the organization by various relational exchanges that have both past and the future.

Mexican American Journal Entry Essay Example for Free

Mexican American Journal Entry Essay It has been 11 years since we have arrived to Los Angeles, California. I can still remember the feeling of when my father had said to us that he we would be moving to a far place to try to find better jobs for my mother and him because with the two jobs my father had and the washing and ironing of other peoples clothes my mom did was not bringing enough money to support my sisters and me and did they wanted to provide a better life for my sisters and me. Mexico was such a poor country that my parents could not see themselves make enough money to support my sisters and me, let alone see us get a better education. So my parents decide to migrate to the United States with one of my mother’s brother. We arrived in Los Angeles, California on July 16, 1931, with my Aunt Julia and Uncle Fernando. My family and I were so happy to finally arrive to the U. S. to live the â€Å"American Dream. † Soon we would find out that our dreams would come crushing down fast. After settling down, my mother decided it was time to enroll my sisters and me into school. My mother asked my Aunt Julia and Uncle Fernando what my sisters and I need to enroll into school but since my aunt and uncle did not have any children, they were unable to tell my parents the information we would need. As my mother, my sisters and I walked into the school we could notice all the â€Å"gringos† looking at us in a weird way (looking at us like we did not belong there). My mother can right away tell that there was something wrong that we would not be accepted into that school. My mom was correct, as we entered the office the school secretary told my mother that we were not welcomed there and that if she wanted to enroll us into school it needed to be in a segregated Mexican school. Walking out of the school with confusion on her face, my mother saw an elderly Mexican American woman who spoke Spanish and asked her if she knew the reason we were not accepted into the school. The woman proceeded to explain to my mother that in the past few years many Mexicans were migrating to the U. S forced by the economic and political disorder produced by the Mexican Revolution and were tempted by jobs in U. S. agribusiness and industry that many Americans feared losing their jobs to underpaid illegal immigrants. Americans could not deal with losing the jobs they had especially during this time of the Great Depression. The elderly woman proceeded to explain to my mother that Mexicans were not welcomed to California or other parts of the country, that Mexicans were discriminated against and that we only had to go to schools that were for Mexicans only, that the only language we could speak in the schools regardless if they were for Mexicans only was English. She read my mother some signs that said, â€Å"NO MEXICANS ALLOWED. † She continued to tell my mother which neighborhoods we could not enter and which we could. If we saw signs like the ones she read for us, then we should be aware that we were not wanted there. After finding an all Mexican school for my sisters and me, my parents thought the hard part was over. I would here them talking in their bed room that as long as they did not bother the â€Å"gringos† or got in there way we would not have anything to worry about but they were wrong. Shortly after being able to find jobs for themselves, I began to see my parents worried and listening to their radios all the time. They had just found out that Mexicans were being deported back to Mexico regardless of their legal status. The news stated that tens of thousands of Mexican families were arrested and sent to jail for 10 days before they were sent to Mexico by train, because of an anti-immigrant campaign that the Americans had done. Those families were not given a chance to proof if any family members were U. S citizens. Families were not given the chance to take anything with them. The news also began announcing free trains rides back to Mexico for Mexican American and Mexicans who wished to voluntarily be taken back to Mexico. I can remember seeing my mother cry because she said she did not want to return to Mexico and live in the horrible conditions we were living in before. She begged my father to do something so we did not have to return to Mexico. One day my father came home telling my mother that he had heard of migrant work camps established by the U. S. Farm Security Administration, or FSA and that they had a possibility of getting jobs there to stay in the U. S. The camps provided housing, food, and medicine for immigrant families as well as safety from any criminal elements that can take advantage of defenseless immigrants. We had the possibility of staying we were extremely happy!! Little by little more Mexicans have extended their stay as well as the places were we live at. The most popular places where Mexicans live at now are Chicago, California, and New York. We stayed in the U. S. , my sisters and I are receiving a great education and compared to Mexico, I think we are now living the American Dream!!!! Reference: Depression and the Struggle for Survival. (2005, April 20). Immigration. Retrieved August 10, 2008, from The Library of Congress. Koch, W. (2006, April 4). 1930s Deportees Await Apology. USA TODAY. Retrieved from http:www. usatoday. com.

