Gender Roles Essays (2212 words) - Gender Studies, Social Psychology

Gender Roles Gender Bias in Literature ?Men Fix Things?Girls Have Dolls? -Shirley B. Ernst I have thought about many different ways to organize this paper and have come to the conclusion that the best way to approach the topic is on a book-by-book basis. My perceptions of the gender biases in these books vary greatly and I did not want to begin altering my views on each so that they would fit into certain contrived connections. What interests me most in these stories is how the authors utilize certain character's within their given environment. Their instincts and reactions are a wonderful window into how the authors perceive these ?people? would interact with their surroundings and often are either rewarded or punished by the author through consequences in the plot for their responses. Through this means we can see how the authors expect their characters to behave in relation to their post in the world. We must be very careful as readers to judge these biases based only on evidence within the text and not invent them from our own psyche due to the individual world we know . In Louis Sachar's award winning book Holes, we see gender biases in many characters. The first and most obvious bias in this book can be found in the way Sachar's characters address Mr. Pendanski, one of the staff members at Camp Green Lake. Many of the boys refer to him sarcastically as ?mom?, and it is not because of his loving nature. Mr. Pendanski is neurotic about things the boys consider trivial and he has a tendency to nag them. Because Mr. Pendanski is portrayed as the antithesis of Mr. Sir, who simply drips testosterone, others view him as a female for his weakness. The fact that Sachar allows his characters to equate weakness with femininity, or more accurately motherhood, shows a certain bias towards the supposed strength that innately accompanies masculinity. This attitude is only furthered by the fact that the rest of the book as almost totally devoid of female characters other than the witch-like caricature presented to us in the form of the warden. She comes complete w ith a vicious disposition and poisonous fingernails. The most interesting part of this bias is that the boys chose to name Mr. Pendanski ?mom? in light of their own personal family histories. I think it can safely be assumed that not many of these boys had a functional relationship with their parents or they probably would not be in Camp Green Lake to begin with. These boys chose to place Mr. Pendanski, a whiny and unrespected man in the grand scheme of things at camp, in the role of mother. They did not turn to the only woman present at the camp, nor the man who disciplines them each day, to fill their maternal needs. Instead they turn to the weakest figure in their lives and mock him by referring to him as a woman. This demonstrates to us that Sachar considers femininity a weakness in this world and has no issues showing us. As Ernst wrote, ?How easy is it to relegate girls to second class citizens when they are seen as second-class citizens, or not at all? (Ernst 67). This point is only furthered by the fact that the only woman present is such a fairy tale character. She is portrayed to us as all but a sorceress and it can be assumed she has taken on this persona in order to survive in a predominately male post in a totally male dominated environment. Even in our class it was evident that many readers were taken aback by the fact that Sachar chose to make his warden a female. And so it again can be seen that Sachar has imparted onto us a bias that a real woman could not function in this world so he had to invent a completely fictional and grandiose one. With all the other characters in the book appearing so human, it seems obvious he turned the warden into a beast because he felt he had to. In What Jamie Saw, by Carolyn Coman, gender bias shows itself in a new way. In this book masculinity and evil seem to go hand in hand.

Women in American Colonies essays

Women in American Colonies essays For my first paper, I want to write about women in the American colonies. I want to give a picture how can they survive in a strange new world across the Atlantic far away from their own mother country. I also want answer the question: Did women have a greater freedom in the colonies than in their own country? I want to concentrate more especially in England who migrated to the America. The New England colonies started in 1620 because of the lack of religious freedom in England. In addition England had too many people. The population of the country was jumped from 4 to 4 million during the 16th century. The food production and employment had not keep pace with the increase. In the other hand, one could hope to own land when it was almost impossible for most people to do so in England. Because of the reasons above, on 14th May, 1607, just over 100 men and boys filed in the small ships Susan Constant, Godspeed, and Discovery, onto what English adventurers came to call Jamestown Island in Virginia. That was only the first English settlement in the now world. Following, there were 13 more settlement in America, which was Massachusetts, Maryland, Connecticut, Rhode Island, Delaware, New Hampshire, North Carolina, South Carolina, New Jersey, New York, Pennsylvania, and Georgia. Between 1629 and 1640, some twenty-one men, women and children migrated to new world in search of a better life. Migration for most females meant that their new life would be perhaps no more full of joy than her old one had-nor any less. They find the life of a woman in this new world to be profoundly unlike what they had left behind - different and not always easier. However difficult English women found their first years in New England, other colonial settlements held harder lessons by far. Almost every woman who left England for Virginia or Maryland in the early seventeenth century would have expected to work hard from the moment she rea...

Electric dipole moments of elementary particles Essay

Electric dipole moments of elementary particles - Essay Example A significant increase in experimental sensitivity surged with over 106 factor4 improvement. Figure 1 below shows an impressive breakthrough in said improvement in the experimental sensitivity. This improvement was for about 8 years.5 Yet, despite all these improved pursuits, no electric dipole moment was observed. Why do some scientists still spend so much time and effort looking for an EDM, something that is almost deemed a lost cause? Lamareoux and Golub6 believe that the reason why many physicists are quite obsessed in in searching for the EDM is that the observation of a non-zero neutron electric dipole moment is proof of time reversal violation that goes over and beyond the electro-weak interactions called â€Å"Standard Model†. A vital point is that the standard model predictions of time reversal violation’s magnitude are not consistent with the existing ideas about the formation of our universe. The production of what is presently seen as matter/antimatter asymm etry needs time reversal violation that has many orders of magnitude more than what is forecasted by the standard model. Figure 1. Sensitivity of neutron EDM experiments over time. On the left of the graph are some theoretical predictions of the magnitude of the neutron EDM. The electric dipole moments could easily offer to the world of physics one of the, if not the most thrilling prospects for its progress, particularly in particle physics. This could easily spell a bright future awaiting prospective experimentations that has something to do with the EDM calculations. Golub and Huffman7 has been very precise on what physicists and scientists expect to find when it comes to the search for neutron electric dipole moments by saying that such search for nEDM could easily represent a good hope for understanding and learning Physics well beyond the Standard Model (SM) since finding any non-zero neutron electric dipole moment would be a strong proof of the breakdown of the SM. The C, P a nd T The reversal of space coordinates, or the so-called parity P, T or the time reversal invariance and C, the charge conjugation are the three significant symmetry principles in the field of nuclear science. In particle physics, these three have a crucial role in understanding weak forces and weak interactions. These 3 symmetries are also the main points in understanding if a nucleus is behaving differently when the spatial configuration becomes reversed (P),or if time’s direction is made to run in a backward direction instead of the usual forward direction (T), or should the nucleus’ matter particles are changed to antimatter particles (C).†8 In a CP symmetry, the charge conjugation turns a particle into its reverse or its anti-particle. Likewise, parity creates an object’s mirror image. It has been an accepted fact in science that physical laws are unchangeable or invariant when undergoing parity transformation. Time, charge and space are nuclear prope rties that are reserved or reflected in mirror-like changes in symmetry properties. In the natural universe, it is but expected that mirror symmetries or inverses to exist. Since parity symmetry is valid for all reactions that involve strong forces and electromagnetism, the fundamental conservational laws such as conservation of momentum and conservation of energy also include parity conservation. However, two physicists, Chen Ning Yang and Tsung-Dao Lee, contradicted

