Friday, November 29, 2019

Muslim Doctrines Essays - Religion, Theism, Allah,

Muslim Doctrines Muslim Doctrines The Islamic belief is one of the the largest in the world. The other two religions are Christianity and Judaism. All three of these religions are montheistic, which means they all believe in one God. And they all also believe in the same God. While the other two religions may call God, God, the Muslims do not. They refer to God as Allah. The word Islam means to surrender. It emphasizes the oneness, uniqueness, transcendence and utter otherness of God. There are many interesting things about the Muslim faith, such as the way the ways in which they are similar to the other two major religions of the world, the Five Pillars of Faith, and the things the Muslims are against Many Muslims do not like to be compared to the other religions, and they say that there are no similarities, but in reality there are. Even though the Muslim faith, in many ways is very different from the other two religions, yet tthey share the same views about things. The main thing they all agree on is that there is only one true God. In the Christian faith, they have the 10 commandments that were sent down to earth from God, that tell the people of the land the things they should do and the things they should not do. Even though the Muslims to not claim to have anything of this sort, they do have unwritten laws about Allah. They believe that Allis one, without any partners. They say that there is no other God before God. This here is also found in the ten commandments. The one major thing that makes the Islamic faith different is that they believe that Muhammad was God's chosen servant, and His messenger who was sent her on earth to do His work. Also, the Muslims read out of the Qu'ran which is their holy book. The Qu'ran is the word of Allah. They believe that it came from Him as speech, but it is not possible to say how. The believers accept is as the absolute truth. Even though there are many differences, there are many similarites also. Religion

Monday, November 25, 2019

How employer branding will help you hire the best and the brightest

How employer branding will help you hire the best and the brightest Most companies today are keenly aware of the strategic importance of having a well-developed, clearly defined, and easily identifiable company brand and industry-differentiating brand strategy (if they’re not, they likely won’t be around for long anyway. But how much time does you and your organization devote to focusing on employer branding?Chances are, the answer is not nearly enough, and you might not even be fully aware of how it’s impacting talent recruitment and retention in your company. The truth is, company branding is just one side of the branding coin- your team should also have an employer branding strategy that helps you attract and keep top-tier talent in your industry.Essentially, employer branding refers to how your company is viewed as a potential employer. It goes a long way towards ensuring that you have a steady supply of passive and active candidate talent in your HR pipeline at all times, which is mission critical when you have key open posi tions in your company and when you’re pursuing aggressive growth or new initiatives that require staffing changes.A positive employer brand is often a key determinant when a potential candidate is deciding whether or not to consider joining your team. If your industry is crowded with aggressive companies that are clamoring for top talent, what makes your company an attractive option? How does your organization stand out from and rise above the industry traffic and noise? What is your current employer brand like, and how do you envision its growth and evolution?Confronting these questions should be a top priority for your HR department if it’s serious about impactful employer brand development. Not only will it make your team’s recruitment strategies more fruitful and effective, it will also help your team do more with less by freeing up time and resources normally spent on pursuing potential candidates and clumsy recruitment advertising- having an effective empl oyer brand means candidates will seek you out for opportunities, not vice versa.hbspt.cta.load(2785852, '9e52c197-5b5b-45e6-af34-d56403f973c5', {});Now that you’re keenly aware of the importance and value of employer branding, consider using the following strategies for developing your company’s brand.Define your purposeFor many companies effective employer branding starts at its mission statement, which encapsulates what your company believes in and is striving towards achieving. It then builds from there. Today’s job candidates care about more than salaries and perks- they want to know that the goals and beliefs of the companies they choose to work for and devote their time to align with their own. Make sure that your company shares its mission and values loud and proud, and that they’re well-known throughout the industry and clearly defined for prospective employees whenever a job posting is made available. Make sure it’s both meaningful and imp actful, and that it passes the jargon detectors- today’s candidates are too savvy to fall for half-baked and half-hearted mission statements filled with hollow corporate-speak.Mean what you sayYour company needs to demonstrate that it actually upholds the values it says it believes in. An effective employer brand not only has a strong and clear message, it’s also backed up by actual proof. Does your company espouse effusive support of a specific charitable cause or environmental initiative for example? If so, back it up with actual proof that you’re making a difference, and it will really resonate across your industry and with potential employees who believe in those causes. Remember, we’re living in a visual information age, so videos and photos of your efforts on your website and across social media will have a real impact.Make community a priorityToday’s job candidates don’t want to join a faceless corporate monolith and simply clock in e ach day to earn a paycheck. The truth is, we’re spending more raw hours working than ever before. Most of us want to devote that time to a company that believes in being inclusive and fostering a sense of real community. Make sure that it’s apparent that this is a priority for your organization across all outward-facing resources- from websites to social media and everything in-between.Show that you’re listeningAn effective employer brand is not a static â€Å"one a done† effort. In truth, it’s much more like a living thing- it learns, grows, and evolves as times change, cultures shift, and industry norms progress. This means listening to what others have to say about your company; responding to positive praise, negative thoughts, and constructive criticism; and using this valuable feedback to constantly improve.Make sure your brand never gathers dust or becomes known as the â€Å"stodgy dinosaur† in your industry. Today’s top talent, particularly younger recruits, tend to seek out progressive, industry-leading companies that care about what they have to say and embrace cutting-edge growth and meaningful change. Bottom line: make sure your brand perspective is that of a company that listens in an effort to lead the way in its industry, not one that’s fumbling and struggling just to keep up.Value your employeesCandidates want to know that if and when they join your team, they’ll be valued members of your organization and will continue to be important and valued over time. Your Employee Value Proposition (EVP; the combination of policies, programs, and benefits that you offer to those who join your team) should be a key component of your employer branding strategy and should be clear to potential candidates at all stages of your HR pipeline.Are you ready to focus on taking your company’s employer brand to the next level in an effort to recruit and retain the very best available talent? Use the advice and strategies presented here to make effective branding changes that will have a positive impact across your organization. Good luck!

