ECN 302 Essay Example | Topics and Well Written Essays - 250 words

ECN 302 - Essay Example Over half of the Americans have a contrary view and claim that all the government intervention achieves is causing more damage than benefits, while six percent believe that it had no effect and 17% were found to be unsure (Fox, 2012). In a contemporary era, whereby auto bailouts, maximum debt and Dodd-Frank reform, interventions by the government, seem to be the Obama administration’s solution option, according to the article. The article claims that this stand has created a deep partisan gap between supporters and the opposition of the viewpoint. It highlights that the proposition is gains support mostly from democrats while most republicans and independents oppose the approach. It further explains that more divisions resulted due to class differences, as the wealth class claimed that economy management by the government was helpful while the middle class respondents believed that government control destroyed the economy (Fox, 2012). The model states that the economy will be boosted when the governments spends enormous sums of borrowed funds. The article highlights these as it highlights how the $787 stimulus package involves federal tax reductions and expenditures on infrastructure and other government projects. These will help to address the recession crisis. The model is used to address the sluggish US economy more with the current

Marketing Assignment Example | Topics and Well Written Essays - 6500 words

Marketing - Assignment Example ISO works process framework would be used to show how SIX Sigma might be laid out and what information will be needed to implement this tool. There are many tools that make up this collective and they need to be fully researched in the first instance for early stages and consultants/experts in the implementation of these tools are required to avoid pitfalls caused by redundant data. One problem that is required to be addressed with these tools is that of measuring potential work flows and bottle necks in the production process. "Six Sigma seeks to improve the quality of process outputs by identifying and removing the causes of defects (errors) and minimizing  variability  in manufacturing  and  business processes." (one six sigma web) The 'Qualicoat' status requires us to do much of the processes of Six Sigma would and we run a zero defects policy with any defects being reworked. New innovation such as Quality control measures before the Powder coating process will mean that many of the issues will be taken care of on the production line. Where Six Sigma and learn thinking tools will come into their own will be more visible in our data processing and customer liaising as well as in our order processing and sales activities. Sales personnel will be able to predict work flows with new centralised communications and above mentioned tools will assist in that role facilitating negotiations at first contact with customer queries. Six Sigma and Total Quality Management (TQM) are tools that are going to be used to push the changes forward and improve on employee participation towards a culture of due diligence. Various tools are now being introduced to engage the workforce in dialogue to identify problem areas, provide training and walk-through them in meeting new goals while actually improving their working environment. Brief look would be given to the questionnaires and language that are going to be used to encourage change. One problem is the resistance to c hange that has been experienced in the past because of people being stuck in the old ways of carrying out processes thus introduction of Six Sigma terminology will create confusion and animosity. These terminologies would only be used within management to avoid unnecessary chaos. It is to be assured that there is the balance of communication therefore new responsibilities are properly defined along with the changes in processes. In order to enhance data collection and processing new management positions would be introduced. There are several objectives of TQM that include process improvement, observing behaviour changes over a time period, defect prevention, developing operational definitions, priority of effort, developing improvement check forms and check lists, developing relationships of cause-effect, measuring capacity of the system, assisting teams in making better decisions and separating trivial from significant needs. TQM on the whole revolves around a few main things that include systems for facilitating improvement, techniques and tools for improvement, Senior Management and all employees’ commitment, team work, customers - Supplier relationships, effective vision, mission, strategy and goals, communication and trust. A systematic approach towards quality management involves components like modification of the processes and the inputs, examining of the processes performance, planning of the inputs

Expectations Charles Dickens Essay Example for Free

Expectations Charles Dickens Essay In the first chapter of Great Expectations Charles Dickens creates a very intense image of the marshes. This is the first place he describes and he makes the marshes sound like a very creepy and bewildering place.  Ours was the marsh country, down by the river, within, as the river wound, twenty miles of the sea.  The words marsh and the river makes the marshes sound like a very damp, muddy and bleak place.  Also in the first chapter Charles Dickens describes the churchyard as  Bleak place overgrown with nettles. Dickens also describes the churchyard s a very Overgrown and bleak place.  A graveyard is supposed to be a happy place that revitalises and refreshes kind, happy memories. I think this implies that death is all around no matter where you look. I think this because everything is overgrown and not looked after and the nettles are killing all of the beautiful plants so death is also involved there as well.  Dickens also says about the marshes in the first chapter   And that the dark flat wilderness beyond the churchyard, intersected with dykes and mounds and gates, with scattered cattle feeding on it, was the marshes: and that the low leaden line beyond was the river: and the distant savage liar from which the wind was rushing was the sea. This quote represents a dark and unforgiving future for Pip and that there is no one out there in the wilderness to care for him. The words leaden line imply a low lead river that looks like it has bars on and to Pip this makes him feel imprisoned. Also the words savage liar represents to Pip that he thinks that there is like a savage monster out there in the sea. Furthermore in chapter one Dickens explains the marshes as a long black, horizontal line and the sky was just a row of long, angry red lines and dense black lines intermixed. The words represent anger and danger and black utility, death and emptiness. Pip again feels like he is a prisoner to the marshes. At the start of the first chapter instead of Pip being one of the main characters he becomes the narrator of the story and starts talking about his family.   So I called myself Pip, and came to be called Pip.  When Pip goes to the churchyard to the graveyard to look at their graves and imagines what his family would of looked like this proves he has a very distinct and creative imagination.   My first fancies regarding what they were like, were unreasonably derived from their tombstones.  Also Pip proves that there was a high rate of infant mortality and he also proves that there was a universal struggle to die. To five little stone lozenges, each about a foot and a half long, which were arranged in a neat row beside their grave, and were scared to the memory of five little brothers of mine who gave up trying to get a living exceedingly early in that universal struggle.  Dickens in the first chapter changes from first person the narrator to third person and this s a very unnatural method to use.   And that the small bundle of shivers growing afraid of it all and beginning to cry, was Pip. Also Great Expectations was serialised which means that he novel was brought out in chapters and because the novel was successful people kept buying each chapter each time they were released.  When Pip goes into the churchyard to the graveyard so that he can go and visualise his brothers and his parents he meets a convict. The convict is starving and looking for food and basically anything and so he turns Pip upside town.   The man after looking at me for a moment turned me upside-down.  This is very strong and imaginative and you can clearly imagine it as he turns him upside down literally and metaphorically. After this the convict starts talking to Pip about his appearance. He talks about  What fat cheeks you ha got:  After this Pip says  I believe they were fat, though I was at that time undersized for my years, and not strong.  This gives the impression that Pip has never been fed properly and this make Pip sound innocent and vulnerable.  Later on Pip makes a promise to the convict that he would bring some food and some wittles so that the convict could release himself from the chain around his ankles and the convict threatens Pip to make sure he does this.

