Basel III Rules Essay Example | Topics and Well Written Essays - 750 words

Basel III Rules - Essay Example Australia also faced such type of economic recession and banks were exposed to market risk. Thus some more financial reforms are needed that can help the organizations to face the emerging new challenges efficiently. Hence, Basel III norms have been implemented by Basel Committee on Banking Supervision (BCBS). This essay will illustrate the opportunities to be created by Basel III norms that help in providing better financial risk management; it also will discuss the challenges or negative impacts of Basel III. Basel III emphasized on developing risk resilience mechanisms that can be practiced in financial institutions including banks. Basel III norms also called for controlling the financial irregularities by implementing strict regulations. It provided financial protection to banks by following minimum adequate cash reserves that can sustain their financial needs for minimum period of 3-4 months at the time of financial crisis. The risk bearing ability of the banks was also strengt hened through the major financial regulations that are sufficiently dynamic in nature to respond to the market changes positively from time to time (The Economist, 2010). According to the norms of the Basel III, the banks are required to hold a minimum of seven percent of tier 1 capital, namely cash reserves and common stock which is a good jump from present level of two per cent. This is very significant step to provide higher risk bearing ability to banks against the financial crisis. Similarly, the tier one capital is also a core measure of a bank's financial strength and by increasing this component, the risk bearing ability of the banks would be enhanced tremendously. Tier 2 capital will be regulated for its sustainable growth and tier 3 capital will be removed completely according to Basel III norms. In addition, they have to improve the capital requirements for counterparty credit exposures which provide them better cushion to withstand financial shocks. At the same time, as per the norms of Basel III, the risk management of counter party credit exposures and capital buffers have to be strengthened which would provide cushion at the times of financial stress. This would result in higher immunity for the banks against interest rate risk and market risk in future. In consequence, the successful implementation of all these measures suggested in Basel III would certainly enhance the financial stability of the banks and reduce the need for the government bailouts during the financial crises. In contrast, the implementation of some clauses of Basel III has some potential disadvantages and banks have to face new challenges. For example, according to Basel III agreement, the banks are required to hold higher amount of capital reserves with themselves as a protection against the financial risks involved with the longevity of their own debts and the risks that banks attach to different kinds of loans (Peston, 2010). This would certainly provide them better protec tion during the times of financial crisis, but at the same time, the profit margin of the banks and their investment opportunities will erode significantly (Black Swain Insights, 2010). This is because of the fact that the banks have little amount to disburse in the form of loans to the customers and hence they may have to charge additional interest rate. In other words, the

Sustainable business in the 21st century Essay Example | Topics and Well Written Essays - 3000 words

Sustainable business in the 21st century - Essay Example Tourism remains a panacea of sustainable development in many nations; hence, different nations promote various forms of tourism. Sustainable tourism development relies on the premise of sustainability because it takes into consideration the resource base that currently exist and utilization of those resources in a way that the resource base for future generations are not damaged. Moreover, sustainable tourism encourages fairness and equity in order to create a win-win situation in stakeholders involved in the sector. Sustainability develops from the premise of three pillars that need to be satisfied and they include the natural environment, the economy and socio-economic benefits. For sustainability in tourism, the environment is paramount to any form of business and development and is the responsibility of everyone including developers who design and engage in supporting the infrastructure. Tourism follow established guidelines and regulatory framework in order to conform to social and economic as well as environmental standards in an attempt to embrace environmentally friendly practices. ... By engaging in environmental good practices, businesses influence tourists by their efforts and follow the practices of locals in maintaining the environment. Through continuous foreign exchange brought about by the sustainable tourism, emerge positive spill-off effects that contribute in job creation, entrepreneurial ventures and links sectors. In the 21st century, businesses in the sector face the challenge of coming up with different ways of doing things in the business because there is no need of having healthy businesses without healthy society and environment; hence, the tour and accommodation business steps up to the challenge by integrating cooperate social responsibility and environmental sustainability (Benady, 2013). Given the nature of tourism and its fragility, the industry focuses on sustainability as well as sustainable tourism development by addressing the challenges of traffic congestion and engaging in strategic marketing and reforming legislation so that players in the industry comply. The paper presents a framework concerning sustainable development that takes into consideration the satisfaction of all stakeholders (Ramgulam, Raghunandan-Mohammed and Raghunandan, 2013). The significance of sustainability models witnessed increased recognition in areas of science and politics as the world faces several economic, environmental and social challenges. Tour and accommodation like other sectors that have witnessed the increase of experienced economy and skilled consumption, has undergone main transformation. The rapid development of cultural tourism has caused problems and there are signs that cultural tourism is falling prey to its own

