The Moral Progression Of Huckleberry Finn Essays -

The Moral Progression Of Huckleberry Finn The Moral Progression of Huckleberry Finn The main character of Mark Twain's Huckleberry Finn undergoes a total moral transformation upon having to make life defining decisions throughout his journey for a new life. Huck emerges into the novel with an inferiority complex caused by living with a drunken and abusive father, and with the absence of any direction. It is at this point where Huck is first seen without any concept of morality. Fortunately, Huck is later assisted by the guidance of Jim, a runaway slave who joins him on his journey and helps Huck gain his own sense of morality. Throughout Huck's adventures, he is put into numerous situations where he must look within himself and use his own judgement to make fundamental decisions that will effect the morals of which Huck will carry with him throughout his life. Preceding the start of the novel, Miss Watson and the widow have been granted custody of Huck, an uncivilized boy who possesses no morals. Huck looks up to a boy named Tom Sawyer who has decided he is going to start a gang. In order for one to become a member, they must consent to the murdering of their families if they break the rules of the gang. It was at this time that one of the boys realized that Huck did not have a real family. They talked it over, and they was going to rule me out, because they said every boy must have a family or something to kill, or else it wouldn't be fair and square for the others. Well, nobody could think of anything to do? everybody was stumped, and set still. I was most ready to cry; but all at once I thought of a way, and so I offered them Miss Watson?they could kill her (17-18). At this moment, Huck is at the peak of his immorality. A person with morals would not willingly sacrifice the life of someone else just in order to be part of a gang. It is at this point where Huck can now begin his journey of moral progression. Huck encounters his first major dilemma when he comes across the wrecked steamboat and three criminals. When Jim and Huck take the skiff for themselves, leaving the three robbers stranded, Huck realizes that he has left them to die. Now was the first time that I begun to worry about the men? I reckon I hadn't time to before. I begun to think how dreadful it was, even for murderers, to be in such a fix. I says to myself, there ain't no telling but I might come to be a murderer myself yet, and then how would I like it? (76). This is the first time that Huck questions the effects of what he has done on other people. After he realizes that he could now be considered a murderer, he makes a plan to get a captain to go investigate the wreck in order to save the men's lives. Even though the men he would be saving are murderers and robbers, he can not justify being responsible for their death, and makes it a point to correct what he has done wrong. This is the first major step in Huck's moral progression. At that point, he establishes a set of standards that considers leaving the men to die as immoral. Throughout the book there is the recurring theme of Friend v. Society. This is a main moral decision that Huck is forced to make a few times in his journey. Upon arriving at Cairo, Huck must decide if he should go along with society and turn Jim in as a runaway slave, or keep his promise to his friend, and see him through to freedom. Huck feels guilty not turning Jim in when he hears him talking about hiring an abolitionist to steal his family. He does not think it is right to help take away slaves from people that he doesn't even know. To turn Jim in for these reasons would be the influence of society on Huck. Huck's decision on this matter marks another major step in Huck's moral progression, because he decides not to turn in Jim on his own. This is the first time he makes a decision all on his own based on his own morality. Both this incident and the Wilkes Scheme represent Huck's ultimate realization and rejection of society.

An introduction to the benefits of low-noise I-TEC dimming essays

An introduction to the benefits of low-noise I-TEC dimming essays In 1962 a new design of dimmer was publicly demonstrated in London for the first time. Known as the SCR or Thyristor, the dimmer used two solid-statesemiconductor devices to chop each half cycle of the mains sine wave such that the current to the lamp was continuously variable. The technique was not new, as it was the principle behind the so-called 'electronic' dimmers of the previous decade which used thyratron valves. Experimental dimmers had been made previously using thyristors, but the breakthrough came when the thyristor became commercially available in a range of power ratings suitable for lighting applications. Thyristors are devices which switch on very quickly when triggered. By using a thyristor in a lamp circuit as a gate to block alternating current from the mains supply to the lamp, and then opening the gate at a prede-termined point in the mains half-cycle, a proportion of the full mains supply only is passed to the lamp. This process of blocking and releasing current happens each half cycle of the mains supply (in other words, 100 times a second), and the rapidly switching mains supply is averaged out by the thermal response of the lamp's filament to appear a smooth and constant dimmed level to the eye. By reducing the 'blocking' period and thus extending the 'on' period, the lamp receives more current per cycle and the illumination appears brighter to our eyes. If the blocking period is longer the lamp is dimmed, and if the thyristor is not triggered, no current at all passes to the lamp.The thyristor dimmer was launched into a market which, for many years, had relied on resistor dimmers, auto transformers, magnetic dimmers or 'electronic' valve dimmers, and the benefits were immediately appreciated. Compared to the technologies it replaced, the thyristor dimmer was smaller, lighter, faster and reliable, more energy-efficient, was not affected by temperature changes, was more suited to remote control ...