Qualities of a Successful International Marketing Strategy Essay

Qualities of a Successful International Marketing Strategy - Essay Example International marketing strategy is rooted in an investigation of the level of globalisation of different features of the market setting, such as variations and similarities in consumer preferences, culture, socioeconomic standing, technological standards, and so on. Therefore, it is evident that companies aspiring to compete successfully in global markets have to develop a decisive, purposeful, and appropriately designed international marketing strategy that is derived from a comprehensive knowledge of the markets which the organisation is operating in or aiming at. The Three Qualities Global markets are an aggressive environment that demands regular monitoring and assessment. Marketing strategies should be able to adapt to the dynamic nature of global markets. Innovation is an integral success factor, not merely with regard to product and/or service but the entire process of marketing. Value-oriented marketing and financial strategies are all turning out to be vital factors in the execution of a successful international marketing strategy (Doole & Lowe, 2008). Therefore, the mission of international marketing is to guarantee that all global strategies have the strength of comprehensive analysis and knowledge and precise assessment of what is needed to gain the most coveted competitive advantage. There are numerous essential qualities for successful international marketing strategy. But this essay focuses only on three qualities, namely, successful development of recognised local brands, strong brand extensions, and solid customer relations. First, a successful international marketing strategy is able to expand a local brand into a global brand, bringing brand strategy and value to a larger number of countries. The most excellent case in point of an initially national brand that eventually became international is Coca-Cola. In 1902, Coca-Cola decided to go beyond the United States. It was able to penetrate the market of 76 nations by 1929 (Hill & Jones, 2012, p. 286). During the Second World War, the company already has 63 factories across the globe. Its international expansion carried on after the war, motivated partly by the assumption that the U.S. market would sooner or later mature and by the belief that massive prospects for growth rest abroad (Hill & Jones, 2012, p. 286). Until the 1980s, Coca-Cola’s marketing strategy may most appropriately be described as a localisation strategy. Local marketing activities were given a high level of autonomy to handle their own activities. But everything changed when Roberto Goizueta became the company’s chief executive in 1981. He restored focus on the leading brands of Coca-Cola, which were expanded with the launching of Cherry Coke, Diet Coke, and others (Doole & Lowe, 2008, p. 8). His main assumption was that the major dissimilarity between the global markets and the United States was the lower consumption level of the global markets. Goizueta transformed the company into a glo bal one, consolidating much of the marketing operations and management at the company’s head office in Atlanta, placing emphasis on major brands. This wholesale strategy was based on standardisation by, for instance, employing the same marketing strategy across the globe (Hill & Jones, 2012, p. 286). However, this wholesale marketing strategy eventually became

Infosys and levendary cafe case Study Example | Topics and Well Written Essays - 500 words

Infosys and levendary cafe - Case Study Example The functions though many are seemingly well coordinated (though not without challenges) and this is as a result of good and effective leadership starting from the former Chief Executive Officer (CEO) Howard Leventhal. With the division of the cafà © into functions, allocation of tasks is easier since there are smaller groups to manage and monitor increasing effectiveness and thus making even the cafà © win awards. The cafà © assumes that having a customer-personalized approach would lead to loyalty and eventually the company making profit which has worked since customers enjoy this approach and become loyal to the organization. Levendary had its values in an excellent customer service and this also formed the norm of the cafà ©. The other norms include speed of service and order accuracy. In experimenting with local menu, they won an award for the cheese soup. One of the values of Levendary cafà © is customer’s comfort and loyalty and this has previously been achieved through having a customer-dictated menu, the signature soup and salads and wooden chairs. This has been ignored in some Chinese cities like Beijing’s Forbidden City and Shanghai’s Yu Garden which is challenging the organizational culture of the cafà © (Bartlett and Arar 8). The company management assumes that having higher value added services will make them achieve competitive advantage in the Indian IT market and also start being recognized internationally. Its main values include transparency, having effective leadership, customer delight, integrity and fairness. Its main norm includes having frequent meetings to be updated and brainstorm on new ideas of making their company excel and the other is employee satisfaction. Its main artifact is embedded in its brand equity. Hofstede’s cultural dimension explains four dimensions of cultural values. The most applicable of these values is the individualistic-collectivist dimension which seeks to compare the two when it comes