Vincent van Gogh Essay -- Artists Art Biography Artist Gogh Essays

Vincent van Gogh In present time, Vincent van Gogh is probably the most widely known and highly appreciated person of postimpressionism. During his brief lifetime, Vincent’s work went almost unknown to this world. His work now hangs in countless museums throughout the world and is considered priceless. His work became an important bridge between the 19th and 20th centuries. The art-historical term, Postimpressionism was coined by Roger Fry a British art critic, who described the various styles of painting that flourished during the period from about 1880 to 1910 (Britannica). It was generally used for a convenient way to group together the generation of artists who sought new forms of expression during a pictorial revolution wrought by impressionism. Among these figures were Piere Bonnard, Paul Cenanne, Paul Gauglin, Odilon Redon, George Seurat, Henri de Toulouse- Lautrec, and of course Vincent van Gogh (Britannica). Van Gogh was born on March 30, 1853, in the rectory of Zundert in Barbant (Burra). His father was a soft-spoken Dutch clergyman. The only thing Van Gogh got from his father, was the desire to be involved in the family church. Even at an early age, Vincent showed artistic talent but neither he nor his parents imagined that painting would take him where it did later in life. One of his first jobs came at the age of sixteen, as an art dealer’s assistant. He went to work for Goupil and Company, an art gallery where an uncle had been working for some time. Three of his father’s brothers were art dealers, and he was christened after the most distinguished of his uncles, who was manager of the Hague branch of the famous Goupil Galleries (Meier-Graefe). His parents were poor, so his rich uncle offered to take him ... ... the 20th century vogue in romanticized psychological biography. Who knows of how many other great paintings he could have completed in the following years. Although his life was cut short, Vincent van Gogh has since been recognized as one of the great geniuses of modern art. He was clearly one of the greatest postimpressionism painters of all time. Works Cited Auden, W.H. Van Gogh A self-portrait Letter Revealing his Life as a Painter. Marlowe and Company New York Britannica Concise Encyclopedia. 2008. Encyclopaedia Britannica. 9 Mar. 2008 . Burra, Peter Van Gogh, New York Collier Books 1962 Meier-Graefe, Julius: Vincent Van Gogh: A Biography. Courier Dover Publications: 1987: New York. Sweetman, David. The Love of Many Things: A Life of Vincent Van Gogh. London: Hodder and Stoughton, 1990.

Madame Bovary and Techniques in Fiction

1. Conceptions: The Origin of a Story Gustave Flaubert in all probability got the idea for Madame Bovary when he and Louise Colet became lovers, in which the novel was written at the time of the affair. When Flaubert and his mistress first started to have the affair, they wrote love letters to each other as any other lover would. The letters that Flaubert would write were similar to the journals the authors use to help stimulate ideas for their novel. (TIF, 10) Flaubert in all wanted to expose the whole aspect of having affairs and encompassing mistresses. Putting the setting at his birthplace made him more comfortable with the area allowing him to have the full coverage of the city such as knowing all the streets and the back roads that Madame Bovary uses. (Flaubert, 261) The more familiar the area is the more realistic it would seem, such as where the houses were located. The whole aspect of the city is not imaginative but more practical. The characters in Madame Bovary resemble Flaubert and his family in many ways, for instance the elder Mrs. Bovary as Flaubert's mother. They both have are widows in their future life, and they have the sense of protectiveness of their children. Since Flaubert's father is a doctor, he had to incorporate that characteristic in Charles Bovary. However, I think the greatest resemblance between the characters of the novel and Flaubert's family is Flaubert and Madame Bovary because they both have nostalgia for Paris. As Flaubert places himself in a woman's place you can see his true self coming out. As they both want the pleasurable sensual feeling of love and to some extent, becomes a drug, where they are addicted and cannot find the end. Madame Bovary and Flaubert both have two lovers. Madame Bovary's downfall was the amount she spent on her lovers which leads her into debt and Flaubert engaged in his studies and focused on his writing. 2. Beginnings The beginning of the novel Charles is in school but is held back. It is not if it is the most horrific, or a quiet pleasurable moment in his life, but it would be the most rememberable moment in his life because he is at a school away from his family and he would be ridiculed consistently. At first, it seems as if Flaubert is starting from the beginning of Charles life because all the focus is on him but once he marries Emma, it is all about her. I do not understand why Flaubert started out this way because Charles is not the main character but is only an unimportant character that is just here from the beginning to the end. It does not seem as if the novel was placed in such historical or momentous occasion because the author does not insinuate anything. All he does say that Emma admires Joan of Arc and worships Mary of