Modernism Art Essay Example for Free

Modernism Art Essay As some critics contended, postmodernism represents a break with the modernist notion that architecture should be technologically rational, austere and functional, discuss the ways in which one postmodern architect has developed strategies which overcome these tendencies. Juxtaposition is seen between the characteristics of early 20th century modern architecture and the artistic endeavours of postmodernism that followed. To represent the ‘Less is More’ (R.Venturi, 1966, pg16) notion the modernist tendencies had adopted, Robert Venturi built a ‘Ghost Structure’ to imply architecture had no longer become an art form and was merely just a ‘spectator’ (Architecturerevived, 2011) in society. This essay will discuss ways in which the architect Robert Venturi adopts methods to overcome these tendencies that architecture has lost meaning and ways in which he attempts to remove himself with any links with the ‘post-modernist’ movement that he is viewed in having. Modern Architects saw their role as ‘reformers,’ (R.Venturi, 1966, pg16) and tended to break with tradition and start anew. Considering it was a new revolutionary movement they tended to ignore potential problems and focused on the new modern advancements available. A modernist tendency was to build individually however Venturi claimed that a ‘building derives meaning from its context’ (Out Of the Ordinary, 2002) and evidently each individual location requires a different form of architectural style to represent this. In Venturis book ‘Complexity and Contradiction’ he quotes ‘familiar things seen in unfamiliar context become perceptually new as well as old’ (R.Venturi, 1966, pg43) here he perhaps means in order for art to become worthy of aesthetic appreciation the viewer needs to see it in a different context. For example, Tracy Emin’s unmade bed was placed in an art gallery and was more acceptable and appreciated as ‘art’ rather than being viewed in its original, everyday context. Venturi was focused on the reason behind and the visual perception of architecture, he believed that in applying a ‘medley of styles’ (S.V.Moos, 1987, pg32) opposed to an ‘either/or ‘(R.Venturi, 1966, pg16) mind-set would offer a varied combination of architectural styles. Thus enabling to a successful response to the multitude of tastes society desired, as he was well aware that there were an  array of underlying problems of everyday life. Problems that modernist architects tended to ignore due to their concern of the solution not corresponding with what they believed to be their perfect design. Venturi disregards modernist tendencies as he favours a more eclectic style rather than the ‘less is more’ (R.Venturi, 1966, pg16) approach modernism supports. Venturi aims to ensure his buildings have ties with historical architecture thus to draw meaning and value. This was to evoke a sense of familiarity whilst still staying in context with a more modern environment. Venturi believed in using his knowledge from what he had learned and new had worked in the past, so sought to apply these techniques to his designs. An example of this is Venturi’s State Mosque of Iraq; (Ref 1) finished in 1982. Here Venturi sought to draw from numerous styles and periods, specifically, Art Nouveau. The purpose of incorporating so many previous instances was to provide meaning and depth to architecture once more. Venturi was inspired by the work of Edwin Lutyen’s Capital Buildings in New Delhi as Lutyen had successfully managed to integrate historical themes to look postmodern however with an underlying modernist culture. Post-modernist architects questioned the modernist tendency that form depends on function. Walter Gropius quoted ‘aesthetic image and monumentality of a design are more important than functionalism.’ (Architecturerevived, 2011) However the context of the building was all the more important. Venturi championed this and consequently revived the tendency to ‘change things around’ (Architecturerevived, 2011) to develop and discover a more motivating form. He believed that the simplicity of modernist designs were so minimal that they therefore could easily be manipulated to communicate historic and ornamental tendencies of the past whilst taking advantage of the modern advancements in technology and construction all the while considering the users requirements. An example of this is the Vanna Venturi House, (Ref 2) completed in 1961 which has multiple references to past periods and styles. Firstly the street faà §ade denotes Michelangelo’s Porta Pia in Rome, Alessondra Vittoria’s Villa  Barabo at Maser and finally the Nymphaeum at Palladio. Venturi quotes to ‘recognising the complexities and contradictions’ (S.V.Moos, 1987, pg244) in which this building instils, nevertheless was an ideal way to overcome his statement that ‘less is a bore.’ (R.Venturi, 1966, pg17) Additionally Venturi’s love of distortion over ‘straightforward’ and ‘ambiguous’ over ‘articulation’ (R.Venturi, 1966, pg16) notion is a prime example of how he overcame the modernist tendency of clean, designed and hence forth the exclusion of design traits. Venturi was similarly intrigued by the parallel of how design in the past related to the hierarchy of upper and lower classes of his today and whether or not the aesthetics of said classes could be outlined into categories that reflected the social divisions. More precisely he connected classical modern architecture with that of ancient upper classes such as ruins of palaces and the contrast of how they were erected differently from that of how Venturi describes as ‘ordinary’ peoples buildings. (Learning from Las Vegas, 1972) Everything appears to be in relation to, form, space and social responsibility also implying modern architecture seems to have forgotten the art of steganography in which was not only significantly spanning across four centuries from the 15th to the 19th century but was also how architects learnt to progress, appreciate and respect the aesthetic awareness of form. This can be related back to the Renaissance in which the development of form has been linked to the visual for centuries. Venturi wanted to instil ‘new perceptions of old functions’ (Architecturerevived, 2011). He sought to draw from the past and carefully extract relevant features and characteristics and with the buildings context in the forefront of his mind, apply them. An illustration of is how he exhibited historical examples from Baroque and Egyptian architecture to symbolise frames and overwhelm small window openings. He symbolically implied unconventional messages or problems he thought society needed to address, an  example of this being The Guild House, completed in 1963, (Ref 3) Philadelphia. It displays a system of layers with artistic meaning,  organisation and a well thought out design process which represents the importance of historical and architectural discourse. By instilling a gold-plated TV Ariel on top of the building signified what Venturi described as the ‘relevant revolution of today.’ (Architecturerevived, 2011) It communicated the underlying idea that the importance of architecture could potentially be forgotten with the advancement of TV and media. Venturi was concerned that the development of these new technologies were influential on art, ‘a machine for living while practical, is emotionless,’ (Molly Jacques, 2009) and that all reference to historical architecture could be perceived as irrelevant or even worse, lost in the progressing society he found himself in. Therefore the TV Ariel became demonstrative of this, a representation based on the theme of classical architecture. It was also said to represent the buildings inhabitants, by simply stereotyping the occupants, believing they watch too much TV, and alas the symbolic connotation of classical statues in cathedrals. Modern architects had pragmatic views. They believed technological advances allowed for the disregard of all historical periods and movements. Led by the new approach of ‘machines for living’ (The Arts – Le Corbusier, Dominic Gallagher) as Le Corbusier cited, inevitably led to the demise of decorative and aesthetics in favour for more organised and geometrical buildings, in addition to this there was a new enthusiasm for building vertically. Venturi believed that the introduction of this technologically motivated notion advertently simplified architecture so much so it had seen a departure from the ‘experience of life.’ (R.Venturi, 1966, pg17) Consequently becoming focused on what characterised as Realism. Venturi studied people in their everyday life and routines, purposely so as not to exclude designing for social problems and consequently to design for the truth. A somewhat stark contrast to the modernist notion of designing for simplification or t he ‘Less is More’ (R.Venturi, 1966, pg16) idea, as stated by Miles Van De Rohe. This evidently left many social questions unanswered or as Paul Rudolf, a prominent modernist architect quoted ‘all problems can never be solved.’ (R.Venturi, 1966, pg16) Furthermore the development of new materials and constructional technological advances allowed for modernist architects to design freely with focus on spatial forms and  geometric proportions. Miles Van De Rohes Pavilion’s illustrate this as they lacked any sort of reference to the past as his desire and purpose was to exploit new technologies to the fullest and have no recognized relation to the past whatsoever. Venturi opposed this as he looked to past historical architecture for inspiration and saw relevance in previous movements and styles. This allowed him to design with meaning and by combing new methods of construction and technology allowed him to develop and erect innovative buildings that reflected historical traits whilst still fitting into a modern society. A further modernist view was that architecture was about a blend on technology and art, and to inevitably reform some sort of style they believed had become lost in tradition. They admired the emerging new developments, especially in transportation and new materials becoming available. They tried to instil this new, sleek, streamlined look in their buildings. It was almost as if they wanted to draw a line under the past and render a new concept of design to follow with the new advances that were being made in other fields. Nonetheless Venturi held on to his belief that architecture hadn’t become so much as lost but instead had been forgotten. Stating that ‘conventional elements’ (R.Venturi, 1966, pg43) could be applied using the advanced methods the modernists championed, and that some sort of balance could be achieved. It suggests a complete rejection of the past is not relevant in order to move forward in not only a social aspect but also to cater for what appeared to be, a demand for a new architectural style. Venturi was positive in regards to the new materials and construction methods now available and did not deny that they were not beneficial to society in his today and stating ‘conventional elements’ (R.Venturi, 1966, pg43) constructed in ‘unconventional ways’ (R.Venturi, 1966, pg43) supports this. As does his design for the Vanna Venturi House, (Ref 2) constructed in 1961 in which an array of modernist materials were used, such as steel. Yet he chose to mix both development in techniques and materials with historical features to create a design that was visually, functionally and constructed successfully in design. Venturi became interested in the Las Vegas Strip (Ref 4) leading him to write the book ‘learning from Las Vegas’ published in 1972. He came to the conclusion that the city had been built to accommodate for the  technologically savvy society. The architectural advertisement method Vegas seemed to have adopted had all been carefully angled to appeal to the people now driving down the strip. This was an original concept in which to appeal to an audience not necessarily on foot. The architecture almost becomes an advertisement in itself and the landscape inadvertently develops into its notorious messy, chaotic and fast paced form, which also reflected the traits the city and people in it had undertook. The architecture became a direct contrast to the modernist tendencies as the strip ‘serves culture rather than dictates it.’ (Architecturerevived, 2011) this was perhaps as Vegas was competitive and needed to directly interact with its audience in order to entice them. Venturi was inspired to take aspects of how Las Vegas had so forcefully removed the constraints of which had seemed to be put upon architecture and apply it, however in a not so embellished manner. Venturi states how The Guild House (Ref 3) was built with these intentions as well as having a ‘vernacular’ (Perkowitz, 2002) idea in mind. He went on to exploit every available inch of building space obtainable, by building up six-stories high. An attribute in fact of the modernist conception, however Venturi came to this design conclusion to enable the inhabitants to interact more conveniently with the outside. This was said to be purposely done so as not to break up the prevailing aesthetics of the street, nonetheless still managed to introduce another dimension to it. A fragmented outline of the Southern faà §ade directly contrasts with the smooth surface of the North. This intentionally done so as the building was built for the elderly so rather than isolate, the distorted faà §ade in fact drew the outside in, to allow for maximum interaction in a visual nature. Venturi attempts to imply a Baroque Palazzo style upon the Guild House (Ref 3) by the introduction of white tiles on the lower and upper levels of the building. Which was believed to have ‘symbolic’ and ‘representational’ (S.V.Moos, 1987, pg25) components that merge as a whole which in avertedly was to reflect the architectural connotation of the structure. It was understood that the Guild House (Ref 3) was built on a system of layers. Layers of artistic meaning and organisation, each one symbolising the importance of the  historical and architectural discourse. This is reinforced by Venturi testifying ‘knowledge instead of learning’ (R.Venturi, 1966, pg12) supports the fact he draws upon what was effective in the past and relates it to his own compositions. He breaks up the historical foundations and is driven and instils a sense of the past throughout his designs. The modernist notion of designing for what the architect believed society wanted rather than needed impacted primarily upon the poorer societies. Hence forth Venturi was particularly careful when building The Guild House perhaps to show designing with the context and user in mind can be achieved successfully without social problems having to be ignored or forgotten, again a tendency modern architecture seemed to adopt in fear of losing aesthetic value. Venturi sought to prove you could have both. In reflection it can be said that Venturi is extremely knowledgeable and has an in-depth understanding and appreciation for historical architecture in which he feel shouldn’t be forgotten but instead should be admired and inspire future movements. Despite modernism striping what Venturi believed was the ‘art’ from architecture he fought to overcome these tendencies are drew upon relevant historic features and characterisations and applied them liberally to his design, in accordance to their context. Nevertheless he understood that designing for the user was significant and not to exclude social problems. He undertook the modernist concept of advanced ways to construct and recognised and understood the developing society, yet he chose not to ignore historic references and applied them in a system of layers within his designs to accommodate for the advanced civilization whilst electing to apply asceticism for both a functional