Social Issues In Indian Cinema

Social Issues In Indian Cinema Despite its vacillation between the two extremes of sometimes being awfully responsible and at others outright sensational, Indian cinemas efforts in mirroring social reality deserves to be applauded. If popular perception is an indicator, a major part of the social transformation in India can be attributed to cinema social reformist role. The drive to link success of a film to box office returns have undoubtedly led to cinemas commercialisation at the cost of its social and developmental goals. But, despite the commercially driven attempts to cater escapist and fantasy-oriented entertainment, a good part of Indian films continues to be social theme carriers. These films enjoy a unique advantage of remaining out of the censor tangles. Of course, a prominent question remains to be answered is whether cinema can influence and change society. This paper attempts to answer this question through a historical review of the Hindi films. 1.0 Introduction: Lumiere brothers pet invention cinematograph on December 28, 1895, destined to emerge as second opium of the people, completed hundred years of awe-inspiring journey in India. It was in 1912 the first Indian feature film Pundalik was released followed by the Dhundiraj Govind Phalkes fully indigenous feature film Raja Harischandra in 1913. There was no looking back, Indian cinema kept on adding innovative features, both technical and artistic, from time to time to emerge as one of the greatest and most influential film industries in the world. The original camera, the projector, and the screen used by the France brothers have undergone metamorphosis to a stage of cinemas complete digitalization, thanks to innovations in technology. The transformation in characterization and sequencing of narratives is no less important, and so also the cinematic themes. From a stage of being viewed as an art, culture, and entertainment cinema has gradually emerged as an industry driven by profit. The change, indeed, is amazing. But, of the few features which continues to be nurtured is cinemas role as a tool of social transformation. Cinema arrived to India on 7th July, 1896 and first screened at Watsons Hotel in Bombay, latter to be shifted to the Novelty Theatre, by two employees of the Lumiere brothers where in living photographic pictures pictures of man and women, who breathed, moved and danced, were screened. So intrigued and overwhelmed at the screenings at Bombay that many of those who viewed the screenings themselves took to the business of film screening by the very next year. Film making activity started in India by the turn of the 20th century, the earliest short films being photographed in India included such titles as Cocoanut fair the Wrestlers Splendid new views of Bombay and Taboot procession. Harishchandra Sakharam Bhatvadekar shot a wrestling matchand training monkeys by wandering madaris as Indias first factual films then called topicals. Feature film production in India began with Dada Saheb R.G. Torneys Pundalik (Silent, 1909-1911), a devotional subject adopted from a popular stage play. The film was shot with the assistance of a cameraman of Bourne and Shephard, a local firm of photographers and photo equipment, developed and printed in London and released on May 18, 1912 at the coronation Theatre. Dhundraj Govind (Dadasaheb) Phalkes Raja Harishchandrawas released at the Coronation Theatre, Bombay, on May 13, 1913, as Indias first fully indigenous full length feature film. Indias first film comedy, first satire and one of the earliest to have a contemporary theme, making a radical departure from the prevalent trend of devotionals England Returned (Bilet Pherat) was made by Dhirendranath Ganguly in 1921. The Modern era of Indian cinema began with the production of talkies beginning with Ardeshir Iranis Alam Ara in 1931. The invention of talkies boosted the growth of Indian film Industry, and the number of feature films produced in India registered a steady increase year after year. During 1930s and 1940s filmmakers tried to reflect tough social issues on screen or used the struggle for Indian independence as a backdrop for their plots. With India attaining freedom, the issue emerged as a popular topic of Indian cinema makers. Films like Majboor-1948, Shaheed-1948, Samadhi, 26 January rode in popularity. In the late 1950s, Bollywood released its lavish romantic musicals and melodramas casting successful actors like Dev Anand, Dilip Kumar and Raj Kapoor and actresses like Nargis, Meena Kumari, Nutan and Madhubala. In the late 1960s and early 1970s, romance movies and action films starring actors like Rajesh Khanna , Dharmendra, and Manoj Kumar had the sway. By mid-1970s, romantic confections made way for gritty, violent films about gangsters and bandits which created stars out of Amitabh Bachchan, Mithun Chakraborty and Anil Kapoor supported by actresses like Hema Malini, Jaya Bachchan and Rekha. In the mid-1990s, family-centric romantic musicals returned with resounding success of films like Hum Aapke Hain Kaun (1994) and Dilwale Dulhania Le Jayenge (1995) based on the artistic acumen of actors such as Aamir Khan, Salman Khan and Shah Rukh Khan and actresses such as Sridevi, Madhuri Dixit, Karisma Kapoor and Kajol. Nana Patekar, Ajay Devgan, Manisha Koirala, Tabu and Urmila Matondkar were among the critically acclaimed actors of this generation. In the 2000s, spreading of Bollywoods popularity at the global level drove Indian film making to new heights in terms of quality, cinematography and innovative story lines as well as technical quality advances. Big production houses, like Yash Raj Films and Dharma Productions came to the fore front of film making. In the new millennium the Hindi film industry started its transformation into an industry that tried to get to grips with the business realities of moviemaking. The gradual corporatization of Bollywood resulted in increasing investment, efficient use of resources, generating accountability and reducing monetary losses by curbing piracy and enforcing transparency. Corporate entities Adlabs, Applause films, IDBI, EXIM etc. participate at various stages of the film industry like exhibition, funding, film making and processing, or all. Profit emerges as the driving force of film making in the country. To be precise, patriotic themes of Indian cinema made way for social reform, which undergoes change to embraces fashion of the day while still carrying messages of social reform, then turns out to a fighter to protect the institutions of democracy and freedom. A gamut of issues got representation in Indian cinema-from freedom to unemployment, from poverty to exploitation, from dowry to womens emancipation, from social conflict to national integration, from education to fantasy oriented entertainment. With the transformation of the society, the issues confronting it kept on changing and so also the themes adopted for film making. 1.1 Films on Social Issues Cinema is a mirror of social reality holds good beyond doubt if one looks back at the thematic treatment of Indias mainstream cinema. From the very early years, Indian feature film developed the admirable ability of focusing on different facets of Indian life. The cinemas concerns with social problems continue to be overtly expressed from the thirties, right through to the sixties, in a handful of most significant films. Hindi cinemas golden period in the thirties and the forties did bring forth films not merely presenting but tackling burning issues. How intellectual labour fights al-mighty capital, how young girls revolt against marriage with an old man, how life supersedes love, how inter-communal bliss is thrown asunder by the outside forces, how widows could be remarried and fallen women resurrected , how dowry could lead to tragedy and how convicts could be reformed, how the veneer of westernizing could ruin marriage and friendship, how the rural economy could be freed from the clutches of landlords and money lenders, how the untouchables and other underdogs could be given a more humane life and several such thorny problems were flashed across the countrys screens. In case of fatalism and tragic end, it was a mute protest mean to arouse the collective conscience against the various barriers. Films which talk so directly and movingly about the wrongs of society went onto influence it and shape i t along better lines. Dhirendra Nath Gangulys film the England returned made in 1922, was used as a means to get the audience to think of a social situation in which Indians had been imitating their foreign rulers and creating for themselves new problems within their own society. In 1925, Baburao Painter made the film Savkari Pash which painted an extremely realistic picture of the Indian poor, in the rural vast land, focusing on rural-indebtedness, feudal oppression, the poverty of the peasantry and myriad of problems. In the most outstanding film of the silent era of Indian cinema Savkari Pash, V, Santaram and Kamaladevi enacted the role of an oppressed farmer couple having to suffer both famine and the oppression of the Zamidari system. There were brave efforts to create similar thematic films commenting on the other social ills of Indian society. It is the arrival of the talkie film which brought to fore the contribution of Indian cinema in bringing about social awareness among the Indians to improve their status and remove age-old taboos which young India could ill afford. The period between 1931 and 1946 should be considered as the golden era of cinema of social comment. One is left amazed at the variety of films which Indian cinema of its time picked up for public debate. It is necessary to recall some of these films and their themes to impress upon the reader that Indian cinema even at its worst, was far better in its commitment to its audience and its society. Indian cinema tackled the problems of western culture clashing with Indian (Indira Ma, 1934); protested against arranged mirages and social barriers (Dev Das, 1935); protested against the caste barriers and religious bigotry (Achhut Kanya, 1936), Achhut (1940), promoted Hindu widow remarriage (Bal Yogini, 1936); fought against marriage of young girls with old persons, Duniya Na Mane (1937) and highlighted economic and social disparity (Adhikar, 1938). Indian cinema fought against rural indebtedness in K.A. Abass Dharitri ke Lal (1949); highlighted the problems of alcohol in Brandi Chi Batli (1939), Angoori (1943). The welfare of scheduled castes was highlighted in Malla Pilla, while widow remarriage was the theme of Sumangali. The ills of Zamidari system were highlighted in Raitu Bidda (1940), while the problem of the educated unemployed were best described in Vande Mataram(1948).The problems of unwed mothers was described in film Devta; while the events of dowry was best complimented upon in Dahej(1950). Achhut kanya suggested inter-caste mirages between high and low caste people. Mehbbos Aurat and Mother India, Vimal Roys Do Bigha Zamin and Sujata, Dilip Kumars Ganga Jamuna and Sunil Duttas Mujhe Jeeno Do focused on the socio-economic causes of the very Indian problem. 