Friday, November 22, 2019

Do Managers Need to Develop Concrete Skills in the Political Analysis Essay

Do Managers Need to Develop Concrete Skills in the Political Analysis of Organizations - Essay Example As the discussion outlines the political analysis of the organization literally dissects the different mechanisms through which it takes care of the deliverables that essentially emanate from the organizational stronghold, and for the sake of the common men and women on the street. The managers need to find the best possible ways through which they can present the alleviated stance of the organization. This is done so that the organization understands the needs and requirements of the public, for which it exists in essence. The managers act as the representatives of the organization and hence the face of its varied business entities. Whatever these managers do in the long run signifies the very basis of growth and development, for the sake of the organization. The company’s political position is thus dependent on the way these managers present the real picture as well as give a charter for the things to shape up in the future. This paper discusses the implications of the manag ers as they develop the required skills within the political analyses of the organizational values and principles. From this paper, it is clear that first it is found out as to why the political analysis of the organization is deemed as significant in the time and age of today. The reason for this is that the political analysis gives a good measure of the strengths that exist within the organization and the opportunities that it could touch upon in the future. It can also establish its very basis within the industrial domains and tell the relevant players in the industry that this organization means business just like them. It can easily outline the areas where the organization wishes to emphasize these strengths and create the much-needed difference. So basically what this political analysis does is to create a clear-cut basis for the organization, both from a short-term perspective as well as in the long run scheme of things.

Wednesday, November 20, 2019

Youth and Interschool Sport Injuries Research Paper

Youth and Interschool Sport Injuries - Research Paper Example 2011). One study that was done on the subject is described in the article titled, â€Å"Football-Related Injuries Among 6- to 17-Year-Olds Treated in US Emergency Departments, 1990-2007† (Id.). Prior research estimated that the US has between 300,000 and 1.2 million injuries annually that are related to football (Shankar et al., 2007). Since the injury rate is so high, better injury prevention strategies must be developed; and, in order to develop them, more research is needed to help fill in all the gaps in the existing research. Very little research on youth football-related injuries currently exists that has a nationally representative sample (Nation et al., 2011). For example, many prior studies only included injuries occurring in organized league play and disregarded injuries that happened during unorganized play (Id.). Some other prior studies focus only on one specific geographic location or type of injury; therefore, none of those studies contained a sample that repres ents the national population so the results are not widely applicable (Id.). In order to obtain more widely applicable results, the current research included children from 6- to 17-years old that had been treated for a football-related injury in a US emergency department between 1990 and 2007 (Id).

Monday, November 18, 2019

Service operation management Assignment Example | Topics and Well Written Essays - 3000 words