Keep Going - An Interview With Two #1 Amazon Bestsellers

Keep Going - An Interview With Two #1 Amazon Bestsellers "Keep Going" - An Interview with #1 Amazon Bestsellers Mark Edwards and Louise Voss Success doesn’t happen overnight. It is often the result of hard work put in over the years. And Mark Edwards and Louise Voss’ success story tells us as much. They are known for being the first indie authors to ever reach #1 on Amazon.co.uk back in 2011. Now with Amazon Publishing, their latest book is From The Cradle (and the best one, they tell me). Their story begins much sooner, though. They have been through the ups and downs that characterize a writer’s life, but they have been through them together and always determined to keep going.Today, we have the pleasure of interviewing both of them. They share their whole story (not only the success part) and their advice for starting indie authors. They also debunk a metadata-myth, analyze why Amazon Publishing is so powerful and explain how to co-write a book using Dropbox.So sit down with a nice cup of tea/coffee, and hit play. Or alternatively, read through the whole transcript below (courtesy of the Reedsy team). REEDSY: Hi Mark and Louise, I’m really pleased to have you here. You are known for being the first indie authors to have reached the top of the charts on Amazon.co.uk, a few years ago, with two books that you had co-written. But your collaboration started long before that, right Louise?LOUISE: Sure, it’s a good story, though it can make me sound a bit like a stalker. It started years ago, around 1998-99, and Mark was on this TV documentary about â€Å"wannabe writers†. I was in the exact same situation as him: I had an agent but she wasn’t very enthusiastic. We were both getting lots of rejections but they were really positive rejections. So I just sent him a little email via his agent, basically saying â€Å"I really liked your interview†.He wrote back, and we started corresponding via email about books and writing for around 18 months before we finally met in person. And then we thought: rather than just critiquing each other’s stuff, why d on’t we write something together? That’s when we started writing Killing Cupid. We did it all by email, because at that time Mark was in Japan.MARK: Yes, I was in Tokyo, and Louise was in London. We wrote an entire novel without even speaking to each other, literally. This was back in 2001, and Killing Cupid was optioned by the BBC but we didn’t manage to get a publishing deal for it.Then, a few years after, I came back from Japan and we decided to write another one together: Catch Your Death. Back then, however, we didn’t have an agent, we still couldn’t get a publisher, we were really back to square one, so we pretty much gave up at that point, didn’t we?LOUISE: Yes, I think the problem with Killing Cupid was a genre one. When we sent it to publishers, they said â€Å"well, it’s not really enough of a thriller to be a thriller; and it’s a comedy as well, we don’t know what to do with it†¦Ã¢â‚¬  And that’s why we decided to write Catch Your Death, because that was unquestionably a thriller.MARK: Yes, so we both more or less gave up. I came back to the UK, got a good job, and thought: it’s really not worth the pain of trying to find a publishing deal.Then, 2010 when was I first heard about KDP. And I got a Kindle for my 40th birthday. So I said to Louise: why don’t we take our two old novels, spruce them up a bit, self-publish them and see what happens? And she was very reluctant.LOUISE: Yes, I thought â€Å"oh, no, it will be humiliating, we’ll sell 4 copies†¦Ã¢â‚¬ MARK: So we spent a few months rewriting and reworking them, because they were really out of date. There were no mobile phones, social media, etc.We put Killing Cupid out in February 2011, and as Louise predicted we sold around 4 copies on our first day, to people that we knew†¦ But then I became completely obsessed about trying to sell it. I had a full-time job, my girlfriend was pregnant, and she still talks about how I neglected her during that time! And Louise did promotion stuff too.LOUISE: Yes, we had a list of all the bloggers that accepted unpublished books - there weren’t that many of them but we put together this list and divided it up. Mark started at A and I started at Z and we worked our way to the middle, contacting all of them. It was a lot of work.REEDSY: And Mark, you did a very good job on the metadata too, right? I read about it on Joanna Penn’s blog, but maybe you can tell us what in your metadata helped make your book successful?MARK: Yes, we used subtitles. On Killing Cupid, I think it was pretty simple: â€Å"Killing Cupid, a psychological thriller†: nothing fancy, really. But we kept rewriting the blurb (book description). Back then, you used to be able to see what percentage of people who viewed your book had bought it, which was fantastic, you could see your conversion rate from browser to reader. So I kept looking at th e books in the top 10, especially the self-published thrillers and the ones that had the highest conversion rates, and tried to figure out what it was about those books that incited more people to buy them after they looked at them.So I was continually tweaking the description and I think that at one point I got it right, because it suddenly doubled our sales in just an hour. I had made the description shorter, more straightforward about the book while also making it sound more intriguing.We did something much more interesting for the second book, Catch Your Death. We called it: â€Å"Catch Your Death (For fans of Dan Brown Stieg Larsson)†. This quickly became a controversial point, with people starting to talk about it in The Bookseller magazine.But I actually believe, to this day, that it didn’t make any difference to the sales, because I think we put off as many people as we attracted. If you searched for Dan Brown at the time (and I did it quite a few times), our book didn’t come up, not even on page 30. It didn’t make any difference to the search results.What really made a difference, and this is a lesson for all indie authors, is that we were patient and hardworking in building a readership. We hand-sold every copy of Killing Cupid in the first 3-4 months: every single sale was hard work. And as we did that, we built a momentum and started climbing up the charts, which made our book more visible. And because it was good, word-of-mouth really worked in our advantage and more people started to buy it.We released Catch Your Death around 3-4 months after Killing Cupid, as Killing Cupid was climbing into the top 100. And Amazon then sent out an email advertising Catch Your Death to all the people who had previously purchased Killing Cupid.And it was the day that this email went out - even though we only realized this quite a long time afterwards - that more and more readers started buying both books and we shot up into the top 1 0. A couple of days later, Amazon removed the Dan Brown subtitle, and it didn’t make any difference at all.So there was a lot of hype about our metadata at that time, but I really don’t think it made any difference in the end. It was all about slowly building that readership.REEDSY: I think that’s a great lesson indeed for indie authors. But if we go back to the writing process, Louise, how does that technically work? What tools do you use: Google Drive, Dropbox, †¦?LOUISE: Dropbox, we have everything in Dropbox. It works really well for us, you can see the last things people have worked on and when. Though sometimes it happened that we were both working on the same document at the same time, so when we saved it created conflicted copies, which are a nightmare to sort out. But we don’t do that so much now, we’ve got better at it.We also email a lot, and text, when it’s particularly urgent, but we don’t actually talk that much, un less there is a problem, or in the beginning and the end, when there are things to figure out.MARK: For Dropbox, we have a â€Å"master document† - we do it all in Word - and we write separate chapters in separate Word documents, save them into Dropbox for the other person to make comments. The original author then goes back to that chapter to amend it and when we’re both happy with it we add it to the master document!We also have other Word documents and