1.2 Sex and Violence in Indian Cinema Bollywoods sense of commitment to mirror social reality has hardly remained untouched by market force influences. Despite cinema being born in a form to creatively portray social reality, the drive to link success of a film to box office returns eventually led to its commercialisation. Profit prioritisation overpowering its social and developmental goals, obscenity and lewdness emerged as an integral feature of Indian cinema. The official censor history reveal that the film MERI AWAZ SUNO (1981) was first granted an A certificate, but was subsequently suspended citing that the film depicts excessive violence. In 1994, the film BANDIT QUEEN was suggested for 17 cuts especially scenes of frontal nudity. The film KAMA SUTRA- A TALE of LOVE (1996), was denied a certificate citing it pornographic only to be certified after two scenes of nudity were erased. The film FIRE (1998), which explicitly screened the homosexual relationships between two women (often termed as lesbianism), resulted in violent protest against it which forced the Ministry of Information and Broadcasting to refer it back to the Censor Board for review. The anti-war and anti-nuclear documentary film Jung-aur-aman (War and Peace) as the censors claimed, suggested a bias against the minority Muslims when aid was distributed after the Gujrat earth quake 2001. The list of such films touched by censor wrangles for depicting sex and violence gets longer even if the country emerges as the most prolific film producing country in the world. At times it is sex, at times it is excessive violence (Aakrosh, 2003), at others it is kissing on screen (Khwaish), even at others it is smoking on screen (God Mother, 1999, Pyar -To-Hona Hi Tha). Though the issues of censor contention generally revolved round sleaze, sensuality, sexuality, nudity and permissiveness, overdose of obscenity and lewdness has been doing more harm to the image of the Bollywood. Sometimes sex and violence is deliberately incorporated to attract viewers, though family melo-dramas are no less popular. 1.3 Social Impacts of Films Any discussion on films and society confronts a vital question dose cinema have any impact on the society. There are two schools of thought on this issue among film makers. One line of thinking believe that films can never affect or reform the social body or the events taking place within it, but the other believes that the medium does have a direct or indirect impact on social streams, even though it may not be immediately perceptible. The former cites the example that just after a couple of excellent anti-war films were exhibited, the second world war engulfed humanity hence cinema cannot and should not offer any solutions for social problems raised by its writer and directors, by its content and style. The mere exposition of the problem is enough and there ends cinemas artistic obligation as well as compulsion. The later, however, stretches cinemas role further to promote a thought process and line of action where by the viewers are provoked into trying a change for the better. Fi lms, which talked directly and movingly about the wrongs of society, go on to influence it and shape it along better lines. The most important contribution of cinema to society is that by sheer usage it has grown to be a standard reference for most kinds of questions and situations, where elementary knowledge and practice are needed (Rangoonwalla, 1995:7). The mass mind picks up such points largely and stores them in some mental corner, to be reactivated while seeking or giving answers and guidance. Some of the life patterns and conclusions propagated by them could be having social repercussions below the outer of everyday life. Violence, crime and sex are made to look easy and frivolous, without much of retribution to follow. The magic of cinema is virtually unfathomable. The very mention of cinema conjures up a rainbow of captivating images. A vital aspect of Indian cinema is its unifying character. The Indian films have been subtly albeit consistently promoting the ideas of national integration and communal harmony. A part of the socio-economic cultural transformation can be attributed to the cinema as films usually generate social mobility, fluidity and an overall sense of oneness among people of different backgrounds (Rangoonwalla, 1995:7).The society is ripe with cases of crimes and criminals being emulated from the screen and so also the attitude to suicide as a way of dejection, mostly in love. Fashion including smoking and drinking, in many cases, are inspired from cinema characters. The vast fan followings of stars like Rajesh Khanna, Amitabh Bachhan, Mithun Chatkrabothy are eloquent testimony to the social impacts of films. A study by Dr. Sativa Bhakry shows that Cinema can play both positive as well as negative roles in society. It can have positive impacts in terms of providing entertainment, enhancing information and knowledge, sensitizing people about urgent issues of society, in creating sociability and offering catharsis. It offers release from tensions of daily life. Cinema can also play an equally negative role in teaching wrong values, generating social and sexual violence and crime, providing escape from reality into a dream world of fantasy instead of facing up to the problems of life, encouraging adoption of destructive role models and in encouraging cynicism about social institutions (Bhakhry, 1995:71-76). 1.4 Freedom of Artistic Expression and its Limits Article 19(1) (a) of the Indian Constitution guarantees to every citizen of India the right to freedom of speech and expression; also assures the freedom of media, though it is not separately stated. This right to freedom of speech and expression includes within it, the right to collect and receive information from anywhere and through any legitimate means, the right to disseminate information and express opinion (Sawant, 1997). The freedom granted under 19(1) (a) is not absolute, and is subject to restrictions contained in Article 19(2) of the Indian constitution. The restrictions have, of course to be reasonable meaning there by that; they must have a direct nexus with ground on which they are imposed. But, to extend the scope of censorship to considerations of public taste and ban a mater which does not fall within the limits of the reasonable restrictions clause would not be legal(Vasudev,1979). Again, the media, when run as a business, is also subject to the restrictions, which may be imposed by the state on any business, under Article 19(6) of the constitution. Cinema as a medium of mass communication is also subjected to restrictions contained in article 19(2) of the constitution and set out in section 5-B of the Indian Cinematograph (Amendment) Act, 1959. In a celebrated Supreme Court judgment in 1970, in the case brought before it by K.A. Abbas, regarding his film A Tale of Four Cities declared that, Censorship falls under constitutional guarantee of freedom of speech and expression and that while pre censorship of films does not contravene those guarantees per se, is still a justifiable issue and cannot be decided by a government official (Dayal, 1987). The Supreme Court said, Censorship in India (and pre-censorship is not different in quality) has full justification in the field of exhibition of cinema films and the censorship imposed on the making and exhibition of films is in the interest of the society. If the regulations venture into something, which goes beyond the legitimate opening to restrictions, they can be questioned on the ground that a legitimate power is being abused. We hold, therefore, that censorship of films, including prior restraint, is justified under our constitution (Vasudev, 1978). Platos polemics of art and artists urged strict censorship of the arts because of their influence on moulding peoples characters. Using his theory of forms, Plato claimed that artists and poets couldnt usually explain their works; as they are seized by irrational inspiration, a sort of divine madness. Therefore, the vital opinions of the community could be shaped by law and that men could be penalized for saying things that offended public sensibilities, undermined common morality, or subverted the institutions of the community. Acclaimed film critic and a spiritual champion of the right to freedom of expression, Noel Burch (1973) claimed I doubt if anybody will advocate freedom from interference of the state machinery to be extended to the commercial exploitation of a powerful medium of expression and entertainment like cinema. One can imagine the result if an unbridled commercial cinema is allowed to cater to the lowest common denominator of popular taste. Freedom of