Service operation management - Assignment Example r Distribution Centre 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 Darwin 18 15 15 13 12 12 14 13 13 13 12 10 11 11.8 11.56 11.27 Brisbane 22 25 20 22 21 20 23 20 20 21 23 20 21 21 21.2 21.24 Sydney 48 47 49 52 53 53 55 56 58 61 63 66 68 63.2 64.24 64.89 Adelaide 36 38 39 42 38 41 42 44 45 47 47 51 52 48.4 49.08 49.5 Hobart 18 20 22 18 22 19 18 20 21 19 21 20 18 19.8 19.56 19.67 b. Demand Forecasting using Exponential Smoothing Model is shown below. Table1.3 shows the forecasting model for alpha as .2 while Table 1.4 shows the forecasting model for alpha as .4. ...    Week Number Distribution Centre    1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 Darwin Actual 18 15 15 13 12 12 14 13 13 13 12 10 11          Forecast 16 16.8 16.08 15.65 14.59 13.55 12.93 13.36 13.22 13.13 13.08 12.65 11.59 11.35 11.21 11.13 Brisbane Actual 22 25 20 22 21 20 23 20 20 21 23 20 21          Forecast 22.33 22.2 23.32 21.99 22 21.6 20.96 21.77 21.06 20.64 20.78 21.67 21 21 21 21 Sydney Actual 48 47 49 52 53 53 55 56 58 61 63 66 68          Forecast 48 48 47.8 48.04 48.83 49.67 50.33 51.27 52.21 53.37 54.9 56.52 58.41 62.25 64.55 65.93 Adelaide Actual 36 38 39 42 38 41 42 44 45 47 47 51 52          Forecast 37.67 37.33 37.47 37.77 38.62 38.49 39 39.6 40.48 41.38 42.51 43.4 44.92 47.75 49.45 50.47 Hobart Actual 18 20 22 18 22 19 18 20 21 19 21 20 18          Forecast 20 19.6 19.68 20.14 19.72 20.17 19.94 19.55 19.64 19.91 19.73 19.98 19.99 19.19 18.72 18.43 c. Exponential smoothing is generally preferred over moving average forecasting method because it takes into account both the actual values and the previous forecasts. Also the mean square error received in the case of exponential smoothing is generally less as compared to moving average method. Between the two moving average methods, the 5 week moving average forecasting generally proves to be more accurate than the 3 period moving average forecasting because it takes into account large historical data. Among the exponential smoothing methods, the optimal value of alpha is generally found out by minimizing the mean square error through excel solver. d. Besides past demand several other factors might come into play in forecasting future demand. These factors could range from local to global. Local factors may include current market share of SB Coffee in each distribution centre, population of each geography,

Saturday, November 16, 2019

Analysis of Our Day Out

Analysis of Our Day Out Willie Russells Our Day Out is a play which uses humour which covers some serious issues including some serious messages. The play is set in Liverpool; where the author was originally from. The story is about a school trip for a progress class visiting an old castle wreck in Wales however, the progress visits more than the old ruins. The central plot is that Mrs. Kay; the class teacher to give the progress class an opportunity to have fun but this opportunity for the kids tells us of the dissimilarities between the teaching styles of Mrs. Kay and Mr. Briggs. Russell uses this chance to tell us that staff sometimes hides their real feelings but show them when they are enjoying themselves show a completely different side of themselves. This play has several different themes, one of the main themes of the play is: what does the government do for underprivileged children who do not really have a chance to reach the levels. This theme is shows what Willie Russell really thought of the way education was dealt with during 1977. I think Mrs. Kay is the kind of person which is quite calm and collected, Mrs Kay stares at him. She could blow up but she doesnt. This undoubtedly tells you that she can contain herself when angry. She is also very much like an activist as given away by this quote, Ah well well just have to deal with him the best way we can. This precisely portrays her sense of cheerfulness in an attitude which gives of the sense that shes telling you to make the best of what you got. A clear attribute of Mrs Kay is her mother-like care for the pupils as shown by, She always reminds me of a mother hen rather than a teacher. This plainly displays that she wouldnt care if her pupils didnt have education as long as they were happy and safe. Kevin Bryant come here, this quote effectively presents the fact that she knows how to be discipline her pupils. She also gets involved in their games and activities showing that she does more than care for her pupils, that is strongly illustrated by, A game of foot ball is in progress. Mrs Kay is in goal. The quote do you could educate these kids my remedial kids, correctly expresses her belief that there isnt any hope for her pupils to do well in their future life. I believe the reason why Mrs Kay is concerned a lot for her pupils for the reason that she feels that they have no possibility of achievement in their life and other than giving them an education she wants to give them a better chance at being happy by making sure they enjoy themselves before what she believes is the inevitably despondent years that lie ahead. I believe Mr Briggs is someone who provides different attitude to Mrs Kay during the play. Mr Briggs is also intimidating because of, (leaning in close, threatening) Now listen here young lady I dont like your attitude one bit! This powerfully portrays his threatening position and selection of words. He can also get pretty grouchy, (begrudgingly) Morning, He can be very insulting to other people behind their backs which is visibly shown in, Weve got a right head case of a driver. The quote, Youve got some real bright sparks here, suggests a sarcastic way of speech which is to be expected a frequent part of his personality. Dont you mean try and find her, this quote cunningly displays the idea that he has an unenthusiastic view on the world but a logical one, so he always anticipates the worst but not without any proper reasons. I felt Mr Briggs finds it effortful to show care or affection for his pupils for a long-lasting stage of time and considers that education and presenting th e children little affection that will give them the best chance of success in later life, which is the opposite to Mrs. Kays view. Mrs Kay is a open-minded teacher who wishes her pupils to have fun, at the expense of learning, I get the impression she sees education as one long game. She also gives the pupils full control in other word full freedom, In another part of the castle the kids are rushing about playing medieval cowboys and Indians. Mrs Kay sits in a bench overlooking the scene. She may be a pleasant teacher to have for the reason that she puts the happiness of the pupils before their education. She lectures that primarily a pupil must have fun and be shown love and affection before education is even declared. The inconvenience in being taught by Mrs Kay is that the pupils childhood life will be much happier and endurable; by the time they depart from school they will not really have any education and it inevitable that their futures will be unwelcoming and wretched. Mr Briggs teaches in a usual style which engages in not presenting the pupils love and sympathy by enforcing discipline and educating th em properly, It might look like love and kindness but if you ask me I dont think it does the kids a scrap of good,. These two statements, Sit down! We dont wander up and down the aisle. We talk quietly to our neighbour, not shout at our mates, and, Briggs with a group of ordered school children, the customary teaching concept of rules, militaristic discipline and control. Mr Briggs may not be pleasurable as a teacher because of his belief of not allowing the pupils to take pleasure in themselves which will lead to leaving school as educated, regimented and as sensible people. He might be more advantageous as a teacher because you would get taught properly which could immensely enhance the likelihood that you would get an excellent career and a clear future because of that.