spreadsheets for our chapter plans. I think that, ideally, we’d use Scrivener, because that’s what we both write on for our solo novels, but you can’t really use it for collaborative work, as far as I’ve been able to work out.REEDSY: Now, with the success of Killing Cupid and Catch Your Death, you were prompted to partner with an agent, who got you into traditional publishing. How was that experience?LOUISE: It’s quite ironic, because we spent years trying to get a publishing deal for both books. But we didn’t have an agent at all until we were #1 on Amazon. I was talking with an author friend of mine and he suggested me to contact his agent. I said â€Å"well, he turned us down a few years ago so I don’t think he’ll be interested†. He answered â€Å"oh, it’s different now, you’re #1†. So we contacted his agent and he quickly got us a deal with HarperCollins, which was fantastic! I don’t regret it, really, because it was just so lovely to finally have this public validation through a traditional publishing deal, and the idea to have our books in shops, the advance, etc.I often wonder, with the benefit of hindsight, whether we would do it differently if we had to do it again, and I don’t think we would change much, other than to get more involved in the marketing and publicity of these traditionally published books. We were thinking that the publisher would do most of the marketing and promotion, a nd it didn’t happen. So I think our mistake wasn’t taking the deal, it was not pushing the books as much as we had when we were self-publishing.MARK: Louise literally just took the words out of my mouth. I definitely don’t regret it either, it was â€Å"a dream come true†. Louise had already had a traditional publishing deal in the past, but for me it was something I’d wanted for years.LOUISE: Yes, I guess I was a bit more cynical about it, because I already had had an experience with a publisher who dropped me after not promoting the books - and that was back in the day when you could do little yourself. But I still don’t regret it, we had a lovely editor, who did an excellent editorial work, really improving the books. It’s just that not many people got to see them.MARK: Yes, that was the frustrating thing. What happened is that after the first and second books didn’t do as well as they hoped, the third and fourth ones were pretty much dead in the water.LOUISE: It basically took the exact same trajectory as my first publishing deal: sales got smaller and smaller and the publisher’s interest got smaller and smaller. Also, one thing to take into account is that two of the four books had already been self-published before and picked up by a lot of people. So I think that didn’t help us as much as we thought it would.MARK: That was the problem, really. Catch Your Death and Killing Cupid came out a year after we first self-published them, which means the sequel to Catch Your Death came a year and a half after the first book, and by then, everyone had lost interest. And it wasn’t pushed at all, it wasn’t in any shops, it had no visibility.I actually think that we were a little bit like guinea pigs, because we were the first â€Å"indies† to go through that process over here in the UK. The publishers learned from what happened with us for some of the following indie success stories that they picked up.REEDSY: So you were with a publisher that didn’t do as much as you hoped on the marketing side of things. But now you’re with Amazon, right? Which is almost the opposite.MARK: Yes, but there is a stage in between. In January 2013, we were in a dark place. We’d had a very disappointing 2012 with the two paperbacks, and when the third one came out in January it just disappeared without a trace. Literally without trace, it left nothing.I had gambled by quitting my job to be a full-time writer, and I was in a very difficult financial position, with massive tax and credit card bills, plus my wife and I had another baby on the way. So I really was in a state of constant panic, thinking â€Å"what am I going to do?† I can laugh about it now, but it was terrible at that time. Every now and again I think â€Å"I can’t believe I managed to get myself out of that dark pit that I was in†.I remember Louise and I had this meeti ng with our agent in London and he - now, he would probably deny it - but he had lost a bit of interest in us as well. But we were determined to make it work so we decided we would not give up, and start a new series of books instead.Now, I had this book â€Å"The Magpies† that I had had sitting in my bottom drawer for years, and I’d been tinkering with it, on and off. Louise said: â€Å"why don’t you just do it, just self-publish it?† So I went home that day, read through it, and thought â€Å"actually, this is quite good†. So I self-published The Magpies via my agent (it’s called â€Å"agent-assisted self-publishing†) and it basically completely transformed everything, because The Magpies ended up selling (in its self-published version) 170,000 copies. It simply changed my life, and it’s what led to the deal with Amazon.Amazon Publishing bought the rights for it and for another solo novel from me. And when Louise and I fini shed our new co-written one, it did go out in submission to various publishers, but Amazon pre-empted it and our commissioning editor there read it in a few days. They made an offer, and because I’d had such a great experience with them already, Louise thought: â€Å"why not?†Everything so far with Amazon Publishing has been fantastic. I mean, I’d like to sell more books in the US, but in the UK it couldn’t have gone any better I think.REEDSY: Yes, and we actually interviewed another Amazon-published author, Bob Mayer, a few weeks ago who highlighted the â€Å"marketing reach† of Amazon publishing imprints. What does that mean exactly? What do these imprints do in terms of marketing that makes it worth it signing away royalties to them?MARK: Well, they’ve got the most amazing database in the world. They’ve got anyone who has ever bought anything, including anyone who has ever read a psychological thriller! That’s what sets them apart from all the other publishers. Plus, they’ve got the platform of their website, and they also do a lot of on-device marketing. So if you’ve got a Kindle Fire, you’ll see that whenever you turn it on, an advert will appear on the home screen, and they rotate, but they’re often books.That visibility that you get with Amazon publishing is just fantastic. The restriction of being with them is that you’re pretty much only on the Amazon platform, although they do print books and they are making efforts to get them into the shops. But they’re not on any of the other digital stores, so you’re in kind of a walled garden, like a luxury gated development!When somebody from a big publisher said to us: â€Å"well, wouldn’t you rather be with a traditional publisher and have your books in the shops?†, my answer was that that all sounds great, but when we did have that opportunity, our books were barely in the shops anyway†¦REEDSY: So, do you now still produce some marketing effort yourselves or is it all Amazon?LOUISE: We’ve worked very hard on building up our Facebook page. It’s not like we have tens of thousands of followers, but the ones we do have are so loyal that it’s really helping us get the word of mouth thing going, which is the holy grail of marketing anyway. But we still do work very hard, especially when we do online launches.REEDSY: To finish on an encouraging note for other authors out there: you’ve been through everything, both of you, in a writer’s career; the ups, the downs, so what would be your advice for an author who’d be in a â€Å"dark year† like you had in 2012?MARK: I think it’s certainly nurturing your existing fans and readers. That is what goes through in our Facebook group, where we have really loyal readers as Louise pointed out. They were really really helpful and acting as cheerleaders to keep us going. And then when we did start selling well, they were there and helped spread the word.REEDSY: And Louise, what would be your advice?LOUISE: Keep going!We lost the rest of Louise’s advice due to recording problems, but feel free to ask her (or Mark) anything in the comments below!Sharing is caring, so here are our Twitter handles: @ReedsyHQ, @mredwards and @LouiseVoss1