and visual experience. As some critics contended, postmodernism represents a break with the modernist notion that architecture should be technologically rational, austere and functional, discuss the ways in which one postmodern architect has developed strategies which overcome these tendencies. Juxtaposition is seen between the characteristics of early 20th century modern architecture and the artistic endeavours of postmodernism that followed. To represent the ‘Less is More’ (R.Venturi, 1966, pg16) notion  the modernist tendencies had adopted, Robert Venturi built a ‘Ghost Structure’ to imply architecture had no longer become an art form and was merely just a ‘spectator’ (Architecturerevived, 2011) in society. This essay will discuss ways in which the architect Robert Venturi adopts methods to overcome these tendencies that architecture has lost meaning and ways in which he attempts to remove himself with any links with the ‘post-modernist’ movement that he is viewed in having. Modern Architects saw their role as ‘reformers,’ (R.Venturi, 1966, pg16) and tended to break with tradition and start anew. Considering it was a new revolutionary movement they tended to ignore potential problems and focused on the new modern advancements available. A modernist tendency was to build individually however Venturi claimed that a ‘building derives meaning from its context’ (Out Of the Ordinary, 2002) and evidently each individual location requires a different form of architectural style to represent this. In Venturis book ‘Complexity and Contradiction’ he quotes ‘familiar things seen in unfamiliar context become perceptually new as well as old’ (R.Venturi, 1966, pg43) here he perhaps means in order for art to become worthy of aesthetic appreciation the viewer needs to see it in a different context. For example, Tracy Emin’s unmade bed was placed in an art gallery and was more acceptable and appreciated as ‘art’ rather than being viewed in its original, everyday context. Venturi was focused on the reason behind and the visual perception of architecture, he believed that in applying a ‘medley of styles’ (S.V.Moos, 1987, pg32) opposed to an ‘either/or ‘(R.Venturi, 1966, pg16) mind-set would offer a varied combination of architectural styles. Thus enabling to a successful response to the multitude of tastes society desired, as he was well aware that there were an array of underlying problems of everyday life. Problems that modernist architects tended to ignore due to their concern of the solution not corresponding with what they believed to be their perfect design. Venturi disregards modernist tendencies as he favours a more eclectic style rather than the ‘less is more’ (R.Venturi, 1966, pg16) approach modernism supports. Venturi aims to ensure his buildings have ties with historical architecture thus to draw meaning and value. This was to evoke a sense of  familiarity whilst still staying in context with a more modern environment. Venturi believed in using his knowledge from what he had learned and new had worked in the past, so sought to apply these techniques to his designs. An example of this is Venturi’s State Mosque of Iraq; (Ref 1) finished in 1982. Here Venturi sought to draw from numerous styles and periods, specifically, Art Nouveau. The purpose of incorporating so many previous instances was to provide meaning and depth to architecture once more. Venturi was inspired by the work of Edwin Lutyen’s Capital Buildings in New Delhi as Lutyen had successfully managed to integrate historical themes to look postmodern however with an underlying modernist culture. Post-modernist architects questioned the modernist tendency that form depends on function. Walter Gropius quoted ‘aesthetic image and monumentality of a design are more important than functionalism.’ (Architecturerevived, 2011) However the context of the building was all the more important. Venturi championed this and consequently revived the tendency to ‘change things around’ (Architecturerevived, 2011) to develop and discover a more motivating form. He believed that the simplicity of modernist designs were so minimal that they therefore could easily be manipulated to communicate historic and ornamental tendencies of the past whilst taking advantage of the modern advancements in technology and construction all the while considering the users requirements. An example of this is the Vanna Venturi House, (Ref 2) completed in 1961 which has multiple references to past periods and styles. Firstly the street faà §ade denotes Michelangelo’s Porta Pia in Rome, Alessondra Vittoria’s Villa Barabo at Maser and finally the Nymphaeum at Palladio. Venturi quotes to ‘recognising the complexities and  contradictions’ (S.V.Moos, 1987, pg244) in which this building instils, nevertheless was an ideal way to overcome his statement that ‘less is a bore.’ (R.Venturi, 1966, pg17) Additionally Venturi’s love of distortion over ‘straightforward’ and ‘ambiguous’ over ‘articulation’ (R.Venturi, 1966, pg16) notion is a prime example of how he overcame the modernist tendency of  clean, designed and hence forth the exclusion of design traits. Venturi was similarly intrigued by the parallel of how design in the past related to the hierarchy of upper and lower classes of his t oday and whether or not the aesthetics of said classes could be outlined into categories that reflected the social divisions. More precisely he connected classical modern architecture with that of ancient upper classes such as ruins of palaces and the contrast of how they were erected differently from that of how Venturi describes as ‘ordinary’ peoples buildings. (Learning from Las Vegas, 1972) Everything appears to be in relation to, form, space and social responsibility also implying modern architecture seems to have forgotten the art of steganography in which was not only significantly spanning across four centuries from the 15th to the 19th century but was also how architects learnt to progress, appreciate and respect the aesthetic awareness of form. This can be related back to the Renaissance in which the development of form has been linked to the visual for centuries. Venturi wanted to instil ‘new perceptions of old functions’ (Architecturerevived, 2011). He sought to draw from the past and carefully extract relevant features and characteristics and with the buildings context in the forefront of his mind, apply them. An illustration of is how he exhibited historical examples from Baroque and Egyptian architecture to symbolise frames and overwhelm small window openings. He symbolically implied unconventional messages or problems he thought society needed to address, an  example of this being The Guild House, completed in 1963, (Ref 3) Philadelphia. It displays a system of layers with artistic meaning, organisation and a well thought out design process which represents the importance of historical and architectural discourse. By instilling a gold-plated TV Ariel on top of the building signified what Venturi described as the ‘relevant revolution of today.’ (Architecturerevived, 2011) It communicated the underlying idea that the importance of architecture could potentially be forgotten with the advancement of TV and media. Venturi was concerned that the development of these new technologies were influential on art, ‘a machine for living while practical, is emotionless,’ (Molly Jacques,  2009) and that all reference to historical architecture could be perceived as irrelevant or even worse, lost in the progressing society he found himself in. Therefore the TV Ariel became demonstrative of this, a representation based on the theme of classical architecture. It was also said to represent the buildings inhabitants, by simply stereotyping the occupants, believing they watch too much TV, and alas the symbolic connotation of classical statues in cathedrals. Modern architects had pragmatic views. They believed technological advances allowed for the disregard of all historical periods and movements. Led by the new approach of ‘machines for living’ (The Arts – Le Corbusier, Dominic Gallagher) as Le Corbusier cited, inevitably led to the demise of decorative and aesthetics in favour for more organised and geometrical buildings, in addition to this there was a new enthusiasm for building vertically. Venturi believed that the introduction of this technologically motivated notion advertently simplified architecture so much so it had seen a departure from the ‘experience of life.’ (R.Venturi, 1966, pg17) Consequently becoming focused on what characterised as Realism. Venturi studied people in their everyday life and routines, purposely so as not to exclude designing for social problems and consequently to design for the truth. A somewhat stark contrast to the modernist notion of designing for simplification or t he ‘Less is More’ (R.Venturi, 1966, pg16) idea, as stated by Miles Van De Rohe. This evidently left many social questions unanswered or as Paul Rudolf, a prominent modernist architect quoted ‘all problems can never be solved.’ (R.Venturi, 1966, pg16) Furthermore the development of new materials and constructional technological advances allowed for modernist architects to design freely with focus on spatial forms and geometric proportions. Miles Van De Rohes Pavilion’s illustrate this as they lacked any sort of reference to the past as his desire and purpose was to exploit new technologies to the fullest and have no recognized relation to the past whatsoever. Venturi opposed this as he looked to past historical architecture for inspiration and saw relevance in previous movements and styles. This allowed him to design with meaning and by combing new methods of construction and technology allowed him to develop and erect innovative buildings that reflected historical traits whilst still fitting into a  modern society. A further modernist view was that architecture was about a blend on technology and art, and to inevitably reform some sort of style they believed had become lost in tradition. They admired the emerging new developments, especially in transportation and new materials becoming available. They tried to instil this new, sleek, streamlined look in their buildings. It was almost as if they wanted to draw a line under the past and render a new concept of design to follow with the new advances that were being made in other fields. Nonetheless Venturi held on to his belief that architecture hadn’t become so much as lost but instead had been forgotten. Stating that ‘conventional elements’ (R.Venturi, 1966, pg43) could be applied using the advanced methods the modernists championed, and that some sort of balance could be achieved. It suggests a complete rejection of the past is not relevant in order to move forward in not only a social aspect but also to cater for what appeared to be, a demand for a new architectural style. Venturi was positive in regards to the new materials and construction methods now available and did not deny that they were not beneficial to society in his today and stating ‘conventional elements’ (R.Venturi, 1966, pg43) constructed in ‘unconventional ways’ (R.Venturi, 1966, pg43) supports this. As does his design for the Vanna Venturi House, (Ref 2) constructed in 1961 in which an array of modernist materials were used, such as steel. Yet he chose to mix both development in techniques and materials with historical features to create a design that was visually, functionally and constructed successfully in design. Venturi became interested in the Las Vegas Strip (Ref 4) leading him to write the book ‘learning from Las Vegas’ published in 1972. He came to the conclusion that the city had been built to accommodate for the technologically savvy society. The architectural advertisement method Vegas seemed to have  adopted had all been carefully angled to appeal to the people now driving down the strip. This was an original concept in which to appeal to an audience not necessarily on foot. The architecture almost becomes an advertisement in itself and the landscape inadvertently develops into its notorious messy, chaotic and fast paced form, which also reflected the  traits the city and people in it had undertook. The architecture became a direct contrast to the modernist tendencies as the strip ‘serves culture rather than dictates it.’ (Architecturerevived, 2011) this was perhaps as Vegas was competitive and needed to directly interact with its audience in order to entice them. Venturi was inspired to take aspects of how Las Vegas had so forcefully removed the constraints of which had seemed to be put upon architecture and apply it, however in a not so embellished manner. Venturi states how The Guild House (Ref 3) was built with these intentions as well as having a ‘vernacular’ (Perkowitz, 2002) idea in mind. He went on to exploit every available inch of building space obtainable, by building up six-stories high. An attribute in fact of the modernist conception, however Venturi came to this design conclusion to enable the inhabitants to interact more conveniently with the outside. This was said to be purposely done so as not to break up the prevailing aesthetics of the street, nonetheless still managed to introduce another dimension to it. A fragmented outline of the Southern faà §ade directly contrasts with the smooth surface of the North. This intentionally done so as the building was built for the elderly so rather than isolate, the distorted faà §ade in fact drew the outside in, to allow for maximum interaction in a visual nature. Venturi attempts to imply a Baroque Palazzo style upon the Guild House (Ref 3) by the introduction of white tiles on the lower and upper levels of the building. Which was believed to have ‘symbolic’ and ‘representational’ (S.V.Moos, 1987, pg25) components that merge as a whole which in avertedly was to reflect the architectural connotation of the structure. It was understood that the Guild House (Ref 3) was built on a system of layers. Layers of artistic meaning and organisation, each one symbolising the importance of the historical and architectural discourse. This is reinforced by Venturi testifying ‘knowledge instead of learning’ (R.Venturi, 1966, pg12) supports the fact he draws upon what was effective in the past and relates it to his own compositions. He breaks up the historical foundations and is driven and instils a sense of the past throughout his designs. The modernist notion of designing for what the architect believed society wanted rather than needed impacted primarily upon the poorer societies. Hence forth Venturi was particularly careful when building The Guild House perhaps to show designing  with the context and user in mind can be achieved successfully without social problems having to be ignored or forgotten, again a tendency modern architecture seemed to adopt in fear of losing aesthetic value. Venturi sought to prove you could have both. In reflection it can be said that Venturi is extremely knowledgeable and has an in-depth understanding and appreciation for historical architecture in which he feel shouldn’t be forgotten but instead should be admired and inspire future movements. Despite modernism striping what Venturi believed was the ‘art’ from architecture he fought to overcome these tendencies are drew upon relevant historic features and characterisations and applied them liberally to his design, in accordance to their context. Nevertheless he understood that designing for the user was significant and not to exclude social problems. He undertook the modernist concept of advanced ways to construct and recognised and understood the developing society, yet he chose not to ignore historic references and applied them in a system of layers within his designs to accommodate for the advanced civilization whilst electing to apply asceticism for both a functional and visual experience.