Wednesday, November 13, 2019

Essay --

Curtis Gardner Dr. DiMare HRS 162 13 February 2014 Spanish and English Colonization Ideals The colonization efforts of both the Spanish and the English varied in their ideals. The Spanish arrived in Mexico to find a well-established culture infrastructure of the Aztecs with Hernà ¡n Cortà ¨s arrived in 1519 in the Aztec Empire found it easier to integrate their beliefs and religion more easily. The English viewed the inhabitants of the New World as aliens and made no attempt to accept them into their colonization plans. Hernà ¡n Cortà ¨s arrived on the eastern coast of the Aztec Empire in 1519 marching with at least five hundred men. At the head of Cortà ¨s’ troops he displayed a banner displaying the image of the Virgin Mary within a crest and surrounded by the words â€Å"This is that which brought Don Fernando Cortes to conquest Mexico† called The Banner of Cortà ¨s. Also with Cortà ¨s his troops carried a flag of white and blue flames with a cross in the middle and the Latin motto: â€Å"Friends, let us follow the cross and with faith in this symbol we shall conquer.† The banner displaying the ima...

Monday, November 11, 2019

Neorealist Aesthetics on Rome Open City and 8 1/2 Essay

Introduction To critically evaluate the influences of neorealist aesthetics on Rome, Open City (1945) and 8 ½ (1963) I believe there are several measure I have to take. First of all, I believe it is essential to get a clear understanding of Italian neorealism and the common aesthetics of neorealist films. Once I have that established it will enable me to critically evaluate the influences of neorealist aesthetics on Rome, Open City and afterwards, 8 ½, drawing them both together in the conclusion. The end of World War II, and Mussolini’s fascist regime in 1945 enabled a national film movement to flourish in Italy. This movement was branded ‘Italian neorealism’, and with its unique aesthetic style and themes it produced, arguably, some of the most influential films ever made. Neorealism was seen to be a perfect way for Italian filmmakers to portray the misery and suffering they, and the entire nation experienced throughout this period of repression. Martha Nochimson describ es Italian neorealism as: A strong form of filmic poetry that aims for truth in its stories about the poor and the working class, without using the glamorizing techniques that Hollywood prefers, (that) can only be fully understood within the context of Italian social and political history. Italian neorealism has distinctive stylistic qualities that give it an almost documentary, ‘newsreel’ feel to the films. Neorealists believed this greatly added to the authenticity of each film and depicted life at that time in a more realistic way. Common characteristics of neorealist films are that they are shot on location, use non-professional or relatively unknown, inexperienced actors, have plain and simple mise-en-scene, avoid complex editing, have a straight forward, feely moving documentary style of photography and have a loosely plotted narrative. Martha Nochimson summerises this perfectly in stating that: Neorealists insisted on taking their cameras into real locations, using natural light and sound, and stripping their characters of synthetic enhancements. They frequently experimented with using non-professional and young unknown actors in order to avoid the carefully calculated mannerisms of the star. As well as having  a distinctive style, neorealist films also tended to have thematic similarities too. They generally placed emphasis on the contemporary situation, focused on the struggles of the lower class, marginalised population within society and often avoided the conventional Hollywood, ‘happy-ever-after’ endings. Rome, Open City is considered by many to be one of the most influential films ever made, and as a result it firmly put Italian neorealism on the map in world cinema. Due to the production starting virtually immediately after the occupying Germans departed, Peter Brunette described, ‘that the making of the film was carried out in the worst possible conditions’. Because Rome was still recovering from the devastating impact the war had on the city Rossellini had no other choice but to use real locations as the film studios within the area had either been bombed, or were being used as shelter for refugees affected by the destruction of the city. Marcus Millicent points out other obstacles Rossellini faced during the production, he states, ‘the lack of studio space, the absence of sophisticated equipment, and the scarcity of film stock forced Rossellini to adopt the simplicity of means that was responsible for the authentic and uncontrived look of his finished product.’ These conditions, resulting in the need for improvisation, were also true for most films produced during the height of neorealism up until its rapid decline in the early 1950s. However some critics argue that the conditions Rossellini faced have been exaggerated, especially in regards to the poor film stock he was believed to use. Christopher Wagstaff points out, ‘The ‘look’ of Rome Open City has been attributed to poor film stock, yet the film was beautifully photographed by Ubaldo Arata on entirely appropriate film stock, one kind for interiors and another for exteriors.’ One of Rome, Open City’s main neorealist characteristics is the thematic issue’s the film covers. Typical the neorealist films, Rome, Open City depicts the struggle of the poor, working class people within society at that time, in this case, as they try and resist the German occupation. Despite the obvious neorealist theme, critics have argued that Rossellini has deviated from neorealism within the narrative as he relies heavily on the use of melodrama within the plot and uses techniques to over dramatize the ‘epic’ moments he has created within the film, for example the use of none diagenic sound during the scene of Pina’s death is not a technique that is typically used in neorealist as  it defers too much from reality itself. Stephen Hanson even goes as far a stating, ‘its plot is highly melodramatic in the worst sense of the word.† Peter Brunette supports this view, he argues that Rossellini, â€Å"pawns off his   fictions as if they were realities in the best tradition of Hollywood. Not only do critics argue that Rossellini over dramatizes the plot, they also believe that he adopts a more linear narrative compared to the typical neorealist film. Peter Brunette argues that Rome, Open City is, ‘one of Rossellini’s most conventional films, at least in terms of its narrative and dramatic structures.’ He believes this conventional narrative style bears no benefit to the film and even goes on to state, ‘Here, unlike in his previous films, all elements of the mise-en-scene, lighting, dialogue, and everything else, however â€Å"realistic†, are rigorously enlisted in the service of a linear narrative.’ Rossellini’s use of mainly non-professional actors is a clear neorealist aesthetic within the film, however Peter Brunette argues that Rossellini did not abide by this neorealist trend entirely, as he points out, ‘(Anna) Magnani (who plays the role of Pina) was hardly a newcomer to the screen-she had already some sixteen films to her credit since her first role in 1935,’ and continues to add that she was, ‘well know to Italian audiences.’ A final neorealist stylistic quality Rossellini used in Rome, Open City, that seemingly can’t be disputed is the non-elaborative mise-en-scene. Each character’s costume was typical of what would have been wearing at the time the film was set, as we can see in ‘figure 1.’ of Pina, just before her death, with several other women. In contrast to Rome, Open City, 8  ½ varies greatly in regards to neorealism, however, Federico Fellini had strong connections to the neorealist movement and these influences can be seen in certain aspects of 8 ½. One of his first roles in cinema was to work alongside Rossellini for Rome Open City and Paisa (1946) as a scriptwriter, which progressively led to him making his own films. Although Fellini’s first films were considered neorealist, (For example, ‘Variety Lights’ (1950) and The White Sheik (1952)) he soon moved away from neorealism and with 8 ½ he produced a film that devotes much more effort to dreams, fantasy and imagination than it does to reality. However, if you look solely at the scenes that are set in Guido’s reality you can soon identify the influence neorealism has had on Fellini’s work. The free  moving camera style that gave neorealist films a ‘documentary’ feel to it is also evident in 8 ½. During the scen e where Guido enters the hotel and is consistently bombarded and hassled by everyone, unable to get a moment’s piece is a perfect example of how Fellini adopts this style. Throughout this scene the shots are also considerably long, (which is another stylistic quality many neorealist films possess) as the camera tracks Guido making his way through the hotel lobby. It can also be argued that 8 ½ has a greater neorealist quality to it than Rome, Open City in regards to the narrative and plot. Many neorealist films are not hung up on plot, and are more interested in providing a realistic ‘slice of life’ of the characters world (for example, ‘Bicycle Thieves (1948)). As well as the lack of a non-linear story, Fellini is influenced greatly by neorealist aesthetics as he uses real location throughout 8 ½. Although particular scenes in 8 ½ have aesthetic similarities and influences derived from neorealism, the film as a whole is has little relevance to neorealism in most aspects. For example there are very little thematic similarities as a typical neorealist film concentrates in portraying the poverty, suffering and oppression of the working class, 8 ½ is a semi-biographical film Fellini has based on himself. Jack Hirschman describes 8 ½ as, â€Å"Fellini’s most directly autobiographical statement.† Another key variation from neorealist aesthetics is the fact that Fellini expresses imagination, fantasy and dreams at the expense of realism. To conclude I believe that the two films discussed in this essay are not the only respective two of their kind, in regard to neorealist films deviating from the traditional aesthetic qualities expected of it, (for example De Sica’s neorealist film, Miricale in Milan (1951) explored fantasy, at the expense of its realist qualities,) and Fellini’s 8  ½ is of course, not the only film to be influenced by neorealism. Some critics even question neorealist aesthetic qualities further and argue because of the very nature of film production it is impossible to create an entirely realist film, Christopher Wagstaff questions a film’s realism by arguing: Within the narrative of a film, meanings can be signified indexically: if a little boy bursts into tears in a given narrative context, the meaning might be that he is frightened, disappointed or angry- the emotion caused the behaviour; but in ‘reality’ the actor (whether ‘professional’ or not) cried because the director told him to. Peter Brunette even goes as far as stating, â€Å"the only  valid subject for realist cinema is the impossibility of realist cinema.† Bibliography 8  ½ / Otto e mezzo, dir. by Federico Fellini (Colombia Pictures, 1963) Aumont, Jacques, Aesthetics of Film (Austin: University of Texan Press, 1992) Bicycle Thieves/ Ladri di biciclette, dir. by Vittorio De Sica (Ente Nazionale Industrie Cinematografiche, 1948) Bondanella, Peter, The Films of Federico Fellini (UK: Cambridge University Press, 2002) Brunette, Peter, Roberto Rossellini (Berkeley: Univerity of California Press, 1996) Forgacs, David, Sarah Lutton and Geoffrey Nowell-Smith, Roberto Rossellini: Magician of the Real (UK: British Film Institute, 2000) Gottlied, Sidney, Roberto Rossellini’s Rome open city (UK: Cambridge University Press, 2004) Hirschman, Jack, ‘Film Reviews’, Film Quarterly, Vol. 17, No. 1, (1963) Hanson, Stephen. L, Roma, città   aperta (2012) < http://www.filmreference.com/Films-Ra-Ro/Roma-Citt-Aperta.html> [accessed 20th March 2012] Millicent, Marcus, Italian Film in the Light of Neorealism (New Jersey: Princeton University Press, 1986) Miracle in Milan/ Miracolo a Milano, dir. by Vittorio de Sica (Criterion Collection, 1951) Nochimson, Martha. P, World on Film: an introduction (UK: John Wiley and Sons, 2010) Rome, Open City/Roma, città   aperta, dir. by Roberto Rossellini (Minerva Film Spa, 1945) Sparshott, F. E, ‘Basic Film Aestheics’, Journal of Aesthetic Education, Vol. 5, No. 2, (1971) The White Sheik/ Lo Sceicco Bianco, dir. by Frderico Fellini (OFI, 1952) Variety Lights/ Luci del Varietà  , dir. by Federico Fellini (Capitolium, 1950) Wagstaff, Christopher, Italian Neorealist Cinema: An Aesthetic Approach (Toronto: University of Toronto Press, 2007)