Touched by nonprofit organizations Essay Example | Topics and Well Written Essays - 500 words

Touched by nonprofit organizations - Essay Example This paper discusses the benefits that a community reaps from non-profit organizations or rather reflects at how lives have been touched by activities and or presence of non-profit organizations in the society. Sheppard and Oehler (2009) posit that non-profit organizations bring awareness to infrequent and or otherwise neglected issues, problems and causes within the society at large. In a society, many social, health and or financial problems are evident and most are rarely addressed by the relevant local authorities. Non-profit organizations are often at hand to address such abandoned people hence restoring some sense of hope to those suffering from such problems. In addition, most non-profit organizations provide job training services to the untrained members of the society as well as to those seeking further development. These services are made available to the people with ease which helps improve the community’s character and quality. The economies associated with these organizations on average stretch less funds from the private sector, the public sector and the foundation itself via reduced costs of operations for the organizations existing in a given location (Tess, 2003). Consequently, Tess (2003) reveals that the centers are able to serve more people as well as provide increased services hence impacting more people. With continued growth and development come increased investments into new infrastructure in the community thus expanding the impact of the organization. Most non-profit organizations develop centers in economically distressed areas. According to Shaffer, Deller and Marcouiller (2004), the presence of new infrastructure in these areas results in the development of new property, renovation of property, establishment of new business ventures, expansion of current business organizations as well as increased investment in public amenities and infrastructure. The availability of these entities requires management forces and as such many

Business and Organizational behavior Movie Review

Business and Organizational behavior - Movie Review Example According to the illustration, the management of the Bhopal was to blame for the disaster because of negligence on crucial operations, and the management of the company. The management allowed the storage of the MIC in large tanks that were not recommended, and as if this was not enough, they were filled beyond the recommended levels. This increased the temperature of the gas which, caused leakage. There is also negligence on the earlier warnings of the gas leakage in the factory, which the management ignored to rectify such as a leak on January 1982 that exposed 24 workers to danger, and landed the hospitals. Though the Local Indian Authority warned the company earlier, the management ignored this and failed rectify the problem by the Union CIC. As the movie illustrates the management had switched off several safety systems so that they could reduce operational costs. For example, the MIC tank refrigeration system, which could have reduced the severity of the leakage, was off at the time of the occurrence of a disaster, there was no catastrophe plans put in place by the management in case of any disaster, and finally, the use of undersized safety devices by the factory, also contributed to the disaster. No, the same safety features were not installed or working as those in the United States. In the Bhopal plant, there were looser safety rules compared to those in US. There was no night shift supervisor in the Bhopal plant and the readings were taken after two hours compared to those in US where there must be a night shift supervisor and the readings have to be taken after every one hour as required. In the United States, there is a four stage system compared to the one manual backup system used by the Bhopal plant. The safety audits are done every year in US, but in the Bhopal plant, after two years. I think the Union Carbanide may have different safety features at different plants around the world because of the plants performance. For