Scots. (Flaubert, 32) In most part, the reason why the novel is not based off an important event is that the characters have nothing to do with the occurrence. It all has to do with the characters, their emotions, and their daily wrong doings. The novel is not like Ann Frank, where the whole story is based off a historical incident but it is more like the novel itself has its own history. The â€Å"envelope† now makes the beginning of the novel more understandable. It is as if he is there from the beginning until the end. Although he is in every one of the life situations, it does not directly involve him. Through all the pain and heartache, Charles remains the same. The book Techniques in Fiction explains why Flaubert included the early years of Charles and why they prolonged the ending. It was so show Charles stupidity from the beginning to the end and he still wonders why life has put him through all this. He still is unable to acknowledge that his wife has put him through all this pain and that â€Å"Only fate is to blame†. (Flaubert, 302) Charles as a schoolboy is not any different from Charles as an adult. Both have the sense of idiocy all through out the novel. As the other school children ridicule him, it has not changed in his adult years. Emma is derides Charles not in his face as the school children did but in a secretive sort of way by having an affair with other men and by breaking the sacred vows of marriage. I would have to say that the novel is low beginning because it makes us more comfortable to get into the story and it does not have an intense moment where it makes us uneasy such as a melodramatic storm. (TIF, 50) Having included Charles and his early school years makes us at ease and more familiar to the story line on what is going to happen when. 3. Style and Speech â€Å"Every writer, by the way he uses the language, revels something of his spirit, his habits, his capacities, his bias.† (TIF, 55) The way Flaubert wrote reveled himself, the good and the bad, through the characters and events. He depicted himself through Madame Bovary, showed the world his real self and not just a faà ¯Ã‚ ¿Ã‚ ½ade. His need for love, compassion and the fond of the arts were shown to the readers as Madame Bovary. The uses of metaphors are in the most common way unlike Alexander Theroux's novel The Wogs where he uses a profuse amount of metaphors in one paragraph. Flaubert uses the metaphors to clarify or to detail something, â€Å"we would throw them [caps] under the bench so hard that they struck the wall and raised a cloud of dust†¦Ã¢â‚¬  (MB, 2) To make the scene seem more interesting Flaubert would transition very well from writing without any literary devices to adding metaphors without a notice. This did not make the novel seem award at all but make it flow through very nicely. The way Flaubert added any dialogue made it as if any person would say such thing or he would make it seem so poetic it would seem so romantic. Flaubert made Charles' dialogue seem so dull like his character and Emma is so versatile. She would speak one way to Charles and another way to the pharmacist. Flaubert would make each of the characters had their own way of speaking as if the characters were alive and had their own personality and style. Flaubert follows the outline in Techniques in Fiction not perfectly but it does seem as if he tried. I know the outline was not used when Flaubert wrote this novel but it just shows how well of an author he is. The principles stated in the Techniques in Fiction are followed by Flaubert in Madame Bovary. There maybe a slight exception but that is very rare and most of the time the outline is followed. The manner in which Flaubert uses attribution is as the book puts it, where each character should have its own way of talking. The dialogue is not he said, she said because the dialogue is with emotion, â€Å"she exclaimed in surprise.† (MB, 120) 4. Characterization The characters display a certain consistency, even thought hey are subject to change. Like Charles is the kind of character that remains the same throughout the entire novel, unlike Emma who is the kind of character that is all innocent in the beginning and then come to a bigger city, becomes brash. Only Emma is the character that changes but the rest of the minor characters remain the same. The way the characters are depicted in the novel is not that descriptive but they are portrayed in the way they talk amongst themselves or by the way the other characters see them. The way Emma is first described for the first time when Charles first sees her. â€Å"Her hair was divided into two sections by a fine part running down the middle of her head; †¦Ã¢â‚¬  (MB, 13) Charles is described by the author as â€Å"a country boy, about fifteen, taller than all of us†. (MB, 1) When the characters meet each other the description runs in the thought of their heads. The use of expression, habits, gestures and movements are used very selectively for each character to make them seem alive. â€Å"†¦ he had outbursts of anger, followed by plaintive moans of infinite sweetness and the notes that pored from his bare throat were full of sobs and kisses.† (MB, 193) The expressions are used mostly describe the feelings for each other and their passionate quarrel or when Emma gets annoyed of Charles. Just off the dialogue, the behavioral status of the characters can be shown such as Emma and her attitude towards her husband Charles. â€Å"Ah, he carries a knife in his pocket, like a peasant.