A Personality Self Evaluation

A Personality Self Evaluation In this particular instance the individual whose personality will be examined and evaluated is my own. To begin I will offer a brief overview of my personality as I see it, but this naturally comes with the disclaimer that my initial observations may be biased, especially considering that it is difficult for any person to view themselves objectively. From this point on I will also refer to myself in the third-person (i.e. the subject) to maintain a certain degree of distance from the evaluation. In general, the subjects personality could be described as having a cautious balance between extroversion and introversion. While the subject functions well in both social and isolated environments, he tends to become irritable or bored when forced to dwell in either extreme for too long. In terms of social settings, the subject displays an outgoing personality yet never seeks to dominate a conversation or room. He seems to be comfortable taking up a supporting role, yet will consistently be an active participant in any situation. There is perhaps a more serious side to the subjects personality as well. Especially in isolated or work environments, the subject tends to become quieter and immensely focused on the problem at hand. When looked at in succession, the subjects actions in these two settings seem to display a subtlety dual personality depending on the particular setting in which he is placed. This does not seem to be a faà §ade on any type, but rather the subjects ability to adapt, for a period of time, to any given scenario. This supports the initial conclusion that the subjects personality is fairly fluid and does not remain static over long periods of time. Yet these conclusions only represent a personal opinion of the subjects personality and it is necessary to consider the subject in the light of professional psychological theories. Perhaps one of the most well known theories of personality psychology is the Big Five, which bases its evaluation on five different factors. The first category is openness and within this realm the subject would fall on the lower end of the scale. While demonstrating intellectual curiosity, the subject does not show much interest in artistic or adventurous experiences. So while there is some degree of openness to new pursuits, the subject seems to limit his curiosity to a specific field, which lowers his openness level. The second factor of conscientiousness can be more easily attributed to the subject. In most situations, he will show a good deal of efficiency and display a degree of foresight/planning. While spontaneity might show a willingness to experience new things, the subject prefers to organize such things in advance. Extraversion is the social factor of the Big Five and, as described above, the subject seems to demonstrate both introversion and extroversion. With this in mi nd, the subjects personality falls roughly in the middle of this scale, showing both a willingness to be outgoing and a desire to be on his own. The subject falls high on the agreeableness scale, as he does not display a high amount of aggression in a social setting. There is a natural competitiveness to his nature, but it remains completely in check and is only applied to appropriate situations. The subjects personality shows a desire to be on good terms with those around him, and he does not purposefully judge his peers without reason. In terms of the final category, neuroticism, the subject is once again roughly in the middle of the scale. While he shows a good deal of confidence when entering a new situation, there are also particular instances that will easily anger him or cause him to become nervous. It is difficult to determine which extreme is brought up most often, but it is a fair assessment that the subject displays consistence confidence except for specific situation tha t draw out his ire or vulnerability. This is the basic evaluation of the subjects personality through the Big Five system, but it should not be considered the absolutely correct assessment. While the Big Five is highly regarded as a theory, there are also other beliefs about personality that offer alternate or additional information. Henry Murrays personality theory is one that is not based upon specific categories, but rather is centered on the belief that a persons personality is driven by what they perceive to be their needs and desires. When viewing the subjects personality from this type of perspective, several new conclusions could be brought up. In terms of the subjects life goals, it seems apparent that he does not plan on straying too far from the beaten path so to speak. The lower ranking on the openness level on the Big Five would support the desire of this person to pursue a career within societys norms. His interest in intellectual pursuits would dictate that his desire is to go into an academic or business oriented career. This specific desire would push his personality away from acts of extreme spontaneity or any element that would knock him off his chosen path. The subjects flip-flopping between extroversion and introversion could be based on his desire to occupy both extremes completely, but his inability to do so. As he feels at home in both a social and individual setting, the subject most likely has an innate desire for both situations yet is unable or unwilling to chose a particular lifestyle. The subjects decision to remain as a supporting member of a conversation or of a team could, in Murrays model, indicate a desire to be a part of a team. Rather than lead or risk exclusion by being too upfront with his personal opinion, the subject prefers to be an active yet subordinate member of a group. This could be construed as the subjects desire to conform, but that is too harsh of a judgment and the more accurate conclusion is that the subject has his own opinions and wants but prefers to address them subtly rather than aggressively. Murrays theory, especially when combined with the factors of the Big Five, help to offer a glimpse into the mind of the subject and why his personality has developed as it has. Seligmans theory of positive psychology can only add to the overall evaluation of the subjects personality. This theory looks at the specific aspects of a persons personality that are geared towards promoting a persons happiness, a component that is often overlooked when examining psychology. The subjects personality is very aligned with the pursuit of knowledge, which is considered by Seligman to be a basic part of human happiness. The subject chooses to continually better himself by learning new ideas. This promotes his own happiness by giving him a more educated and diverse view of the world. When combined with Murrays theory, it could be said that the subjects desire to be happy has pushed his personality to be intellectually curious as he recognizes on a subconscious level that these academic pursuits make him a happier person. This could also be applied to the fact that the subject is capable of controlling his baser emotions (anger, fear, etc.) so that they are not commonly vi sible. This shows a degree of self-restraint that allows the subject to exist within a comfortable and pleasant social setting. There are a variety of Seligmans factors of positive psychology that the subject has not had enough life experience to fully be judged upon (courage, humanity, etc.). Nevertheless he does have a personality that can be viewed through the lenses of positive psychology. There are aspects of the subjects demeanor that can only be explained when one considers that he acts this way in order to promote happiness for himself. When these three psychological theories/viewpoints are combined, one gets a much deeper understanding of the subjects personality. If one chooses to only use a specific theory, then there will be a much more shallow assessment of this person and the way he acts. By using these three distinct theories the evaluation was able to understand the basic factors of the subjects personality through the Big Five, gauge the subjects desires through Murray, and see how his personality is adapted to allow for maximum happiness using Seligmans positive psychology. All three are different approaches, but they can be combined and melded to allow for a well-rounded evaluation. At the closing of this paper, it seems appropriate to once again mention that this type of personality self-evaluation could be said to be extremely biased. They represent what I believe to be the most accurate assessment of my personality, yet it is often hard to judge yourself negatively or to admit any ulterior motives for the way you act. I have attempted to give the most fair and unbiased opinion as I could, but in the end, there is a reason that people are evaluated by outside psychologist/therapists rather than being left to their own judgments.

Graduation Speech: Lifes Defining Moments :: Graduation Speech, Commencement Address

I was watching a re-run of the "Dr. Phil" show the other day, and he was offering advice to someone who had an anger problem. Dr. Phil asked him to recall the top 10 defining moments in his life, which is where the secret to his anger problem was supposed to lie. So, I began thinking about what are the top ten defining moments in my life? The birth of my daughter was the first thing that came to my mind. She made me a mother, along with a 24-hour worrier and an insomniac. As I began to dwell more on the topic I realized that going to college has not only been one of my defining moments, it has made me who I am. With all the different classes we take Community College, we realize interests we never knew we had. My first three quarters here, I was in the Running Start program, which allowed me to graduate high school while taking college courses. I took a political science class, just to fulfill my American history credit, and I realized I love politics. I never knew I had such a passion for debating heated topics like gun control until the teacher couldn't get me to stop talking in class. psychology taught me that my weird 2-year-old isn't so weird after all. And chemistry taught me that I really don't care for science that much. So, when my friends tell me they aren't going to college because they don't know what they want to do, I ask them how are you ever going to figure it out? As you guys have your celebrations and get-togethers today, I encourage you to think about your first day at Johnson and how you have changed since then. Do you look on the world in a different way, or did college just confirm that this is the person you truly are? On one hand, my viewpoints on topics changed completely, when my professors opened up my eyes to things like discrimination and class-ism, and on other hand some of my beliefs were strongly supported. Throughout school, I had everyone supporting me. When you have a baby young, everyone pressures you to finish school. I'm very proud to say that I continued school, not only for myself, but for my family too. Not because it is what I was suppose to do, although it is what was best for me.

Evolution of the Geeks Essay -- Essays Papers

Evolution of the Geeks In the past 20th century, the word geek has evolved into many different meanings. The term branched off to create a person with low social skills, often with high intelligence, a person highly interested in computer technology, and a person with a devotion to something that places him or her outside of the mainstream. Geek usually has negative connotations within popular culture, where being a geek tends to be an insult. The term can also be a badge of honor among subcultures, such as the know-it-all of Star Trek. Media dictates popular culture. The television sitcoms I’ve watched growing up all displayed who is the stereotype for a geek. Steve Urkel from Family Matters, Screech from Saved By The Bell, Ross from Friends are some examples. All are viewed as highly intelligent and with low social skills. Yet the word is still evolving and currently is accepted as an honor. Examples of cool geeks of the 21st century are hobbits from Lord of the Rings, Harry Potter, Seth Cohen from The O.C, and Napoleon Dynamite. The consensus of the word geek by the media shapes the society’s minds of what is perceived to be true. The term stereotype is usually referred to be a term of abuse. It gives society a short cut to identify and categorize people. The word also evokes a consensus among all of society. According to the Oxford English Dictionary Online, the word geek was introduced as the lowest of carnival performers, often displaying acts of swallowing live animals. It evolved in the 20th century to represent a person who is highly intelligent yet lacks the ability to socialize. This representation inflicts psychological and social behaviors that often consider geeks as outcasts and victim to abuse from the ... ... taped-up glasses, the 21st century is welcoming the geek to the mainstream. Geeks are adorable, relatable, and provide comic relief. With the following of Harry Potter fans and quirky geek icons such as Napoleon Dynamite, the geek of today is the ultimate cool. Now geeks put the pop in pop culture. Works Cited Lester, Paul M., ed. Images That Injure: Pictorial Stereotypes in the Media. Westport: Praeger Publishers, 1996. Long, Tom. â€Å"Great geek portrayals save â€Å"Dynamite† from its clichà ©s.† Rev. of Napoleon Dynamite, by Jared Hess. The Detroit News on the Web 2 July 2004. 20 October 2004 < http://www.detnews.com/2004/screens/0407/07/e01-201089.htm>. Oxford English Dictionary Online. . Soergel, Matt. â€Å"RETURN OF THE NERDS: Geeks are the coolest things in movies this summer.† Florida Times Union 28 Jul. 2004, city ed., c-1.