Communication In Job Role Essay Example for Free

Communication In Job Role Essay Review the range of groups and individuals whose communication needs must be addressed in own job role. Resident communication needs In my job role as a Deputy Manager I must ensure that I consider the different levels of communication when supporting our residents: We use the following within my work place: Picture schedule This is a form of pictures on a long strip of Velcro, which highlights what is expected of the resident thought the day. This is important to the resident because it enables the individual to see what activities they have thought out the day, it provides a structured day for the resident to identify what activities they have first then after. This provides stable communication between staff member and the residents in aid of reducing anxiety. Barriers and challenges. Barriers that and challenges may arise are: Individuals whom are using the pictures may become too complacent there for require the same product such as dairy milk chocolate bar that is presented on the picture. This can become a challenge as if diary milk factory was to shut and the products where to be no longer produced then the resident whom has the picture of the diary milk and has constantly used this picture to resemble chocolate for the last ten years may become anxious due to not having the chocolate bar resembling the correct photo. Staff members may not be consistent with using the picture schedule, when using picture schedule it is paramount that staffs are consistent when prompting picture schedule. This can become an barrier and a challenge when some staff are using the schedule and some are not. This can confuse the residents and increase anxiety when not used; this can also take the skill away from that resident as well as hinder their communication development. Staffs whom are not adequate trained in using the picture schedule could provide a potential barrier to our residents as it creates a disturbance in the routine of their daily activities in not knowing what they are going to do for the day. Social story A social story is used to simplify a form of information. This is done by having words as well as pictures to explain the information that is needed to be presented to the person. For example: This form of communication is used within our service it ensures that the individual feels included in any decisions that are made, and that they are aware of what is expected off them when they are going on an activity, any planned activities set for the future. They can also be used to explain the step by step guide of what they are to do on a daily bases. This form of communication also reduces anxiety by giving the resident a preferred communication between staff and the individual; it also gives them a clear understanding of what staff members are asking them to do. Individuals whom are creating the social stories may provide information that is too difficult for the resident to understand. They could also presume that the information given has been taken in by the resident; the challenge that may arise is that the resident will not take in the information and may become anxious due to confusion over what is being asked. Another barrier may be too much information, depending on whom you are presenting the social story to, some require bug writing and big pictures where as others may require average size font and pictures but with short and sweet information. A challenge may arise when we presume that an individual whom is using picture schedule may understand social stories, this can in effect create a barrier as it provides the resident with no information other than words and pictures. When presenting the social story, we may not be presenting the social story in the correct manner in accordance to the individual, When reading we may need to be mindful of how fast we go through the information and how many times we go read the social story to the person. Because by going over to many times may cause an issue as well as how fast we read through as some individual may take longer to cognitively understand the information, therefore we must ensure we work at the speed of the individual whom we are working with. Verbal communication Some of our residents require verbal communication, however not all residents who are verbal are able to understand all language used. Therefore they require to be communicated with simple form of vocabulary rather than jargon. This is important to be assessed and mindful because you do not want to give them information that is too difficult to understand, you want them to have simple words that they can take in and understand to avoid any confusion or anxiety. A barrier that may arise when verbally communicating to a resident is how fast and what form of words we use. Not all residents whom are vocal are able to understand long fast sentences there for we must speak to the resident in a manner that they can understand. For example if the resident understands one single word then staff will use the single word rather than a sentences, this is because by using the sentences it could potentially create a challenge as it can cause the resident to become anxious by having too much demands placed on them. I also need to be mindful of whom I am speaking to when I am communicating to individuals, for instance if I speak to a GP then I would not speak the same to the residents as my choice of words will differ massively. Therefore I must always be mindful of the way that I communicate to each individual to ensure that they understand the information that is presented as well as I understands the needs of each person. Makaton We do not have a resident who uses Makaton however if the staff did not know how to use Makaton then we would need Makaton training to enable use to communicate effectively with the resident. We would also need to ensure that we have a basic communication with that resident to ensure we meet the needs of the resident threw understanding what the residents wants and any issues the resident may have on a daily bases. Pecks Book A pecks book is used with one of our residents to identify what he wants, the  peck books provides the resident with a choice of what to eat and what activities he would like to do on a daily bases. This is helpful as it provides the team with a preferred communication style in enabling the staff to identify what activities and want he requires. We can support this by ensuring that we be consistent when using the pecks book with the residents to enable the resident to maintain the communication skill. If we do not use this form of communication then the resident will potentially forget how to use the communication book as well has not be able to communicate his needs to the staff effectively. Team communication needs Team meeting As a team a form of communication that we use are team meetings, team meetings allow staff and management to formally communicate any issues or good relating practices that are present. It is important when conducting a team meeting that all relevant information communicated is understood by all of our staff team, if there is any person who requires help then supervision may help. Other ways of helping would be to complete an information leaflet of what has been said in the meeting as well as the action plans and outcomes. Supervisions Not all staff members are able to share their opinions when in a team meeting another form of preferred communication for some is via supervisions. This enables the individual to discuss their feeling and thoughts without feeling judged by others, it also gives the employee an opportunity to discuss their opinions through their own preferred communication. It also provides managers with an effective approach on how each staff member should receive their supervision. It is paramount that when giving supervision, managers should cater their discussion around the individual. They should also ensure they be mindful of whom they are speaking to and how they approach negative and constructive feedback depending on the individual whom is undergoing the supervision. You can also support effective communication threw supervisions by getting the individual involved in completing the supervision form; you can also provide them with an outcome of the supervision enabling them to  read over and sign in their own time. Barriers and challenges Communication book Communication book can be used to log important information that is needed to be handed over, it can also be used to pass on massages to staff members whom are not on shift. We are able to provide effective communication through this book by ensuring staff read and sign what is put into the book; this can ensure that when they have signed the information then they understand what has been passed on within the book. However the only issue with the communication book is that staff may not always read the book or they may not read the information. This can be reduced by providing the communication book on hand over, shift leader to ensure all staff read and sign also you could have an extended sheet of the a4 paper highlighting the important information that staff should read and sign. We also need to be mindful how we provide the information; Information that is put into the book should be clear, understandable, literature that all staff can understand to avoid any confusion. Face to Face contact whilst on shift. Even though it can be easier to put information into a communication it is not always the best form of communication to all, why because we are all individuals. Some individuals require management to discuss any issues via face to face contact as some individuals tend to understand more when they are listening and picking up body language when talking. We can support individual threw face to face contact by asking them do they understand and if there is any other way they would like the information, you can also effective communication by ensuring the person is focused on you rather than the things going on in the environment.