† (MB, 88) It can also show the love for the lovers in the affair. Just of the dialogue the characters show if they respect and love the other person or if they just show off as if they actually do care but they really do not. The way each of the characters speak is as if they have a mind of their own. Flaubert would make each of the characters had their own way of speaking as if the characters were alive and had their own personality and style. Emma would talked is hate to Charles and Berthe but with respect and compassion to the apothecary, the pharmacist and especially the men she is fond of, Rodolphe and Leon. They each have a different personality so it would just make sense if they talked differently. The attitude that each character has towards themselves is honorable. Emma has that sense of respect but also an impression of arrogance, the way she would end up in debt even after the bills had been loaned to her. They do not quarrel but they get along by going to their neighbors houses at night after dinner, or in Emma's case, to her lover's house. They way she has to go to his house secretly by following â€Å"the walls that ran along the water's edge†. (MB, 141) The character past comes in the beginning of the novel to show us what their personality is going to be like when they are introduced. 5. Point of View The point of view tells us from which perspective is the story being told. There may be ten different characters that means there would be ten different perceptions. The author has to decide in which perspective they would like the story to told from because each of the characters has a different outlook and opinion on the predicament. There might be a character that is almost invisible that can see everything, feel the characters emotions and clarify those sensations into the story, like the narrator in Madame Bovary. 6. Background; Setting; Place; Milieu As the story is placed in France during time that Gustave Flaubert is in, makes the story seem more reasonable since that Flaubert actually knows what is happening during the time. It is as if he has had some personal experiences. At first Charles is in a school because the country did not have the education that his parents wanted. It went on from there, the setting is still in France but it went from the country to a city back tot the country and back to the city. Once Charles got his professional degree, he moved in to a village sort of place, Tostes, where he married an old widow. Then he goes to a farm where Emma lives. They marry and stay at Tostes until there is a proposition in Rouen. The couple only stays in Tostes for about 2 years. That is where the rest of the story is, where Emma transforms from an innocent farm girl to a lust driven woman. 7. Narrative Style: Time and Pace in Fiction Flaubert told the story in a very reasonable fashion. He did not speed up quickly and leave out details nor did he go to slow and let each scene drag on. Each scene was perfectly proportional to the amount of dialogue and the narration. Each scene shows what is happening and is not leaving anything out like behavior, attitude, ect. Each scene coincides with each other; it does not seem out of place compared to the other. Flaubert also does not have the narrator state something and the character does it, but he lets the readers find out eventually. It doe not seem as if Flaubert made a plan or had a certain strategy on how to write the novel. Out of the four techniques that most authors use to sum up the storyline, Flaubert uses several separate scenes with narration going along with it. Having too much dialogue would dull the novel a little because the novel is mostly about Emma and the emotion she has. Time is very effective in the novel because it flashbacks in the beginning of the novel not confusing the readers and each time Emma remembers her life in Les Bertaux but as a mere remembrance. (MB, 44) The time scale is very effective in the sense that the story takes place in many years and it is not all cluttered up in to one day like Classical Literature. Having the time in that way helps build up the story and make it go on easily without any gawkiness. The novel is written in a present past tense, where the action has already taken place when the narrator is describing the scene, â€Å"But Charles replied that they were leaving the following day†. (MB, 198) if it was all in present tense it would not make sense because the setting and time is in the past around the late 19th century. Having it in the present past makes it seem more like a movie in the reader's mind, making the story more imaginative. 