expression, therefore, cannot and should not be interpreted as a license for the cinemagnates to make money by pandering to and thereby propagating, shoddy and vulgar taste. While emphasizing the role of cinema as a vehicle of modernism, Indias first Prime Minister Pt. Jawaharlal Nehru has also advocated some amount of social control to ward off its bad effects (Vasudev, 1978:107). Tanuja Chandra claims that the artists have every right to give expression to the work of art and viewers have an equal right to reject it, if they do not like it either in part or whole. The entertainment part of cinema, she argues is of much important than the emotional part. Veteran actor turned Member of Parliament Satrughna Sinha claims that in a country like India films reach the widest possible and most diversified audience. As a medium of mass communication it can exercise the most tremendous and potent influence on the public. The rampant use of blatant sex and gruesome violence (as commodities for sale by the producers) can terribly shake a nation; the ruinous elements can easily shatter the society before the common law can give protection (TOI, 2006). John Dayal Claims that more and more people, especially the younger, look forward to watch the blatant display of sex and violence on the screen. If this virus is allowed to the artery of our national blood, the society will be infested with unruly elements with hardly any care for our social values and traditional tenets, which will eventually lead to chaos and anarchy in the society. Curbs are, therefore, necessary to protect the moral health of the nation and to ensure that cinema does not hurt the sensibilities or interests of the extraordinarily heterogeneous people that constitute the Indian nation (Dayal, 1987:61). 1.5 Research Design and Methods Analyzing a complex issue like social impacts of films demands a multidisciplinary approach. A historical review of the Hindi films reveals the presentation of social issues in contrast to other issues in Indian cinema. A review of cinema as a means of artistic expression provides pertinent clues about the social impacts of cinema. Constitutional and legal provisions, judgments of Supreme Court and High Courts, observations of various committees and commissions, legal adjudications on film censorship decisions, decisions of the Censor Board, and the policy guidelines issued from time to time provide an appropriate background for understanding the legal status of right to freedom of expression and its limits. The existing theories on film-society linkages, the research studies on social impacts of films, in addition to the study of the legal back ground mentioned above revels the ideal limits of artistic expression and moral decency in India. Of late, growing recognition of freedom of expression as a fundamental human right and the arguments against any kind of restriction on that right, coupled with the digital communication technology enabled scope for duplication and delivery of contents questions afresh the role of social films, of course, the socio-cultural conditions of a nation is an equally important factor. So it is the public opinion, defined and redefined by the changing socio-cultural environment that can be a real indicator of the social impacts of films and the need for films on social themes in the country. As such, the study primarily builds on the social survey method of research, a pre-structured questionnaire being the principal tool of data collection. The opinion survey constitutes the primary data, where as the secondary data culled from newspapers, journals, books and of course the Web provides significant input to the study. The universe for the study primarily comprises the academic community, including students, teachers and other academic staff of the universities. To represent the academic community Berhampur University (Odisha), Aligarh Muslim University (Uttar Pradesh), and Gauhatii and Nagalandi universities in the North-Eastern Parts of India were selected. The sample respondents were selected applying the stratified random sampling method. The academic community of the selected universities were identifies as three distinct groups- students, teachers, and academic staff of which 100, 40, and 20 respectively were selected randomly to constitute the sample for the study. While selecting the respondents gender and age have been kept in mind to make the sample a true representative of the universe, despite majority of respondents being post graduate students. All the 160 sample respondents so selected were administered a pre-structured questionnaire comprising 15 questions on various aspects of film ing practices and impacts of films on the society in India. The researcher could collect a total of 128 completed questionnaires of which 80 representing the students, 32 representing the teachers and 16 of the other academic staff. The responses so collected are codified and presented in tables 1-7. The codified and tabulated opinions are analysed using simple statistical techniques including the weighted average method. The alternative responses (say N) to a question are assigned priorities from 1 to N by the respondents. The responses from 1st to Nth priorities are assigned weightages N to 1 respectively and are multiplied by their respective frequencies n1,n2,n3nN-1,nN (number of respondents giving the same priority to a response).The weightage of each priority of a response are added to calculate the total weightage of a response. As such, the total weightage of a response is calculated to be: TW=NXn1+(N-1)Xn2+(N-2)Xn3+. . . . . . . .+N-(N-2)XnN-1+N-(N-1)XnN = NX(1st priority frequency)+(N-1)X(second priority frequency)+(N-2)X(3rd priority frequency)+ +2(N-1)th priority frequency+1(Nth priority frequency) The extracts of the personal interviews of a number of Bollywoodii personalities including actors, directors, producers on the issue of cinema censorship, published in sections of the media, have been incorporated to represent the views of the Indian film industry. 1.6 Public Perception on Cinematic Obligations The respondents were asked to mention the kinds of impact films have on society by selecting the appropriate alternative. The responses so obtained are presented in table-1, which evinces that 14.84 % of the respondents feel that films have positive impact on the society where as 20.31 % of them feel that films have negative impact. But a whopping majority (53.90%) of them agree that films do have impact, positive, negative or both, on the society.07.03 % does not see any impact of films, where as 3.91 % have no idea about social impacts of films. Table-1: What kinds of Impact does films have on the Indian Society? Response No of Respondents % age Positive Impact 19 14.84 Negative Impact 26 20.31 Both positive and negative impact 69 53.90 No impacts 09 07.03 Dont Know 05 3.91 The respondents were asked to mention in order of preference the mentioned positive impacts of films on the society. The responses presented in table -2 revels that the respondents strongly believe that films do have positive impacts in sensitizing the people about urgent social issues. The respondents are also impressed with the role of films as an entertainer. What closely follows these are films release tension and they keep the audience informed and educated on important issues confronting the society. Table-2: Positive Impacts of Films Impact 1st priority 2nd priority 3rd priority 4th priority 5th priority Total weightage Rank order Inform and educate 11(12.5) 13 22 28 14 243 2nd Entertain 25(28.41) 27 22 12 02 325 1st Sensitize about urgent social issues 25(28.41) 26 24 11 02 325 1st Instil positive values 09(10.23) 07 13 27 32 198 4th Release tension 18(20.45) 15 07 10 38 229 3rd TW (Total Weightage) =1st priorityX5+2nd priorityX4+3rd priorityX3+4th priorityX2+5th priorityX1 R (Rank) = rank of total weightage Table-3: Negative Impacts of Films Impact 1st priority 2nd priority 3rd priority 4th priority Total weightage Rank order Teach wrong values 21(22.10) 27 26 21 238 2nd Promotes sex and violence 28(29.47) 25 26 16 254 1st Provide escape route from real problems to a dream world 22(23.16) 18 23 32 220 4th Encourage destructive role models 24(25.26) 25 20 26 235 3rd TW (Total Weightage) =1st priorityX5+2nd priorityX4+3rd priorityX3+4th priorityX2+5th priorityX1 R (Rank) = rank of total weightage Among the negative impacts of films presented in table-3, promoting sex and violence tops the list. The audience closely believes that films provide an escape route from real problems to a dream world. The third major impacts mentioned are teaching wrong values, and encourage destructive role models. A question was asked regarding what should be the primary goal of film making. The respondents were asked to mention the mentioned alternatives in order of priority and the responses so obtained are presented in table-4. Table-4: What should be primary goal of film making? 1st Priority 2nd priority 3rd priority 4th priority 5th priority Total weightage Rank Profit generation 19(14.84) 17 21 28 43 325 5th Presentation of social issues to public notice 23(17.96) 27 18 22 38 359 4th Generate Social Change and development 39(30.47) 36 28 17 08 466 1st Eradication of social evils 21(16.40) 23 29 34 21 373 3rd Promote pro-social values 26(20.31) 25 32 27 18 398 2nd TW (Total Weightage) =1st priorityX5+2nd priorityX4+3rd priorityX3+4th priorityX2+5th priorityX1 R (Rank) = rank of total weightage Data in table-4 transpire that film makers first and foremost artistic obligation should be to try for positive social change through films, closely followed by the goal of promoting pro-social values. Notably, the artistic obligation of creatively presenting a social issue before the public without expecting or suggesting any social change from it, which is the line of thinking of the Avant Garde film makers finds third priority among the respondents. Equal