Jonathan Swifts Gulliver in the Land of the Houyhnhnms Essay -- Swift

Jonathan Swift's Gulliver in the Land of the Houyhnhnms In the last voyage in Jonathan Swift's book Gulliver's Travels, "A voyage to the country of the Houyhnhnms," Swift describes his idea of an ideal society. There are many examples provided in this part of the book to convince the reader that Swift is indeed illustrating his idea of a utopia. By using horses as the most reasonable creature, Swift not only defaces human society by making a beast a more powerful creature, but also shows that humans are unable to attain this perfectly reasonable society. The society that the Houyhnhnms live in is unlike any society known to man. The Houyhnhnms are perfect in the way they live their lives; they are always doing what is best for the society as a whole, as opposed to thinking only of themselves as individuals. They truly believe that the best interest for themselves is the same as the best interest of the entire species. When they choose their mates they do so with the best interest of the race as a whole in mind. "Strength is chiefly valued in the male, and comeliness in the female, not upon the account of love...," (217). This quotation illustrates that even when it comes to something like choosing their mates, they are not concerned with their own happiness. It is not even a choice that they choose to act in the best interest of the society; they do not know of an alternative way to act. They are raised to put themselves secondary to the health and well being of others. The Houyhnhnms are so perfect that Gulliver has to expla in many different basics of the human lifestyle that do not apply to their being. The Houyhnhnms do not understand the idea of justice because they are not capable of doing anything wron... ...to be extremely rational, in an effort to break away from his human tendencies. His attempt will not be successful as humans are full of passion, and therefore will never be purely rational. Gulliver eventually becomes insane in his attempt to be like the Houyhnhnms, which is Swift's way of showing that humans can not live in a society based on reason. In this section of the book, it becomes unmistakable that Swift is describing his ideal society and at the same time proving that it cannot be attained by humans. By making the perfect society one in which the ruling creature is in fact a beast in the eyes of humans, Swift portrays his hate toward the human race. This also precisely shows, that this is in fact his utopia, but that it is never attainable for human beings. Works Cited: Swift, Jonathan. Gulliver's Travels. Mahwah, NJ: Watermill Press, 1983.

Seoul Urbanization

The population of the metropolis increases because people from rural areas and overseas migrate to the urban areas in large numbers, averaging 7. 6 per cent per year (United Nations Population Division, 2001). Increasing of population in many big cities may causes serious problems even in advanced countries. Seoul, the capital city of South Korea, which more than 11 millions of population, has grown rapidly into a metropolis since the end of Korean War (Kim, 2005). Over population in Seoul creates many problems such as traffic congestion and lack of housing.This essay will discuss about two issues caused by increasing number of population in the city. The first is traffic congestion in Seoul and policies to decline this problem and the second is lack of housing and solution by the government. Traffic congestion is one of the most serious problems in Seoul because of a large number of vehicles in the city (Asianinfo. org, 2000). The increasing number of population in an urban area pro duces a plentiful number of passenger cars on the road. Approximately amount of cars is 2. 8 million (Mok, 2007).In Seoul, the statistic shows that one out of three citizens has a car (Zhang, 2010). This situation brings a big pressure to the traffic in the city. The congestion issue causes a distress of travel to metropolitans. Due to this serious problem, the Seoul metropolitan government has created the key measures to solve the traffic congestion. The first measure is to reform the metropolitan transportation system. There are many kinds of transportation in Seoul such as bus, subway and taxi. Under the revolution and reform of transport system, the government has developed bus services according to route demands.In addition, the extension of subways and establishment of exclusive median bus lane make easier and cheaper for passengers to transfer between buses and subways (Jin, 2005). The other measures are policies and encouraging drivers to reduce traffic volume. For example, the government’s measure which encouraging drivers to avoid using of private vehicles for one day of the five-day working week and Seoul Car Free Day campaign which the parking lots of public organization are compulsory closed and drive people to use public transport (Mok, 2007).The government is also searching for a new measure to address the issue of traffic congestion and benefit the megacity’s residents (Cohen, 2009). Apart from traffic congestion, lack of housing is also an important issue caused by population growth in Seoul. Since the end of the Korean War, the nation has focused on increasing only the output within industry (Seoulsouthkorea. jimdo. com, n. d. ) This is the reason for encouraging many people to move into urban centers. A lack of housing for the majority of the new residents has been resulted by rapid urbanization.This is one product of rapid urban development. The influx of population increases need for housing infrastructure. For example, durin g the last few years there have been approximately twice as many households as houses. Those who can find no houses must become squatters and construct shanties and this cause emergence of slum areas in Seoul. The government has an urban development activity with the purpose to clear and relocate squatters from parks and green zones to the outskirts of the city.The measure of Seoul’s government is to allocate houses for the residents which named as Citizen Apartment Building Program (Lee, 2000). Under this program, the government constructs low-rise apartment buildings for squatters and low-income groups. The apartments are intended to be cheap to build and buy. In addition, the government produces low-interest loans that make buyers purchase more easily. In conclusion, urbanization in Seoul began at the end of war. With a rapid growth of the city, Seoul is one of the largest cities in the world with a large amount of population.It can be seen from above examples that increas ing number of population in Seoul causes serious problems such as traffic congestion and lack of housing. However, the government has attempted to address the problems with logical plans and policies.