Saturday, November 9, 2019

Two World Wars A Journey of Borden’s Fiction

Introduction The topic of Word War I literature and World War II literature is one that is extensively covered and researched by contemporary critics and scholars. However, the focus tends to be on literature of either one or the other war and not typically on any links between the two. The research that exists is largely centred on either gender or class in the literature, not about how a particular gender writes about a specific class. Therefore, a dissertation on Mary Borden’s focus on aristocracy in the two world wars will help fill a gap in research on war literature.1.1 Research ObjectiveMary Borden lived through and wrote extensively on both wars and this dissertation will establish and illustrate the evolution of Borden’s war consciousness and philosophies surrounding warfare and its impact on society. Borden’s narrative focus began as intensely personal and situated in the aristocratic world, which was familiar to her, but evolved between wars and had opened up and shifted in a more political direction by the end of World War II. In order to prove this and explore how the wars affected Borden’s writing, the dissertation will strive to answer the following questions: To what extent did Borden’s novels reflect the events of the two war eras How did Mary Borden valuate the aristocracy and why In what way was her opinion of the aristocracy influenced by the wars and her contemporary era as a whole What kinds of themes are adopted in the novels depending on whether they are pre-, during or post-war period and how much do they differ To what extent do Borden’s themes reflect the transitions in society and the changing roles of men and women that resulted from the two wars1.2. Proposed StructureThe proposed dissertation will be structured in five chapters set out around the following topics: Introduction – Sets out the biography of Mary Borden in broad strokes, introduces the research questions and aim set out above and explains the choice to focus on Borden’s novels and memoirs because they more directly show the influence of the war on Borden’s consciousness and is less restricted by the mandatory commentary on form that poetry elicits. Borden and World War I – Borden’s memoir will be the foundation that a discussion around her opinions of the aristocracy and its influence on the coming and effects of the war is built. Borden and World War II – Debates the new ideas introduced by Borden that were not present in her writing on the great war and uses her other memoir to again research how her life at this stage influenced the thinking in her writing. The impact of war on Borden’s literary consciousness – Establishes the reason Mary Borden should be read as a war novelist because of her evolving consciousness in her novels regarding the causes and effects of war on society. Conclusion – Mary Borden was very much a novelist shaped by the two word wars and her own heritage strongly influenced her thinking around the impact the war had on herself and society at large. By structuring the dissertation in this manner – with the writing from each war in separate chapters the clarity of the argument will benefit in that it is easier to draw upon separate sources and build comprehensive profiles of how Borden wrote about the two wars. Once such profiles have been established, the fourth chapter can use these as the foundation of empirical evidence upon which to base a coherent exploration of the evolution of Borden’s war consciousness in her writing. This chapter will provide the opportunity for the author’s analytical skillset to be proven. Literature Review2.1 Primary literatureThe two chapters on the world wars will use two of Borden’s memoirs as the foundation for arguing how Borden’s life influenced her work. The Forbidden Zone will be analysed for the chapter on World War I and Journey Down A Blind Alley will be used for World War II. Further, the chapter on WWI will centre upon three novels that present some of Borden’s central themes and a chronological scope of the war: The Romantic Woman is a story of aristocracy before the war, Sarah Defiant centres upon a love affair during the war and finally Jehova’s Day portrays England in the post-war period. Reference will also be made to Jericho Sands and A Woman With White Eyes. As Borden’s writing on war shifted in a more political direction around WWII, the analysis will not abide by a particular chronology in this chapter. The main texts are: You the Jury – setting the stage for the war and