Resistance to Organizational Change in Business Essay -- Business Deve

By any objective measure, the amount of important, frequently distressing, change in organizations has grown enormously over the last two decades (Kotter, 1996). Jeffrey M. Hiatt, CEO of Prosci Inc., (as cited by Gibson, Ivancevich, Donnelly & Konopaske, 2009, p. 481) explained, â€Å"thirty years ago, a fortune 100 probably had one or two enterprise wide change initiatives going on; today that number is probably between 20 and 25.† The speed of global, economic, and technological development makes change an inevitable element of organizational life. Change is a pervasive, persistent, and permanent condition for all organizations (Gibson, et al., 2009). Organizational change means different things, and strategic renewal comes in different forms. Organizational change includes such concepts as first-order; incremental, continuous change and second-order, transformational/revolutionary, discontinuous change: †¢ First-order, incremental change, which may include modifications in systems, processes, or structures; however, it does not involve basic change in strategy, core values, or corporate identity. First-order changes preserve and develop the organization: they are changes created, almost contradictory, to sustain organizational continuity and order. †¢ Second-order, discontinuous change is transformational, extreme, and substantially alters the organization at its core. Second-order change does not involve developing change, rather it entails transforming the makeup of the organization (Palmer, Dunford, & Akin, 2009). In addition, Nadler and Tushman (as cited in Palmer, et. al, 2011) develop this distinction involving incremental and discontinuous change, explaining th... ...telnikov, V. (2001). Strategic management. Retrieved from Company Vision: http://www.1000ventures.com/business_guide/crosscuttings/vision_creating.html Kotter, J. P. (1996). Leading change. Boston, MA.: Harvard Bsuiness Review Press. Logan, B. C. (2007). A framework for mixed stakeholders and mixed methods. Ejbrm.com , http://www.ejbrm.com/vol6/v6-i1/CrumpAndLogan.pdf. Palmer, I., Dunford, ,. R., & Akin, ,. G. (2009). Managing organizational change (2n ed.). New York, NY.: McGraw-Hill Irwin. Preziosi, R. C. (1996). Organizational diagnosis questioinnaire (ODQ). Spector, B. (2010). Implementing organizational chang: Theory into practice (2nd ed.). Upper Saddle River: Pearson Prentice Hall. Vecchio, R. P. (2008). Leadership understanding the dynamics of power and Influence in Organizations,(2nd ed.). Notre Dame, Indiana: university of Notre Dame Press.

Poes Lost Love, Poetry Paper

ENG 102 March 19, 2013 Poe’s Lost Love When first reading â€Å"Annabel Lee† by Edgar Allan Poe, there’s a sense of love that you can feel realistically and immediately. Edgar Allan Poe is one of the most famous poets of the 19th century. Poe is considered to be the father of modern detective stories and highly admired. The dark gruesome images that Poe depicts are what makes readers love his work. He paints a clear picture and uses that setting to his advantage in each of his dark tales. In â€Å"Annabel Lee† he writes a happy yet dark poem using the elements of imagery, symbolism and tone to show his permanence of true love.Edgar Allan Poe is the most famous poet in his genre of dark, gruesome mystery. â€Å"Poe had a difficult upbringing, fraught with illness, loss and poverty. † (Giammarco online 01/2013). Poe’s parents both died when he was the age of two, which left him orphaned. Poe was also poverty stricken most of his life and could not even finish college due to the lack of funds. After college, â€Å"he briefly attended West Point Military Academy and served briefly in the U. S. Army. † (Delbanco, Cheuse 291) Poe then married his thirteen year old cousin who contracted tuberculosis, which took the life of his mother and father as well.These events probably triggered his dark sense of writing influencing his famous poems such as â€Å"The Raven†, â€Å"Tell Tale Heart†, â€Å"Annabel Lee† and many more. Poe was very talented, not by just writing poems and stories, but he worked for many newspapers and magazines as well. Poe passed away at the young age of 40, with his death a mystery. (Delbanco, Cheuse 291) The poem â€Å"Annabel Lee† is about a beautiful, painful memory. A childhood love was abruptly brought to an end when Annabel Lee passes away. Poe wants you to know in this story that it is a great love, not just a childhood fling. â€Å"But we loved with a love that was more than love† (9).This love is so great that even the angels are jealous of this, which is why he believes they took his love away. His love is so strong for this girl that he lays down every night by the dead body in the tomb. â€Å"I lie down by the side / Of my darling, my darling, my life and my bride† (38-39). This is poem turns when his true love dies and steps into his point of view in his dark world. â€Å"Annabel Lee† is a six line, six stanza ballad. A ballad is a type of poem that is intended to be recited or sung. A ballad poem â€Å"tells a lively or tragic story in simple sample† (Delbanco, Cheuse 796).In the poem â€Å"Annabel Lee†, Poe makes his story feel very realistic, almost as if you were the one who lost your love. In each set of stanzas, Poe sets up a pattern of rhymes. Also, he sets a pattern of a long line followed by a short line and so on. But in a few spots he switches it up. Poe was very talented when it came to setti ng. The first tactic that he uses in â€Å"Annabel Lee† was imagery. Imagery is the things that are seen, or imagined. Imagery is visually or figurative language used to create lyrical emotion. In â€Å"Annabel Lee† Poe refers to a kingdom by the sea over and over again.This help creates a picture of a time and place a long time ago and makes his love seem more mysterious. He also uses imagery when describing â€Å"That the wind came out of the cloud, chilling / And killing my Annabel Lee† (25-26) putting a vast picture in our head that is merely a sickness taking over her body. The second strategy that Edger Allan Poe uses is symbolism. Symbolism is practice of representing things by symbols, or with a symbolic meaning. Poe talks about â€Å"For the moon never beams without bringing me dreams† (34) which is a symbol for the character not being able to sleep at night without dreaming of his love.In this poem Poe also talks about a highborn kinsman. This i s a symbol for everyone who doesn’t understand his love for this girl and just thinks that they were young. Poe was a very talented man. Although he never was a rich famous man while he lived, his dark gruesome tales are known by everybody today. His skills of using symbolism and imagery in â€Å"Annabel Lee† have made it one of his more well known poems. Many people believe that his inspiration for this poem was the death of his wife. â€Å"Annabel Lee† is a great love poem that came out of the dark mind of Poe and will always remain a classic.

Edgar Allan Poe Essay

Edgar Allan Poe was evil genius for his time and a great literary forerunner of today. He created the mind set for current writers such as Stephen King, Clive Barker, and Robin Cook by creating the horror story. Poe invites the reader to enter the mind of the narrator by using our senses as a way to provoke terror, suspense, and awe. His writing was influenced by many tragic losses in his life, and this would explain why Poe was a writer of such morbid short stories and poems. Poe’s experiences in life definitely influenced the remarkable literary work he produced. In his early life he had to deal with the death of both his parents, a difficult experience, but Poe accepted it as time went on. Later on in his life Poe’s stepfather disowned him. Young Edgar’s life was changed due to abandonment, alcoholism, and depression. In 1832 Poe moved in with his aunt and his 11 year old cousin in Baltimore. Poe then married his younger cousin in 1836. However, Poe did not know that he would suffer yet another terrible loss, the loss of his love, his wife. Poe’s ability to write literature was the window for him to express his feelings. All of Poe’s tragic losses affected the way he wrote. Poe used his life experiences to make his writing a lot more interesting. Poe’s writing is remarkably interesting. The poem â€Å"The Raven† showed how Poe erected a crazed state of mind, as the poem shows how the loss or a loved one drove a person crazy. This poem was possibly created for his wife that he had lost. While reading the poem it seems as if the stresses of the life of Poe, and his thoughts and feelings were all put into this poem. Throughout Poe’s life, many factors have contributed and influenced his writing style. He lived a difficult life, because he was raised in a dysfunctional household. But the final product of Poe’s mind is printed in his short stories and poems. Poe’s stories all have similar motifs and composition that would suggest suppressed emotions from life experiences are being discharged through his writings. The most prominent feature of Poe’s writing is his obsession with death. Poe’s writing does more than entertain the reader. It can be an insight into the dark and somber world of Edgar Allan Poe. One does not understand the meaning of Poe if one reads at the superficial level. One has to read into Poe, and understand the hardships of his life and how he maintained them that way. He knew that death was an inevitable part of life, it is the price of life, but he tried to fight it as if it was an unnatural part of life. He was an extremely intriguing man from all viewpoints, and he was and is, the dark side of all of us. It is difficult not to link Poe’s fictional stories with his real life. Evidence shows that Poe had a heart condition during his later years in life. Could â€Å"The Tell Tale Heart† be his own fear of the disease? Who knows? Could Poe have been expressing his fears that his alcoholic rages may cause him to hurt the one’s he loved most in his tale â€Å"The Black Cat†? Finally, was â€Å"the Pit and the Pendulum† an allegory of his life? Did he find himself caught â€Å"between the pendulum of financial adversity and the pit of degradation of death†? Poe made the reader feel as if the reader were there, in the story, struggling with the same terrors of the characters. All his famous mystery thriller works give the reader a sense of nervousness, a sense of fear, and a sense of evil, by making our five senses awaken by reading every word. Critics say that Poe did not merely imitate the Gothic tales, but he also â€Å"enriched them by preserving a central action while adding philosophical speculations and lore that deepened the impressions of the tales†. As a result of the traumas he endured, Poe was â€Å"unafraid of taking his readers for a walk on the dark side, where lines between life and death were sometimes blurred†. His ability to tap into humankind’s deepest fears and his consistency in portraying such intriguing and captivating themes is what has kept the work of Poe timeless. In short, Edgar Allan Poe has created many great stories for us. He liked to illustrate the dissolution of an individual’s mind and body, as he had suffered it himself for quite a long time. He thought death is unavoidable, because he experienced keenly deaths all around him and its threat on his own life. He was obsessed by the loss of love of ideal women, for he had the same experience in life. Now, we can understand why Poe had a tendency of choosing such themes. Poe is an author of the inner world and his writings are his psychological autobiography to some extent. In this respect, Poe pioneered a new field in literature. He is the first one who focused on man’s mental and spiritual activities, and his writings have deep influence on many of later writers.    WORKS CITED Poe, Edgar Allan. Introductory Notes and Editor’s preface by Phillip van Doren Stern. In Selected Tales and Poems. The Viking Portal Library, Penguin Books, 1993. Moore, R. â€Å"The Tell-Tale Heart: Discussion.† 2002.Online. Internet. 11 November 2002. Available WWW: http://www.allpoe.com Murphy, Sally. â€Å"Poe’s Poetry.† 2002.Online. Internet. 12 November 2002. Available WWW: http://www.allpoe.com Meyers, Jeffrey. Edgar Allan Poe His Life and Legacy. New York: Macmillan Publishing Co., 1992. Peters, James. â€Å"Edgar Allan Poe.† April 1, 2002.http://www.island-of-freedom.com/POE.HTM Silverman, Kenneth. Edgar A. Poe: A Mournful and Never-Ending Remembrance. New York: Harper Collins Publishers, 1991. Death of Edgar Allan Poe. New Brunswick, NJ: Rutgers University Press, 1998