Joshua

In the novel, The Great Gatsby, Nicks use of diction and imagery in his language shows that the attendees of the party are not ordinary commoners but extravagant and luxurious people from the upper classes. Nick's uses of diction shows the high class of the people at the party. For example, when Nick first sees Myrtle's sister, Catherine, he describes that she is a â€Å"slender, worldly girl†. He thinks that, unlike other average women, Catherine is special and unique.By saying she is â€Å"worldly,† he implies that she is above other women. In addition, when Nick begins to describe Mr.. McKee, Nick says that he is, â€Å"most respectful in his greeting to everyone In the room. † Nick believes that Mr.. Emcee's manners are similar to that of a person from high society. People from the upper classes tend to be more respectful and mannerly compared to those from the lower classes. Another example is when Mr.. McKee was explaining to Nick that he was In the,  "artistic game,† and that he, â€Å"photographed [Mrs..McKee] a hundred and twenty- even times since they had been married. † This leads Nick to believe that Mr.. And Mrs.. McKee were most likely from the upper classes rather than the lower or common classes. Not many people In those times had the time and luxury to take many photographs of their wives since they all had to work many hours. By using diction, Nick shows the luxury and extravagance of the people attending the party. Nick does not only use diction In his language, but also Imagery to support his belief that the people at the party were not from a common class, but from an upper class.For example, when Catherine moves around the room, Nick begins to realize, â€Å"an Incessant clicking as Innumerable pottery bracelets Jingled up and down upon her arm. † Catherine was wealthy enough to afford lots of Jewelry, meaning that she must be from a high class since people from the lower classes were not able to afford such Jewelry. Nick used Imagery to describe the extra things Catherine had In order to show her wealth and luxury. In Dalton, when Mrs.. McKee compliments Mrs.. Wilson of her dress, she rejects the compliment and says that she, â€Å"SLP[s] It on moieties when [she doesn't] care what [she] look[s] like. Even when she Is not trying to look fancy and luxurious, Mrs.. Willow's clothing Is respectable and beautiful. She has at least some wealth since people were able to acknowledge her luxury even when she was not trying to show It. Imagery Is used In Nick's language to describe the wealth of the attendees and to prove that they are not from the lower classes. Nick supports his observations and beliefs by using Dalton and Imagery In his language. By showing their luxury and polite manner, he describes them as economically stable and wealthy and extravagant.Joshua By schoolhouses Nicks uses of diction shows the high class of the people at the party. For example, respectful in his greeting to everyone in the room. † Nick believes that Mr.. Emcee's classes. Another example is when Mr.. McKee was explaining to Nick that he was in common classes. Not many people in those times had the time and luxury to take Nick does not only use diction in his language, but also imagery to support his â€Å"an incessant clicking as innumerable pottery bracelets Jingled up and down upon such Jewelry.Nick used imagery to describe the extra things Catherine had in order to show her wealth and luxury. In addition, when Mrs.. McKee compliments Mrs.. Wilson of her dress, she rejects the compliment and says that she, â€Å"slip[s] it on sometimes when [she doesn't] care what [she] look[s] like. † Even when she is not trying to look fancy and luxurious, Mrs.. Willow's clothing is respectable and beautiful. When she was not trying to show it. Imagery is used in Nicks language to describe Nick supports his observations and beliefs by using diction and imagery in his

Rene Descrates essays

Rene Descrates essays While the great philosophical distinction between mind and body in western thought can be traced to the Greeks, it is to the seminal work of Ren Descartes (1596-1650) [see figure 1], French mathematician, philosopher, and physiologist, that we owe the first systematic account of the mind/body relationship. Descartes was born in Touraine, in the small town of La Haye and educated from the age of eight at the Jesuit college of La Flche. At La Flche, Descartes formed the habit of spending the morning in bed, engaged in systematic meditation. During his meditations, he was struck by the sharp contrast between the certainty of mathematics and the controversial nature of philosophy, and came to believe that the sciences could be made to yield results as certain as those of mathematics. From 1612, when he left La Flche, until 1628, when he settled in Holland, Descartes spent much of his time in travel, contemplation, and correspondence. From 1628 until his ill-fated trip to Sweden in 1649 he remained for the most part in Holland, and it was during this period that he composed a series of works that set the agenda for all later students of mind and body. The first of these works, De homine [1] was completed in Holland about 1633, on the eve of the condemnation of Galileo. When Descartes' friend and frequent correspondent, Marin Mersenne, wrote to him of Galileo's fate at the hands of the Inquisition, Descartes immediately suppressed his own treatise. As a result, the world's first extended essay on physiological psychology was published only well after its author's death. The year 1641 saw the appearance of Descartes' Meditationes de prima philosophia, in quibus Dei existentia, corpore distinctio, demonstratur In 1649, on the eve of his departure for Stockholm to take up residence as instructor to Queen Christina of Sweden, Descartes sent the manuscript of the last of his grea ...