Why We Drop Out of College :: essays research papers

As high school students, most of us were taught the dream of going to college from the importance that it has. The real life examples from our friends teach us the importance of going to college. If you drop out of college you may lose yourself, your family, and your friends. One of my friends dropped out of college because he had a bad friendship. So, they convinced him not to go to the school, but when he grew up he realized that the college was the most important thing in his life. Even though we know that â€Å"college is the best thing†, why we drop out of college? That fact is that we drop out from the college for many reasons. We sometimes drop out of the college because of bad friendship. For example, my brother’s friend was just 19 years old and he dropped out of college only because he wanted to fit into a group that was bigger than him. As a result of this, he wanted to be seen as â€Å"cool,† but that wasn’t all. Due to this, he used drugs that dropped him out of the college totally. These students don’t want to seem irresponsible, so they make up an excuse, such as the bad friendship. Another reason we drop out of college is that we want to be independent. A lot of news has been saying that students are sensitive during the adolescence. Because of adolescence, they may think that school is â€Å"nothing†, it is just a waste of time. Also, facts have been saying that more and more students are being independent related to the school. A good reason that they are independent is that they want to have their own money. However, when we don’t know how to say no and face whatever problems may cause, we often use to drop out of college to avoid difficulties. However, dropping out of college is not always negative, in fact, familiar problems can yield positive results. In terms of financial support we know that college costs money, so a lot of students cannot afford it. For example, there are families were the parents are divorced, and one parent has to burden all the family expenses. Often, it happens that one of the parents die, and the children have to grow up with many difficulties.

Charismatic Leader Essay

This type of leadership holds a lot of power. In both productive and counterproductive respects. The rhetoric employed to effectively carry out charismatic leadership acts as a double edged sword. While it is true that a message delivered in a charismatic manner inspires the followers to implement it with a lot of fervor, but in this same zest, there are a lot of important issues that are overlooked and lots of questions ignored. This entails problems when the charisma delivers its desired results, but they still leave a sour taste in the mouth. In my professional career, I have not encountered charismatic leadership neither in the top echelons of power nor in the middle management slots. However, most of us have been affected, and even wowed, by the charismatic skills of Barack Obama, while running for the US Presidency in 2008. Inspirational rhetoric, exceptional oratory skills and narcissistic excellence were expertly deployed towards millions of people. Perhaps in our lifetimes, it has proven to be a living, breathing example of pure, unadulterated charisma. It was a need of the time and a result of the disillusionment with the last 8 years. But, the cynicism that perhaps was put in the back seat during this process, made a comeback in the last two years, where more and more people have grown disillusioned by the lack of actual, and perceived, objectives being achieved. The overhyped expectations that are, in effect, created by charismatic leadership, eventually end up hampering its own effects, even though the results achieved might be significant. In the spirit of double edged swords, narcissism fits the bill perfectly. Excessive traits of this personality type have officially been diagnosed as a psychological disorder, whereas a good mix of those same qualities supposedly makes a great leader. From my personal experience, there has been a lot more interaction with unproductive narcissists, as compared to the productive ones. Charismatic leadership is an outward focusing theory, but since being confident and thoughtful requires a thorough understanding of one’s own self, unless it is coupled innately with authenticity, there would continue to be major loopholes in its implementation. As is the case with most leadership theories, the situational context of the company or market matter deeply. Charismatic leadership is the need of the hour during turbulent times and thus ends up being encouraged and nurtured. However, during mature and stable market times, charisma tends to be counter-productive and pointless. Also, since narcissistic leaders tend to believe undoubtedly in their vision, not taking into account the ideas put forward by others, it can become self-destructive for companies. This leadership theory, more than others, needs to be deployed with a lot of care and consideration.