depicting it – The Hungry Leopard as a work containing Borden’s broader political and sociological points thoughts on the war era from 1937 to 54 and Margin of Error – a work concerned with colonialism and its role in the war. Other referenced works will include Catspaw and Passport for a Girl.2.2 Secondary sourcesThese will include a mixture of historical sources and literary criticism. Carol Acton’s theories set forth in Diverting the Gaze: The Unseen Text in Women’s War Writing will be used for some literary theory concerning women writing about war and the discussions on Borden’s life and memoirs will be substantially aided by Jane Conway’s – Borden’s biographer – work. Literary critics will include M. Higonnet, S. Ouditt,, F. Mort and T. Tate as they have all done substantial work concerning female writers of the war and their relationship to identity. Historical background will be works by B.A. Waites, M.L. Bush and B.W. Tuchman along with other sources yet to be identified. Methodology The approach will be independent analysis of the primary sources, using secondary sources primarily to argue against and some to support and provide background. Further sources will be identified by using Jane Conway’s the bibliographies of Conway and other sources already identified as well as web searches on databases such as JStor and Project Muse. Preliminary Bibliography4.1 Primary literatureBorden, M., 1929. The Forbidden Zone Borden, M., 1946. Journey Down A Blind Alley Borden, M., 1916. The Romantic Woman Borden, M., 1931. Sarah Defiant Borden, M., 1929. Jehova’s Day Borden, M., 1925. Jericho Sands Borden, M., 1930. A Woman With White Eyes Borden, M., 1952. You the Jury Borden, M. 1956. The Hungry Leopard Borden, M., 1954. Margin of Error Borden, M., 1950. Catspaw Borden, M., 1939. Passport for a Girl 4.2. Secondary sourcesGubar, S., Gilbert, S.M. â€Å"The Madwoman in the Attic.† New Haven: Yale University. Heilbrun, C.G., Higonnet, M.R., 1983 The Representation of women in fiction. Vol. 7. Johns Hopkins University Press. Higonnet, M.R., 1987. Behind the lines: Gender and the two world wars. New Haven: Yale University Press. MacKay, M., 2010. Modernism and World War II. Cambridge: Cambridge University Press. Mort, F., 2006. â€Å"Scandalous Events: Metropolitan Culture and Moral Change in Post-Second World War London.† Representations 93.1 (2006): 106-137. Ouditt, S., 1994. Fighting Forces, Writing Women: Identity and Ideology in the First World War. London: Routledge. Raitt, S., Tate, T., eds, 1997. Women’s fiction and the Great War. Oxford: Clarendon Press. Tate, T., 1998. Modernism, History and the First World War. Manchester: Manchester University Press.

Thursday, November 7, 2019

Being a Balayan Volunteer Essays

Being a Balayan Volunteer Essays Being a Balayan Volunteer Essay Being a Balayan Volunteer Essay Being a Balayan volunteer is a great opportunity for me to help other people and our environment. In every community that we go theirs a lot of learning’s that I gained, lot of things I had shared and especially a lot of smiles I had received from them. And in every tree planting, mangrove planting, coastal cleaning that I joined, even in that simple ways to help the environment it is still a big contribution that I made for our mother earth. In Balayan I discover my passion, to help, help and help physically, emotionally, and spirituality.I thank my co-volunteers that made me part of them, the staffs and Sir Myk the program officer of Balayan has really welcomed me in the office, and they always giving us opportunities to make us a good citizen that Balayan always conduct seminars for are betterment , like the Basic Orientation Seminar in which a lot of learnings I gained, about how to be an effective and good leader, and what’s volunteerism. Another seminar that I attended in balayan is the Pinoy Big Voter–training for trainers which help me clear my fear to vote, because it is my first time that I’ll vote this coming election.In this seminar I was able to know my right as a person the right to vote, and to vote honestly and wisely that before I or we vote we must really know who to vote right. In joining Balayan I go to some places that is new to me and meet those great people and in them I also learned from their experiences in life that I can apply to my life later on. I am blessed that Im one of the volunteer in Balayan, because I can experience great things and adventure that ordinary student can’t experience. It also enlightened me the reality of life, that I hope other student here in La Salle could see.