Spanish Vocabulary for Lent, Holy Week, and Easter

Spanish Vocabulary for Lent, Holy Week, and Easter Easter is the most widely and ardently celebrated holiday in most of the Spanish-speaking world - even bigger than Christmas -   and Lent is observed nearly everywhere. The week before Easter, known as Santa Semana, is a vacation week in Spain and most of Latin America, and in some areas, the vacation period extends to the following week. Thanks to their strong Roman Catholic heritage, most countries celebrate Holy Week by emphasizing the events leading up to the death of Jesus (Jesà ºs or Jesucristo), often with large processions, with Easter set aside for family gatherings and/or carnival-like celebrations. Words and Phrases As you learn about Easter - or, if youre fortunate, travel to where its celebrated - in Spanish, here are some words and phrases youll want to know. el carnival - Carnival, a celebration that takes place in the days immediately preceding Lent. Carnivals in Latin America and Spain are usually organized locally and last several days. la cofradà ­a - a brotherhood associated with a Catholic parish. In many communities, such brotherhoods have organized Holy Week observances for centuries. la Crucifixià ³n - the Crucifixion. la Cuaresma - Lent. The word is related to cuarenta, the number 40, for the 40 days of fasting and prayer (Sundays not included) that take place during the period. It is often observed through various kinds of self-denial. el Domingo de Pascua - Easter Sunday. Other names for the day include Domingo de Gloria, Domingo de Pascua, Domingo de Resurreccià ³n, and Pascua Florida. el Domingo de Ramos - Palm Sunday, the Sunday before Easter. It commemorates the arrival of Jesus in Jerusalem five days before his death. (A ramo in this context is a tree branch or a bunch of palm fronds.) la Fiesta de Judas - a ceremony in parts of Latin America, usually held the day before Easter, in which an effigy of Judas, who betrayed Jesus, is hung, burned, or otherwise mistreated. la Fiesta del Cuasimodo - a celebration held in Chile the Sunday after Easter. los huevos de Pascua - Easter eggs. In some areas, painted or chocolate eggs are part of the Easter celebration. They are not associated with the Easter bunny in Spanish-speaking countries. el Jueves Santo - Maundy Thursday, the Thursday before Easter. It commemorates the Last Supper. el Lunes de Pascua - Easter Monday, the day after Easter. It is a legal holiday in several Spanish-speaking countries. el Martes de Carnaval - Mardi Gras, the last day before Lent. el Mià ©rcoles de Ceniza - Ash Wednesday, the first day of Lent. The main Ash Wednesday ritual involves having ashes imposed on ones forehead in the shape of a cross during Mass. el mona de Pascua - a type of Easter pastry eaten primarily in the Mediterranean areas of Spain. la Pascua de Resurreccià ³n - Easter. Usually, Pascua stands by itself as the word used most often to refer to Easter. Coming from the Hebrew pesah, the word for Passover, pascua can refer to almost any holy day, usually in phrases such as Pascua judà ­a (Passover) and Pascua de la Natividad (Christmas). el paso - an elaborate float that is carried in Holy Week processions in some areas. The pasos typically carry representations of the Crucifixion or other events in the Holy Week story. la Resurreccià ³n - the Resurrection. la rosca de Pascua - a ring-shaped cake that is part of the Easter celebration in some areas, especially Argentina. el Sbado de Gloria - Holy Saturday, the day before Easter. It is also called Sbado Santo. la Santa Cena - The Last Supper. It is also known as la Última Cena. la Santa Semana - Holy Week, the eight days that begin with Palm Sunday and end with Easter. el và ­a crucis - This phrase from Latin, sometimes spelled as viacrucis, refers to any of the 14 Stations of the Cross (Estaciones de la Cruz) representing the stages of Jesus walk (sometimes called la Và ­a Dolorosa) to Calvary, where he was crucified. It is common for that walk to be re-enacted on Good Friday. (Note that và ­a crucis is masculine even though và ­a by itself is feminine.) el Viernes de Dolores - Friday of Sorrows, also known as Viernes de Pasià ³n. The day to recognize the suffering of Mary, the mother of Jesus, is observed one week before Good Friday. In some areas, this day is recognized as the start of Holy Week. Pasià ³n here refers to suffering just as passion can in a liturgical context.

Ancient Greek Theater Essay Example | Topics and Well Written Essays - 1000 words

Ancient Greek Theater - Essay Example While ancient Greek theatre went through a number of incarnations there are a number of factors that remained consistent or thematic throughout its reign. In terms of staging, generally large theatrical spaces were constructed as the audience numbered as much as fourteen thousand individuals (Freund 2000). Quite notably the acoustical dimensions of these ancient Greek stages had to be constructed in a way that carried sound extremely favorably, as this was a pivotal aspect of catering to the sizeable crowds. Indeed, it has been noted that the Greek acoustic systems in these stages is in line with state of the art acoustic systems in the contemporary environment. In terms of seating the first opening seats were wooden, and this was followed by stone seating for the majority of the theatre audience. Later in the development of the theatre a back wall was placed onto the stage to add dimension and various theatrical elements to the productions. This wall also allowed for costume changes behind the scenes. In terms of content, Greek theatre spanned a wide range of theatrical concepts. Aristotle famously outlined a number of these genres, detailing what constituted comedy from tragedy (Lesky 1965). Still, Ancient Greek theatre is perhaps most remembered for it seminal tragedies. Among the most notable, Sophocles and Aeschylus constructed tragic dramas that explored elements of the human condition in great depth and consideration. Today these theatrical productions continued to be studied and remembered for the continued insight they provide into life, as well their dramatic form of artistry. Considering the actors in the plays, it was a custom that only men in masks be admitted into the productions. It follows that there was not a star-system as one finds in the contemporary Hollywood or Broadway climate, but rather a string of actors that were at best remotely popular for their skill and dexterity. Still, all audiences watched the plays. While the nobility generall y received privileged seating arrangements there was not a division between high and low culture or class in terms of who viewed the plays. One of the central aspects of these productions was the use of masks. The use of masks in these Greek productions was most likely a holdover from an earlier theatrical era. The tradition came such that all actors were adorned in masks throughout the production. The mask was so all-encompassing that there only existed holes for the face and head, in-effect covering the entire face of the actor as a means of obscuring their identity. This allowed for the greater emergence of the character the actor was playing to be seen. The lack of emotion in the masks and the obscuring of identity also functioned as means of allowing the audience to project onto the characters their own unconscious emotions and identity, in-effect making the theatrical productions that much more engrossing and interactive (Harsh 1944). There were unique masks created for partic ular characters and emotions which also contributed to the play through the multi-varied nature of the production. In terms of costumes there were a number of unique elements that are worth considering. The actors in tragic character positions were adorned with boots referred to as cothumuses. These elements give the actors extra height and elevation in comparison to the other players. The actors who played comedic