Accounting Research Paper Ultimate Writing Guide

Accounting Research Paper Ultimate Writing Guide In contemporary highly technical and complex business environment, today’s and tomorrow’s accountants and accounting leaders have to be proficient in all communication skills. That’s why teaching the writing skills is integrated into accounting curriculum. Students are assigned to write different formal essays, term papers, research papers, reports. In this way, they learn to analyze and synthesize while thinking about accounting topics in the process of organizing and structuring their thoughts to produce a logical and sequential flow of ideas. Students who take senior-level accounting courses usually have to write complex research papers in some areas of accounting theory. When writing traditional research papers in accounting, students have to prepare a well-documented manuscript on a specific topic or thesis. These assignments are rather challenging and require doing an independent research that includes a lot of stages such as identifying a problem, gathering data, reflection, implementing changes, monitoring, etc. Such assignments can also include applying the theories to some real-world situations. In this article, you will find a complete accounting research paper writing guide that will help you to cope with any difficulties that you may encounter at every stage of the writing process. What Is an Accounting Research Paper? An accounting research paper is a complicated assignment that cannot be treated as just the sum of your sources or a review of the existing literature on your topic. In your research paper, you have to analyze the perspective or argue your point. No matter what type of research paper you have to write, you need to present your own thinking that should be backed by other’s ideas and relevant information from credible sources. There are two types of research papers: analytical and argumentative. In an analytical research paper, you have to inform your readers about different opinions on your topic. In an argumentative research paper, you should take your side on an issue and persuade your readers to support your position. Research papers are very formal in style and require that you should take a more scientific approach to the material. They commonly suggest having a hypothesis on a certain topic and your task is to prove or reject this hypothesis with the help of outside sources. All research papers have to achieve specific goals: They must meet the needs of the assignment. When working on your research paper, you should strictly follow specific requirements provided by your instructor that detail topics, documentation methods, and use of sources. Research papers must have a clear focus. For that matter, you should narrow your topic to stay on the track. Research papers have a clear thesis statement or statement of purpose. You should focus on your own opinions and interpretations and not on the views of the others. Research papers give comments on the quality and quantity of sources. You should distinguish between reliable and biased sources, facts and opinions, authoritative and questionable statistics. Steps in the Writing Process There is not a single template for writing a research paper so the process is determined by practice, organization, and experience and begins with your properly understanding your assignment or identifying an interesting topic. Accounting research papers may vary in page lengths and guidelines. To become an experienced writer and researcher, you should pay attention to the genre of your research paper, topic, and audience. Besides, you should work on improving your research skills, and become experienced in outlining, drafting, and revising. The most common stages of writing a research paper in accounting are: choosing and narrowing a researchable topic; reading sources and documenting information; writing an outline; writing the first draft; revising and editing; proofreading the final draft. Choosing a Topic Commonly, the instructor provides a list of research paper topics from which you may choose so there is no stress of having to decide upon a topic of your own. But very often, your instructor may simply hand out an assignment sheet that covers general requirements for the research paper, leaving the choice of topics to the students. Of course, research paper topics should be relevant to some aspect of the course so making the right choice can be rather challenging for inexperienced researchers. That’s why you should start thinking about the topic for your accounting research paper early and plan your work beforehand. One of the most successful techniques is brainstorming – you should write down all the ideas that might have come to your mind during the day. This technique is especially helpful when you have some ideas but need to narrow your topic. But you should keep in mind that the initial topic that you come up with may be changed in the process of doing the research. Have a look at some accounting research topics ideas that may be useful for first-time researchers. Accounting Research Paper Topics Accounting Cycle Process of a Certain Company Accounting for Stock Options Accounting for Income Taxes Accounting Regulation in the USA Current and Non-current Assets Management Accounting Techniques Financial Statement Analysis Techniques Tax Formula and Its Components Tax System in the USA Accounting for the Environment Strategies for Conducting Research Every research paper poses unique challenges. Some research papers may require extensive library research, while other papers can be based on surveys, field research, original experiments, and interviews. Although different topics may require different approaches, there are several general strategies that you can use to work more productively. Review the assignment and make sure you fully understand what you are required to do; Conduct a preliminary research on your topic to learn basic terms and details and develop an overview of the existing research; Narrow your topic and find out what range of evidence is available; Create questions to choose sources and develop a working thesis statement; Make a timeline that allows to finish your research on a fixed date; Record the information that you need to cite sources; Sketch an outline as you collect sources to understand where they might appear in your research paper; Prioritize your sources and choose the most valuable; Refine and revise your thesis statement or research question if needed. Organizing a Research Paper on Accounting The purpose of organizing a research paper is to give your readers an opportunity to read your paper selectively, depending on what type of information they are looking for. Your paper should have a clear structure and include several parts with headings and subheadings. Before you start writing the paper parts, you should make your thesis statement or statement of purpose (or write your hypothesis) that will help you stay focused and organize your material in a logical manner. You should plan your writing and make an outline that will help you organize information and ensure that the structure of your paper is complete and logical. Structure of an Accounting Research Paper While research papers in different academic disciplines may vary in style and format, most research papers have a similar structure and are usually divided into parts that follow the same logical flow. Your accounting research paper should include the following parts. The title should be concise and specific and it should show what problem is discussed in a paper, using specific keywords. The abstract helps readers to quickly get an idea about the content of a research paper. It should be very brief – about 200 words and it might be rather challenging to write. You’d better write the abstract after you have finished your research paper because it is actually a summary of the entire research paper. Your abstract should provide a quick synopsis of the content and introduce the problem to be investigated, objectives of the study, methods of research, and statements about the results and findings. The introduction should introduce the broad overall topic and give basic background information. Then, you should narrow down to the specific research question, explain the key terms and outline what your research paper will cover. The introduction provides the focus and the purpose for the rest of the paper. The literature review describes existing important research on the topic and relates it specifically to the research problem that is addressed in the paper. In this part of the research paper, you should examine the major accounting theories related to your topic. You should review all relevant findings from credible sources, for example, journal articles and academic books. In the methods section, you should describe the context of the study, provide specific details about the study design, and outline methodology that you used to complete the study, including analysis methods. In the results/findings section, you should present the results of the analysis in a clear and logical sequence. You should report the key findings related to the research question and provide enough details so that your readers would be able to replicate your study. You can include charts, table, graphs, and pictures. If you have a lot of information that supports your analysis but which is not essential for the explanation of your findings, you should place it in the appendix. The discussion/analysis section should present interpretation of the main findings of the study and the implications of the results. You should also mention the limitations of your study. In this section, you can discuss how your findings relate to the previous research that you have mentioned in the literature review. In the conclusion, you have to sum up your findings and offer perspectives for future research. The references/bibliography section should present an alphabetical list of all sources that you have used for obtaining information. All your sources should be cited according to the requirements of the citation style specified by your instructor. The format of the references is the same as the format and style that you use in your research paper. The format of an accounting research paper outlined above is standard but it is always better to ask your instructor about his/her expectations. Writing a Draft When writing your first draft, you shouldn’t be too much concerned about the formal issues. There is no need to worry about your grammar or spelling because this draft will be revised later. You should focus on the content and write all your ideas, following your outline. Besides, you have to expand your ideas with the data from your notes. You should write with a purpose and consider your thesis statement or research question to be a compass that helps you stay on the track and follow the direction. Revising, Editing, and Proofreading When you have completed drafting your accounting research paper, you should read it and revise it. You’d better take a break for a couple of days. It will give you enough time to think about the topic of your research and you will reread your piece of writing with fresh eyes. You need to pay particular attention to the general organization of your paper and the content and you are sure to find lots of different ways how to improve your work. Revising and editing your accounting research paper may require a lot of readings and each of them can have its own specific goal. You can also ask someone else, for example, your family member, a friend or a classmate to look through your accounting research paper and help you find any mistakes. You can also hire a copy editor to read your paper. The final stage of the accounting research paper writing process is proofreading your final draft for technical errors. You should reread your final draft carefully in order to find and fix any spelling, punctuation or grammar mistakes or typos that you might have overlooked in the previous revisions. Final Remark from Our Writing Experts: Revising and editing are different processes and require different approaches and actions. When revising, you can: make changes to the various drafts of your project evaluate your word choice and improve it remove paragraphs or even pages of your text think again about your project and rewrite it completely When editing, you should take care of the general appearance of your text. You should: evaluate the logical flow between major ideas and paragraphs analyze the consistency of tone and voice throughout your research paper correct minor error in typography and mechanics. Make sure you don’t mix the notions and do editing, then revising.