Conventions of the Gothic Horror †The Tell-Tale Heart by Edgar Allen Poe Essay

Tick, tick, tick, the heart ticks on. The Tell-Tale Heart is another spooky Gothic Horror story written in the 19th century by Edgar Allen Poe. Written entirely in first person, we follow the account of a young man driven to insanity by his mad actions. The person we hear the tale from tells us of his emotions and his feelings along the way. The young man lives with an older man who has never harmed him or never done anything wrong to him, but he decides to kill the older man. The old man’s eye drives him to this terrible deed as it looks like a ‘vulture’s eye’ and makes his blood run cold every time it sets upon him. The young man slowly but surely progresses into a state of madness and plots the murder of the old man by spying upon him sleeping at midnight every night. We come to the night of the murder, and the young man is almost caught spying on him as the old man wakes from his sleep terrified, the time comes and the young man leaps into the room, throws the man to the floor and pulls the bed over him. He dies. Chopping the body into pieces and carefully hiding them under the floor boards the police call round about a scream they were informed of, the man is not afraid, but as he sits there chatting away to them calmly a ticking fills his ears and no matter what he tries it gets worse and worse until he finally goes mad and confesses to the police of his crime. We define different stories by genres, how we find out what genre the book fits in is by determining if the story has the correct conventions within it. Within the Tell-Tale Heart we are frequently shown conventions of the Gothic Horror genre, reversal of common norms is one convention shown to us: â€Å"He had the eye of a vulture†¦Ã¢â‚¬  From this quotation we can see the narrator describes the old man to have ‘the eye of a vulture’. As we know full well this is not very possible for some one to have the eye of a vulture and a normal human doesn’t have an eye of a vulture. This shows us the reversal of common norms and the irregularity of the characters in this story. The eye is compared to a vulture’s and this creates a sense of fear and unknown as the character is afraid of this eye even though he is not afraid of the owner. Abandoned isolated setting is another convention in the Gothic Horror genre and is shown in the Tell-Tale Heart: â€Å"Amid the dreadful silence of that old house† An abandoned setting is frequently used as a setting in the Gothic Horror genre as it easy to use this setting to create an atmosphere of danger, fear and concern. The Victorians are reflected in this convention as they were feeling abandoned and isolated after their beliefs and religion had been purposely ripped to shreds by science proving them wrong. Another convention is high emotion: â€Å"Very, very dreadfully nervous† We see that the narrator here is very nervous showing us his high emotions within the story and giving an atmosphere of fear. As it is told in first person we, the readers, are affected by the nervousness of the main character and in the story it creates an atmosphere of fear, nervousness and anxiousness. The Victorians were very nervous at the time of the crisis and were probably in a state of high emotion. Sense of mystery and suspense is yet another convention found within the Gothic Horror genre and the Tell-Tale Heart: â€Å"†¦ a very, very little crevice in the lantern. So I opened it — you cannot imagine how stealthily, stealthily†¦Ã¢â‚¬  Mystery and suspense is a convention that increases the Gothic Horror genre intensely as it builds up the emotions of the characters and leaves the readers wanting to read on to find out what happens, the atmosphere created by this convention is an agonizing heightened sense of anticipation. The Victorians would have been in suspense and most of it would have been mystery as well as they were waiting for some sign of their beliefs to be confirmed as still true. The use of darkness and gloom in the Tell-Tale Heart is shown often too: â€Å"†¦black as pitch with thick darkness†¦Ã¢â‚¬  Darkness and gloom creates an atmosphere of derangement and confusion as you feel something could jump out at you anytime. To the Victorians this would have scared them a lot as their loneliness and the darkness surrounding them could mask anything hiding and could scare them even more. â€Å"†¦It is the beating of his hideous heart!† This quotation shows us the convention of supernatural occurrences, we get from this quote that the narrator can hear the beating of his heart even though he is dead already. The atmosphere here is of fear and terror as the thought of a dead mans heart still beating is very scary and could drive even the sanest person into madness. For my last convention it will be dangerous omens: â€Å"All in vain; because Death, in approaching him had stalked him with his black shadow before him†¦Ã¢â‚¬  From this quotation we can feel a sense of someone being hunted or stalked, in this case it would be the man being hunted down by death and taken from the world. Atmospherically it would create fear and paranoia, as the feeling of getting pursued by an unknown person or being would be chilling and creepy. The Victorians could be represented as the people being stalked and science would be the stalker or hunter, as they were pursuing religion of the people and destroying it with their logical theories. The Tell-Tale Heart truly is a Gothic Horror story. With the conventions of Gothic Horror found within the story nearly every line you read, Edgar Allen Poe wrote an amazing, gripping and scary story in the 19th century, this story was called the Tell-Tale Heart.

Trafficking in Taiwan Aboriginal Music Summary and Analysis †Music Paper

Trafficking in Taiwan Aboriginal Music Summary and Analysis – Music Paper Free Online Research Papers â€Å"Trafficking in Taiwan Aboriginal Music† Summary and Analysis Music Paper In this article, Nancy Guy raises the issue on how artists from the First World use â€Å"exotic† material produced from indigenous world music but do not acknowledge their uses. Therefore the recording artists are the ones who benefit and profit and not the original creators. Since there are no official copyright laws for international music there is an easier access for stealing music. In the U.S. there are strict copyright laws but only for music with an author and provide a physical copy. Given that through generations, indigenous music is usually passed down orally, there is no specific author or a â€Å"tangible† copy. Guy presents an example with the case between an artist from the U.S., Michael Cretu versus aboriginal singers from Amis tribe in Taiwan. In Cretu’s song, â€Å"Return of the Innocence† a large portion contains Ami singers’ voices but they were not recognized in any way. This resulted in the Ami singers suing Cretu and EMI recording company. As stated in the article, the whole controversy could have been avoided if a few words recognizing the Ami music were printed on the album. Although it seems like common sense to recognize people’s work when you use it for your own purpose, sometimes it is forgotten. This issue is similar to today’s controversy of sharing music through the internet without compensating the music artists and recording companies. I feel that it is unethical to steal music but it depends on if the person is using it as his or her own music or just listening to it. These types of copyright issues are hard to solve but for now it should be left to the legal system. Research Papers on â€Å"Trafficking in Taiwan Aboriginal Music† Summary and Analysis - Music PaperHip-Hop is ArtWhere Wild and West MeetMoral and Ethical Issues in Hiring New EmployeesAnalysis Of A Cosmetics AdvertisementAnalysis of Ebay Expanding into AsiaRelationship between Media Coverage and Social andEffects of Television Violence on ChildrenPETSTEL analysis of IndiaQuebec and CanadaMind Travel

Deans Death essays

Dean's Death essays Upon a second look at Deans death, the author arrives at some new conclusions. Did Deane really commit suicide? From Deans letters and surviving papers the author concluded that Deane believed himself innocent and would not have had any obvious motive for suicide. And even if he did feel guilty for doing something wrong, why would he kill himself ten years after the fact? Why would he wait a week aboard ship to take the poison in? We have no proof that Deane committed suicide, we do not know the circumstances of his death. The report that was made by a captain of the ship was never preserved. His suicide was a suspicion of Dr. Bancroft, his closest friend. He wrote Deans death account. The author suspects that this very Dr. Bancroft was the one who helped Deane die. Deane knew that Dr. Bancroft was spying for Britain, that he was a traitor, a double agent. Deane had too much information about Dr. Bancrofts wrongdoing and Dr. Bancroft got too nervous that all the truth would be revealed. In London Dr. Bancroft could watch Deane but in America he could not. He did not want to loose all his privileges, it was easier for him to get rid of Deane. Dr. Bancroft did not just murder him. He was an expert on poisons and probably slipped some of it into Deans laudanum mixture knowing that Deane would not take it until he was on shipboard off to America. He had a good alibi. He was not on a ship along with Dean and he did not see him for more than a week. As for me, I agree with the authors suspicion that Deane did not commit suicide but died from a deadly poison given to him by Dr. Bancroft. Why would Deane want to end his life aboard ship if he was going to America in order to start a new life? He had made plans for the future and suddenly killed himself? I do not think this is the case. I think Dr. Bancroft had to do with it. I think, his fear of being busted, of being accused a...