8. Plot and Story Some people would say that the plot and the story are interchangeable but the plot is the only thing the readers are interested in because it brings in suspense while the story is the whole account where it has all the minor details and a whole cluster of facts. The classical approach to writing a plot is to have description and background information, then to have the rising action in which the problem will derive from and after all that, the crisis. From there the character realizes there is a problem and then the catastrophe. Now here is the Madame Bovary plot summery in the classic approach. Emma is country born but reared in the city. She later marries a prosperous doctor but the only problem is that she does not love him. They move to Rouen and his practice is even more affluent. She realizes that she has feeling for her neighbor's younger roommate. One day she meets a very charming man and soon they start to have an affair. Things get to intense and he leaves. She secretly has an affair with her neighbor's roommate. She spends more and more money on him and their â€Å"home†. Soon she is too in debt and she must pay it all back to the â€Å"loan officer†. She does not have enough money by the deadline so she decides to k ill her self. Now the practical solution for a plot seems more reasonable than the classic approach that Aristotle had conceived. There is a problem, the crisis deepens, then the problem is recognized and after that, the world is changed, for the better or for the worse. It is somewhat ironic that Emma has cheated on her husband and she has hit a dead end, she has nowhere to go and her status has been stripped from her, no wonder she decided to kill herself. There is no explanation for Charles to treat her like a goddess even what she has put him though. When Emma first felt something for Leon, which was the first sign that something was going to happen. Whenever Charles gives something to her, she acts as if it is not good enough for her but she keeps on spending money on herself and not anyone else, even her own daughter. When Madame Bovary dies, it was a bit of a shock because she wanted to live in riches and show Rouen what she really is about, but after her scandal came public, that must have put a deep hole in her reputation. There was not a real surprise end because Charles says numerous times that he could not live with out Emma and when he did die of grief, it was sad for them to leave their daughter as an orphan. This novel definitely had a double plot because of the affairs and the debt she keeps digging deeper into. When she had her first affair with Rodolphe, I was sure that she was going to get caught but she was saved. That did not stop her though. She had feelings for Leon and she made sure that they would spend time together at least once a week. Each time she lied, she had to lie again to cover up the previous lies and all she ended up in was a huge web of lies that she got confused in. Flaubert did not complete all of the checkpoints in Techniques in Fiction because they all do not apply to every novel but they include every novel. Each novel has a different genre and each genre has different expectations. In each genre, there are sub genres and they require to have certain things. 9. Organic Form and Final Meaning Flaubert is an emotional person who does not give a care about the world and what they think about him and his novel. He never wrote the book for the shameless readers but the idealists who have the sense of modernization. His views of the â€Å"modern† world are quite different from the idealist that the world really was not modern but it was only in our heads and that technology has increased world knowledge. His writing techniques and the need for perfection; The methods in which he reaches perfection is not of normal people, he boasts out loud for hours until is sounds the way he needs it to sound. He wanted to be known for his perfection and not how he modernized the world. Gustave Flaubert is a realist who is infatuated with perfection and style. Flaubert wanted to show society what hey were really about but he did not want to make it complicated by explaining it so he showed it through his characters. He wanted to make an impacted on culture and not just another reading book. One of the reasons why this novel is faithless is because he grew up at the height of the romance movement and that is how the people of civilization behaved. Gustave believed that the personality and style of the author must vanish into the book and the book must not lose its originality. He deemed that style was impersonal and it is unique in the sense that expressing things are intensified in color. Who would think that to take the dreariest setting, the prettiest characters, and the most common to would make a masterpiece? All of theses symbols: the knife, the silly cap, cigar case, all encompassed who Charles really was, a lowly doctor with no individuality. The way Flaubert included the â€Å"small, ignoble Venice† of the river in Rouen and the pimples on his first wife's face was like † the budding of spring† made the scene more interesting making his style more impressive and ideal. The way Emma sees Charles as the dorky village doctor, and how the children say as unromantic, clearly shows the lack of respect the she has for him, his entire life is devoted to her. To show that even cared he forgave her lover saying that it was destiny that choose its path. The way Flaubert embraced Charles and his affection to his daughter Berthe has included a bit of himself and his care for his motherless niece. Madame Bovary is a historicist fallacy because the readers judge the book because of the time it was written in and what the time and setting is. Flaubert did not want dell with the lawsuits and the modernization of France. All he wanted to do was put out in words what societies doing. His need for perfection really made him strive for the perfect sound. He would work for hours on days until he could find that one word that drove him crazy.