Monologues From Molières Famous Theatrical Comedy

Monologues From Molià ¨re's Famous Theatrical Comedy Tartuffe translates to The Imposter or The Hypocrite. The play was performed for the first time in 1664 and features popular characters like Tartuffe, Elmire, Orgon, and Dorine. Tartuffe is written in twelve-syllable lines called alexandrines. The plot focuses on Orgons family dealing with the pious fraud Tartuffe as he pretends to talk with religious power, fool the family with random antics, and even seduce women in the household. The Characters in Tartuffe While Orgon is the head of the house and husband of Elmire, he is unfortunately blindsided with desire for Tartuffe, who is but a houseguest of Orgon and a hypocritical fraud. Tartuffe meddles with seduction and romantic agendas with members in the home. Orgons wife, Elmire, is one of Tartuffe’s prospects, and she is also the stepmother to Damis and Mariane. Luckily, Dorine is the family housemaid who tries to get to the bottom of Tartuffes fake personality to help the other characters. A Focus on the Housemaid, Dorine Dorine is the sassy, sensible, witty, and wise servant in the household that is the focus of Moliere’s Tartuffe. Her servant status makes her an inferior, but she courageously expresses her opinions to her superiors, who are actually her intellectual inferiors. For young females in search of a classical monologue, Tartuffe’s cheeky and clever Dorine has quite a few worth examining. The beginning and ending lines of eight monologues involving Dorine are listed below, along with a brief explanation of the content of each speech.  These monologues come from  Moliere’s Tartuffe, translated into English verse by Richard Wilbur, an extraordinarily understandable translation of the French comedy. Act I, Scene 1: First Monologue The scene begins with: â€Å"If there is talk against us, I know the source / It’s Daphne and her little husband, of course.† Dorine expresses disdain for how people who behave badly seem to be the first to smear the reputations of others. She speculates that their delight in spreading the word of the transgressions of others springs from their belief that their own guilty deeds are less obvious when those of others are emphasized. The scene has 14 lines. The scene ends with: â€Å"Or that their own black guilt will come to seem / Part of a general shady colour-scheme. Act I, Scene 1: Second Monologue The scene begins with: â€Å"Oh yes, she’s strict, devout, and has no taint / Of worldliness; in short, she seems a saint.† Dorine dismisses the criticisms of her lifestyle by a woman who is no longer young and beautiful. She attributes this woman’s prudish perspective to jealousy of looks and actions that she is no longer privy to. The scene has 20 lines. The scene ends with: â€Å"And cannot bear to see another know / That pleasures time has forced them to forgo.† Act I, Scene 2: First Monologue The scene begins with: â€Å"Yes, but her son is even worse deceived / His folly must be seen to be believed.† Dorine expounds on ruse after ruse that Tartuffe has used to fool the master of the house Orgon. The scene has 32 lines and ends with: â€Å"He said it was a sin to juxtapose / Unholy vanities and holy prose.† Act II, Scene 2: Second Monologue The scene begins with: â€Å"Yes, so he tells us; and Sir, it seems to me / Such pride goes very ill with piety.† Dorine tries to convince Orgon that he should not impose marriage to Tartuffe upon his daughter. The scene has 23 lines and ends with: â€Å"Think, Sir, before you play so risky a role.† Act II, Scene 3: First Monologue The scene begins with: â€Å"No, I ask nothing of you. Clearly, you want / To be Madame Tartuffe, and I feel bound / Not to oppose a wish so very sound.† Dorine sarcastically endorses Tartuffe as a brilliant catch of a bridegroom for Marianne. The scene has 13 lines and ends with: â€Å"His ears are red, he has a pink complexion / And all in all, he’ll suit you to perfection.† Act II, Scene 3: Second Monologue The scene begins with: â€Å"Ah no, a dutiful daughter must obey / Her father, even if he weds her to an ape.† Dorine tortures Marianne with a predictive description of her life as Tartuffe’s wife. The scene has 13 lines and ends with: â€Å"To the drone of bagpipes- two of them, in fact, / And see a puppet show or an animal act.† Act II, Scene 4 The scene begins with: â€Å"We’ll use all manner of means, and all at once. / Your father’s addled; he’s acting like a dunce.† Dorine explains to Mariane and her betrothed ways to delay and ultimately avoid marriage to Tartuffe. The scene has 20 lines and ends with: â€Å"Meanwhile we’ll stir her brother into action / And get Elmire, as well, to join our faction.† Act III, Scene 1 The scene begins with: â€Å"Do calm down and be practical. I had rather / My mistress dealt with him- and with your father.† Dorine convinces Mariane’s brother Damis to abort his plan for exposing Tartuffe and follow hers. The scene has 14 lines and ends with: â€Å"Says that he’s almost finished with his prayers. / Go, now. I’ll catch him when he comes downstairs.† Resources A video of the complete stage play using the Richard Wilbur translation  is available.Read more about Jean Baptiste Poquelin who took the stage name Moliere.

Salesforce.com - community - ERP, CRM, Business Intelligence, and Essay

Salesforce.com - community - ERP, CRM, Business Intelligence, and Intranet and Portal Development - Essay Example The portal is provides employees with a one stop shop for all their policy, HR, content needs. Allow customers to be capable of login to their account place and observe their orders and consignment information, log cases for matters they are experiences, update their profile, converse in groups about the products. Allow suppliers to be capable to communicate and work together with the XYZ engineers and leaders at XYZ Industries around their orders; monitor the status of the orders (Kao 22). Customers: account login, attain shipment information, view orders, update profile, log compliments and feedbacks and converse in groups. Suppliers: connect with XYZ engineers, leaders, monitor order status, view payment details and monitor order movement. Employees: log in to assess HR, Policy and content needs (Kao 22). System Diagram (High Level): Develop system diagram to demonstrate the key workings of the Architecture. ERP System: assess all of XYZ customers and forecast information is consolidated in the CRM resolution, so business owners can receive current forecasts and create reports automatically (Mall 178). In addition, through consolidation of this data, management can get a more international view of the issues driving real purchase decisions. CRM-Improved contact and rapid liberation of information will decrease the time essential to close even the principal of deals (Satzinger 208). Fast liberation of requested in sequence would consequence in the competitive benefit that may just push those explanation sales over the top (Mall 178). System Context Diagrams represent every external entity that may interrelate with a classification. Such an illustration pictures the organization at the middle, with no issues of its interior organization, bordered by all its interacting environments, systems, and activities (Mall 178). Security Protocols: A security protocol is an abstract or tangible protocol that executes a security-oriented operation and

International Business Essay Example | Topics and Well Written Essays - 500 words - 21

International Business - Essay Example Australia has certainly performed quite remarkably from Asia’s rise. The recent decades have witnessed a dramatic economic progress. According to Meredith and Dyster (1999, 319), the economic growth rates of Australia have surpassed the economic performance of almost all highly industrialized countries and it has prevented three financial slumps that have seriously impacted Japan, Europe, and the United States. Australia is currently placing major emphasis on Asia. It has the benefits of highly literate citizens, advanced infrastructure, and growing Asian immigration that carries with it Asian ties. Furthermore, Australia is a destination for a large number of wealthy Asians who are looking for quality education. In addition, Australia is striving to maintain its position as a location for the regional headquarters of multinational companies (MNCs). Also, Australia is a strategic site for value added operations (e.g. services, distribution, marketing), but certainly not for manufacturing (Meredith & Dyster 1999, 319). In the meantime, the costs of its labor are at present competitive with Asia’s advanced economies, making it more and more appealing for non-manual or professional operations demanding well-educated executive, administrative and employee skills. Moreover, Australia provides accessibility and strength to newly developed and technologically sophisticated goods. On the contrary, the attention of Australian firms is drawn to Asia by geographic proximity, the continuously advancing economies, and the massive population. A number of Australian firms have encountered problems due to their inability to understand the diverse cultures and practices of conducting business in Asia (Czinkota, Ronkainen, & Moffett 2008, 114). Thus, more Australian firms are currently building joint enterprises as a favorable entry approach toward Asia. In addition, numerous of Australia’s major firms, like Lend Lease and Brambles, have adopted