The first binary system Essays

The first binary system Essays The first binary system Essay The first binary system Essay This essay will look at the history of computers, beginning from Stonehenge and going right through to today. It will look at what the future holds for the world of computing and I will try to determine the start of this particular technology. It will go on to discuss the computers of today and more importantly what the future holds for computers. I will try to briefly out line the history of the computer, presenting my findings chronologically. The continuous progression of the computer has lead us to the advanced machines they are today and offer us an insight into the pattern of future developments. Throughout the essay I will include information from a number of different resources, which I will use to explain and analyse my findings. I have traced the first findings of computer science back to many years ago when man still dwelled in caves. The religious and animalistic traditions of early man required instruments to calculate particular religious dates. From this Shamanistic traditions man created a primitive calculating device, counting notches on sticks or marks on walls. This primitive technique evolved and big Stonehenge structures were erected, these can still be seen today in Salisbury England. The enormous structures are today monuments of mans desire to calculate and compute information. Over on the other side of the globe in china the abacus was born. The abacus aided the calculation process and therefore must be considered a computing device. The way the abacus works shares similarities with the dictionaries definition of a computer. This is the place value notion and the retrieve and store method mentioned in the dictionary. Twelve centuries later, an 18-year-old taxpayers son invented a numerical wheel to help his father calculate tax. The device was called a Pacaline named after its creator. The problem with the Pascalator is that it could only be repaired by Pascaline. This resulted in job loss and techno phobia which still occurs today. The device was later improved and can still be found today in water meters and modern day odometers. The real beginning of the computer as we know them today is a result of the English mathematician Charles Babbage. He hoped there would one day be an automated computer powered by steam. It was never constructed, but outlined the elements of the modern day general-purpose computer. Babbages computer was a real analytical engine, it had built in control and allowed instructions to be represented in specific order, rather then numerical order. An American inventor set a task to create a faster computer using the jacquard loom concept. The computing process used cards to store dates, this differed from previous methods, which used cards to instruct the computer. This system enabled the computer to work faster, store more information, and resulted in fewer errors. The creator Hollerith brought his machine, known as the punch card reader, in to the business world. The company later became the International Business Machine or IBM. The punch card system become very popular in the 60s and was used by business and the government. Holleriths machine was limited to certain tabulation and could not accommodate more complex forms. The first binary system was developed by a German in 1941. The binary system was a programmable computer design composed of zeros and ones. The binary representation proved important in the design of modern day computers.  The punch card machine became so well established and reliable, that Howard Aiken collaborated with the engineers at IBM and refined the IBMs standard automated computer to build the Howard Mark 1. The Mark 1 remained in use until 1959, even thought other machines had surpassed it in performance. It provided vital calculations for the navy in world war two. Meanwhile over in Great Britain a mathematician named Alan turning wrote a paper called Computable numbers. Alan Turnings paper described a hypothetical device that presaged programmable computers. The Turning machine was designed to perform logical operations and could read, write, or erase symbols that were written on squares of a infinite paper tape. The purpose of turnings paper was not to invent a computer but rather to describe problems that are logically possible to solve. Turnings hypothetical machine has characteristics that resemble modern day computers. The hypothetical machines memory allows it to read, write, and erase data, just like modern day RAM. Back in America the Havard Mark 1 was highly successful opening doors for further developments by Americans computer giants. The second contribution to the computing world was the ENIAC or electrical Numerical integrator. ENIAC is generally considered to be the first successful high speed digital computer and was used from 1946 to 1955.

Free Essays on Witch

Free Essays on Witch Conviction Thoughts running through my mind As I stare out the lonely window I wonder†¦ What’s going to happen to me? If I am convicted, will they let me live or let me die? Why do they believe that I am a witch? What have I done? I haven’t pointed my finger I haven’t conjured any spells I was just simply dancing in the woods Does that make me a witch? I haven’t ever spread any wings I haven’t ever flown like a bird I just don’t understand I’m not a witch I’ve haven’t ever talked to the devil I haven’t worshiped any spirits How can I prove to you that I am not a witch?...

Genre Definition and Examples in Literature

Genre Definition and Examples in Literature In literature, every piece of writing falls under a general category, also known as a genre. We experience genres is other parts of our daily lives, such as movies and music, and in each case, the individual genres typically have distinctive styles in terms of how they are composed. At the most basic level, there are essentially three main genres for literature - poetry, prose and drama - and each can be broken down even further, resulting in dozens of subgenres for each.  Some resources will cite only two genres: fiction and non-fiction, though many classics will argue that fiction and non-fiction can, and do, both fall under poetry, drama or prose.  Ã‚   While there is much debate over what constitutes a genre in literature, for the purposes of this article, we will break down the classic three. From there, we will outline some of the subgenres for each, including those that some believe should be classified as main genres. Poetry Poetry is a style of writing that tends to be written in verses, and typically employs a rhythmic and measured approach to composition. It characteristically is known for evoking emotional responses from readers through its melodic tone and use of creative language that is often imaginative and symbolic in nature. The word â€Å"poetry† comes from the Greek word â€Å"poiesis† which essentially means, making, which is translated into the making of poetry. Poetry is typically divided into two main subgenres, narrative and lyric, which each have additional types that fall under their respective umbrellas. For example, narrative poetry includes ballads and epic tales, while lyric poetry includes sonnets, psalms and even folk songs. Poetry can be fiction or nonfiction. Prose Prose is essentially identified as written text that aligns with the flow of conversation in sentence and paragraph form, as opposed to verses and stanzas in poetry. Writing of prose employs common grammatical structure and a natural flow of speech, not a specific tempo or rhythm as is seen in traditional poetry. Prose as a genre can be broken down into a number of subgenres including both fiction and nons of prose can range from news, biographies and essays to novels, short stories, plays and fables. The subject matter, if it is fiction versus nonfiction and length of the work, are not taken into consideration when classifying it as prose, but rather the style of writing that is conversational is what lands works in this genre. Drama Drama is defined as theatrical dialogue that is performed on stage and traditionally is comprised of five acts. It is generally broken down into four subgenres including comedy, melodrama, tragedy and farce. In many cases, dramas will actually overlap with poetry and prose, depending on the writing style of the author. Some dramatic pieces are written in a poetic style, while others employ a more casual writing style seen in prose, to better relate to the audience. Like both poetry and prose, dramas can be fiction or nonfiction, though most are fictional or inspired by real life, but not completely accurate. The Genre and Subgenre Debate Beyond these three basic genres, if you conduct an online search for â€Å"genres of literature,† you will find dozens of conflicting reports that claim any number of main genres that exist. There is often debate over what constitutes genre, but in most cases, there is a misunderstanding of the difference between genre and subject matter. It’s common for subject matter to be considered a genre in not only literature, but also in movies and even games, both of which are often based on or inspired by books. These subjects can include biography, business, fiction, history, mystery, comedy, romance and thrillers. Subjects may also include cooking, self help, diet and fitness, religion and many many more.  Ã‚   Subjects and subgenres, however, can often be intermixed. Though, it can be  a challenge to determine how many subgenres or subjects actually exist, as there are differing opinions on each, and new ones are created regularly. For example, young adult writing has become increasingly popular, and some would classify it as a subgenre of prose. The difference between genre and subject is often blurred by the world around us. Think of a time when you last visited a bookstore or library. Most likely, the books were divided into sections - fiction and non-fiction for sure - and further categorized based on the type of books, such as self-help, historic, science fiction and others. Many people assume that these categorizations of subject matter are genre, and as a result, common language today has adopted a casual use of genre to mean subject.

Not Winning a Contest Doesnt Mean Your Writing is No Good

Not Winning a Contest Doesnt Mean Your Writing is No Good Not Winning a Contest Doesnt Mean Your Writing is No Good Not Winning a Contest Doesnt Mean Your Writing is No Good By Maeve Maddox The votes are in and the winners announced for the Second DWT Short Story Competition. Congratulations to winner Violet Toler and runner-up Easton Miller. Your stories pleased many readers. Contests are rough on writers. If we enter and dont win, its very hard to shake the feeling that our writing isnt any good. Possibly it isnt. But another possibility is that it just didnt appeal to the judgesin this case, 667 DWT readers from every walk of life and from many different countries and cultures. Hey, you cant please everybody! I didnt read all 97 entries, but I did read the eleven that made the final cut. And I read the tabulation of the votes with interest. The two entries I liked best came nowhere near the top in the voting. My picks were Crazy Fay by Sherry Roth and 2 AM and Counting by Katrina Mohr. Crazy Fay by Sherry Roth In this story, set during a Florida hurricane, a middle-class woman glimpses a homeless woman in a coffee shop. The images are striking and the language fresh. I especially like the detail of the raindrop earrings: Several people stood in line ahead of me, including one woman who had matted, wet salt-and-pepper hair, with rainwater droplets bizarrely hanging from her earlobes like a poor excuse for earrings. I tried not to stare, but those little droplets had me mesmerized. For her part, she didn’t seem to notice them. Roths descriptions and the inner dialogue of the narrator work together towards a poignant climax in which the narrators good intentions, belatedly conceived, come to nothing. Now thats true to life. 2 AM and Counting by Katrina Mohr I cant say I liked Katrina Mohrs story about the drug addict, but I certainly admire her skill in taking me inside the head of a junkie waiting to rob a liquor store. From the first sentence I know that hes a man who thinks about consequences and contingencies: The car window was crank-powered, not electric, but he preferred it that way. He never warmed up to the idea of being entombed in his car should it refuse to start. The author chooses words and descriptions to appeal to all the senses: the silver Zippo hissed he watched the smoke rise with his breath in the cold air The ashtray was full, spilling butts and gray-white powder Bruises along the underside of his arm throbbed impatiently and he felt like he was about to puke again. Congratulations to Daniel for generating so much participation in his second DWT writing competition. I look forward to the next one. Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Fiction Writing category, check our popular posts, or choose a related post below:50 Handy Expressions About Hands50 Nautical Terms in General UsePhrasal Verbs and Phrasal Nouns