Monday, November 4, 2019

The 1929 Great Depression How and Why it Happened Essay

The 1929 Great Depression How and Why it Happened - Essay Example Seeking to understand the ramifications of the Great Depression, this essay seeks to provide a comprehensive analysis of the precursors to the worst economic crisis in American history. In addition to exploring the effects of the Great Depression on American society, we will explore the affects of this event on global trade, politics, the development of Nazism in Germany, and its effects on the Soviet Union. The terms â€Å"Great Depression† and â€Å"Great Crash† will be used synonymously throughout this essay since they refer simultaneously to the same event: the economic collapse of 1929 and the ensuing economic and social crises for much of the Western developed world (McNeill 1963). In an attempt to provide a comprehensive summary of an event with international consequences and geopolitical reverberations, this essay be structured in the following manner: 1) the Great Depression of 1929 will be explained and analyzed on a global scale, looking at the tangible effects of this event on the United States and the countries of Europe (both democratic and authoritarian/capitalist and proto-communist); 2) parallels with this event and the modern economic crisis will be explored primarily through a prescriptive lens, employing the complete and definitive work on the subject, John Kenneth Galbraith’s The Great Crash. Reasons for the Great Crash/Depression will be discussed with reference to how we can learn from lessons from the past; 3) finally, we conclude with a synopsis of the research explored with an eye to the main causes of this event and their ramifications. Understanding that the Depression was an international event with global repercussions, the follo wing will analyze the varied impact of this economic collapse on both the United States and the countries of Europe. In the first four years of the Great Depression, world trade fell by an astonishing 60%. As an example of the decline in economic

Saturday, November 2, 2019

Business ethics Essay Example | Topics and Well Written Essays - 1750 words

Business ethics - Essay Example Business ethics Corporate responsibility entails two issues: doing the positive good to the community, and doing no harm or whatsoever to the community.This means that the corporations pay back to the community through participating in community beautification efforts and events, volunteering expertise, donating money to the worthy causes and being a responsible employer. On the other hand, doing no harm entails efforts of the business towards the environment in its production activities, transportation and disposal. Therefore, in order to best examine moral corporations and corporate responsibility for the environment let us start by considering issues of the environment we face (McLachlan, 2008). There is a wide possibility of developing a moral corporation; this requires looking closely at values and changing attitudes. This paper seeks to form a position for the development of a moral corporate culture and map out a specific plan for obtaining a moral corporation. Moral responsibility is the sta te of deserving moral praise, reward, blame, or punishment for an omission or act, with respect to moral obligations. Making decisions on whether or not something is obligatory morally is a concern of principles of ethics. Corporations with moral responsibility for actions are referred to as moral agents. Such corporations are able to reflect on their circumstances, make intentions concerning how they act, and finally do such actions. Developing a moral corporation is a free will issue whether or not corporations will be morally responsible for the actions they get involved in. The scholars’ debate over the attributes of moral responsibility in corporations has been going on for decades. The conformational approach to this argument is to determine the necessary conditions for moral corporations and plan for the development of moral corporations, and whether such conditions can be satisfied by corporations (McLachlan, 2008). The development of moral corporations needs to ensur e that the environment is duly protected. Environmental ethics iscomplicated in practice because of the numerous distinct perspectives that are involved. The development of moral corporations needs to encompass this ethics. In some situations it may be difficult for corporations to understand the environmentalists’ arguments on environmental ethics. Disagreements, hence, rise on plans for developing a moral corporation. It is obvious that corporations possess different viewpoints on ethics of the environment. It is, however, possible for corporations put their different options aside for the good of the environment and agree simply that some actions about the environment need to be done in order to make corporations morally upright. In order to develop a moral corporation, such corporations need to admit that protection of the environment is important, whether they are acting out of a sense of responsibility or out of a sense of self-preservation for the future generation, fo r to the Earth itself or to all the forms of life. Corporations need to adopt an environmental pragmatism. This ensures that moral corporations are developed and maintained; that the corporations can achieve a consensus on the values of the environment that identify and determine the policies of the environment that all other corporations can agree on (McLachlan, 2008). When thinking of moral corporations, a plethora of questions rise: if the consumerism was predated by an ethical community, then how did consumerism supersede the morals of business practitioners? How does it