What is a Discourse Community Essay Example | Topics and Well Written Essays - 1000 words

What is a Discourse Community - Essay Example What is a Discourse Community? John Swales was seen to ascribe a set of six distinguishing characteristics to help establish and define discourse communities, however, the most important distinguishing characteristic was that first, the community have a broadly agreed upon set of common goals. Secondly, the community needs to have an established mechanism via which its members are able to easily communicate among themselves. Third, an effective discourse community is should be able to effectively use its communication mechanism in providing feedback and information; this may also be seen to serve a relatively secondary goal of aiding the community in realizing its goals. Discourse communities tend to share certain expectations pertaining to the appropriate use of form, function of texts and topics. Fifth, discourse communities generally tend to establish a fundamentally specific lexis an example of which may include the development of specialized technical terminologies. Finally, discourse communities are setup ha ving a given threshold level, this level ensures that the members of a given discourse community have a certain basic degree of discourse expertise. Before one can be able to join any given discourse community, they should essentially be able to sufficiently be able to exhibit a certain given degree of knowledge structures. This knowledge of structures that members re required to show an understanding of is seen to generally relate to not only formal schemata such as communication between members, goals of the community and genre convention, it is also seen to be related to the world (Zhu, 35). The School Football Discourse Community Being a student at our school, the importance of football in the school cannot be over emphasized in any way. The first time I attended one of the school’s football games, I was totally taken in by the excitement of the crowd that sought to cheer on the team to victory. Though out the game, it was not uncommon to hear certain calls being called into play. The coach constantly called for plays using terms such as â€Å"13-17-2-8 Action† or â€Å"4 to 6-6-3†. Although these calls appeared gibberish to a bystander like myself, the football players clearly understood, what they were being instructed to do as was evidenced by their changing of their formation as well as play. This was seen to result in very positive results for the football team. Wherever a play did very well or happened to score, the players would quickly run to the player and jump all over each other in what to me seemed to be a painful experience. I constantly asked myself exactly how one could possibly score if by doing so, one essentially risked having the weight of almost half of the team piling on himself. However, my unvoiced pitch-side concerns did not essentially seem to matter to them. After the brief wild moment of celebration, the members of the team would exchange a special handshake with each other. I often found myself envying the close relationship and synergy between the team members. However, my flimsy attempts to qualify to join the elite team of about 24 members in a school with thousands of students met a disastrous ending and I left the field half feeling that I had essentially made a great fool of myself at the tryouts. The members of this discourse community also tend to constantly hang around each other at school discussing football matters and plans so as to help improve their game, they also commonly discuss the strategies that they plan to employ so as to beat

IFRS and GAAP Convergence Essay Example | Topics and Well Written Essays - 750 words

IFRS and GAAP Convergence - Essay Example ich have been adopted by the International Accounting Standards Board and comprise of IFRS, IAS (International Accounting Standards) and Interpretations. The term GAAP refers to the Generally Accepted Accounting Principles used by the CPA firms and companies in order to present their financial statements. These are also referred as the rule-based accounting standards. The Financial Accounting Standards Board (FASB) and the International Accounting Standards Board (IASB) are jointly functioning in numerous cooperative assignments intended to enhance the compatibility of US Generally Accepted Accounting Principles (US GAAP) and International Financial Reporting Standards (IFRS), and eventually converge both the standards with each other. (PWC) The convergence of IFRS and the GAAP will largely impact the public companies, accounting firms, and small and medium companies together. The affects which the convergence will have are discussed in detail below. The public companies will be largely affected as the convergence will alter the reporting requirements of the companies and greater disclosures will be required as per the disclosure requirements if IFRS. The convergence will also have impact on the revenue recognition as the IFRS provides a different and assorted way of treating revenues from different transactions. This convergence will also impact the banking industry with regards to computation and accounting of gain, impairment of financial assets and hedging etc. This convergence will give new dimensions to the work of the accounting firms as they will have to reassess the reporting requirements and the financial disclosures for which they have to give their opinion. CPAs as well as the accounting firms will be required to obtain considerable knowledge and training to cope up with the converged standards in line to make the move while educating their clients as well. (Convergence Is Coming: How Your CPA Firm Should Prepare ) The convergence will require

Discussion Paper - Industry Certifications Essay

Discussion Paper - Industry Certifications - Essay Example The website is very detailed with further information regarding fees, deadlines for paying the fees and a section with testimonies of how the CSEP certification has aided in their career advancement. In order to qualify for the CSEP exam, candidates are required to possess a minimum of three years professional employment on a full time basis. Additionally, they should have obtained their experience in the special events industry. On the other hand, the CMP program has a number of requirements for the professional experience and the internship experience. Both categories mandate that the person be in the tourism, meeting and exhibition industry. Applicants should also have a minimum of three years for the professional program and 200 hours of work experience, for the internship program. The two programs exhibit a similar history of formation and a common desire to promote their respective industries through professionalism, ethics and a strict code of conduct, aimed to improve the standards of the professionals in their specific industries. However, there are some differences, such as their structures. The CMP is more focused on meetings while CSEP places emphasis on the event planning as a whole. The CMP and CSEP programs both offer similar rates for the application and exam registration fee of about $ 600. Personally, I would pursue the CSEP program because it provides a better forum for enhancing my career. Its ability to link professionals with companies and its wholesome approach, makes it a better option than the CMP program. I would like to pose the following questions for clarification:-Are there any additional refresher courses available after the completion of the program(s)? Can a person pursue both the CMP and CSEP programs

Shortcomings in WHP Management Style Essay Example | Topics and Well Written Essays - 1500 words

Shortcomings in WHP Management Style - Essay Example The management is required to follow the guidelines laid down by the Healthcare Commission. Some of the highlights of the commission’s recommendations that are followed here are sound clinical and organisational management, and assessed and managed risks; supporting staff to raise any concerns about the quality of care or services provided to patients; having systems in place to support all staff in their development, including the minority groups; storing, using and dissemination of information about patients; to make sure that healthcare staff are appropriately recruited, trained and qualified; making sure that staff continue to develop their professional skills and to make sure that national guidelines for carrying out research are followed throughout the organisation.   The management is through a committee of ten medical practitioners that is headed by a Chairman who is the manager of the facility and policies are framed according to normal NHS guidelines outlined above. WHP scores a fair result in the services that it offers to its captive population and it appears that it is perceived as an average performer in its services. The pursuit of this report is to find the shortcomings in its management style and to make recommendations to overcome them. Management Styles are of three kinds; Autocratic, Consultative and Democratic. As the names suggest, the first is where the leader independently declares policy and the organization have no choice but to follow it. In a Consultative set up the leader seeks opinions from all departmental heads and then formulates policy. In the Democratic setup opinions from the rank and file have a bearing on the final policy and the leader is more like a guide and mentor.

Midterm Assignment Example | Topics and Well Written Essays - 750 words

Midterm - Assignment Example H1: There is no difference in the mean rating of participants by the different judges in the different levels. 4th step: Alpha (level of significance) = .05 5th step: dftotal = 15 – 8 = 7 dfBT = 8 – 8 = 0 dfWT = 15 – 8= 7 6th step: Critical F value = 314.659 Multivariate Testsa Effect Value F Hypothesis df Error df Sig. Partial Eta Squared Noncent. Parameter Observed Powerc Country Pillai's Trace .883 314.659b 7.000 293.000 .000 .883 2202.613 1.000 Wilks' Lambda .117 314.659b 7.000 293.000 .000 .883 2202.613 1.000 Hotelling's Trace 7.517 314.659b 7.000 293.000 .000 .883 2202.613 1.000 Roy's Largest Root 7.517 314.659b 7.000 293.000 .000 .883 2202.613 1.000 7th step: Tests of Within-Subjects Effects Measure: MEASURE_1 Source Type III Sum of Squares df Mean Square F Sig. Partial Eta Squared Noncent. ... Results it can be concluded that there existed a statistically significant difference between the ratings given by the judges whereby, F (8, 393) = 314.659.74, P=.000 < .0005; Wilk's ? = 0.117, partial ?2 = .883 (see table below) Multivariate Testsa Effect Value F Hypothesis df Error df Sig. Partial Eta Squared Noncent. Parameter Observed Powerc Country Pillai's Trace .883 314.659b 7.000 293.000 .000 .883 2202.613 1.000 Wilks' Lambda .117 314.659b 7.000 293.000 .000 .883 2202.613 1.000 Hotelling's Trace 7.517 314.659b 7.000 293.000 .000 .883 2202.613 1.000 Roy's Largest Root 7.517 314.659b 7.000 293.000 .000 .883 2202.613 1.000 Method Participants the data is a product of the International Pancake-Flipping contest, where eight judges rated the flipping styles of 300 competitors. The number of participants is therefore 300 based on the flipping pancake contest and the respective judges ratings. The judges are randomly referred to as judge 1 to judge 8. The results are for different le vels across different countries across the 300 participants who form the study sample. A power analysis revealed that, for a one-way MANOVA with SMALL effect size (?2 = .883) and an alpha of .05, 300 participants yielded a power of 1.0. Design M ANOVA was used to determine whether there was a difference between the participants rating by the judges across the various levels of participation. The independent variables was the level of participation across the different countries while the dependent variable were the judges ranging from judge one to judge 8 in terms of rating, rated as either high or low. Materials The event organizers were submitted with consent