Analysis of Wangero Leewanika Kemanjo (Dee) in Everyday Use

Analysis of Wangero Leewanika Kemanjo (Dee) in Everyday Use Where Must One Fit Analysis of Wangero Leewanika Kemanjo (Dee) in Everyday Use What made the Black Power movement of the 1960s and 70s such a powerful force, and why did it start in the first place? Author Russell Rickford explains in We Are an African People: Independent Education, Black Power, and the Radical Imagination, what Pan-Africanism means. The definition consists of rethinking African-American identity not in terms of being a minority or racial group, but as an African people. The movement was grounded in the importance of cultural rebirth to a people who were deemed unworthy of moral treatment, excluding them from the label of human. They did not know anything nor were aware about their African heritage. In Alice Walkers story Everyday Use she describes two sides of the same coin when it comes to heritage. Maggie, who stays at home with Mama and lives their heritage through traditions which are passed down. And Dee, who becomes enthralled with the concept of African-nationalism, practicing new habits which alter her psyche. This leads Dee to denounc e her recent heritage, excluding Mama and Maggie for being uneducated and categorizing the objects used every day as priceless folk-art. With the fight for desegregation of schools and the civil rights movement of the 1970s, African-nationalism was born. This is the time period when Dee, who was college educated, where the trend originated, had a new-found outlook on her African roots. So much so that she changed her outward appearance and name. When Mama inquired on why she changed it to Wangero Leewanika Kemanjo, Dee simply replied with Shes dead. I couldnt bare it any longer, being named after the people who oppress me.(27) Perplexed by the concept of the name change, Mama told her she was named after her aunt Dicie and that Dee was handed down through the generations. Wangero, getting tired of the conversation, jumped to the conclusion that somewhere down the line her ancestor was a slave to a white family and thus gave her a white name. Many outside sources such as The Nation of Islam encouraged Africans to abandon their slave names, their leader Elijah Muhammed writes You must remember that slave-names will keep you a slave in the eyes of the civilized world today. You have seen, and recently, that Africa and Asia will not honor you or give you any respect as long as you are called by the white mans name. Along with changing her name, Wangeros attire transformed as well. Straight hair, for Africans was a sign, another step towards assimilation into white society. Too more effectively exclude herself as an independent black woman Wangero grew out her afro. To Africans it was a symbol of defiance and repossession of her ancestral identity, embracing who they were naturally without being categorized as undesirable for their lack of straight fine hair.ÂÂ   She dressed herself in a long flowing bright dress that looked a lot like a traditional African garb and instead of saying hello she greeted Mama with the African term Wa-su-zo-Tean-o. The introduction to the new and improved Dee attests to the psychological process of morally separating herself from the past generations and reclaiming her Blackness. This includes wanting to take items from Mamas house in order to display them in a show and tell way further amplifying what she had to overcome. We are lead to question Dees sincerity when it comes to the acquisition of the items. Mama, our narrator, reminds us on how Dee hated the childhood house they used to live in and was joyful when it burnt down. Dee was embarrassed by Mama and the house, not wanting to bring friends over for introductions. She also tells us that when Dee was first going away to college, she offered her the very same quilts she now wanted to take and cherish. At the time, Dee abruptly refused them claiming they are old-fashioned, out of style. One can argue that the new-found appreciation for the family heirlooms is just part of the trend. That Dee can be seen as falsely affirming herself and becoming manipulated by the movement. Seeing that is it cool to have lived the struggle, that she came through by showing off her heritage through the art of hand stitched quilts made by her aunt. It seems as if she wants to gain respect from others following the movement by hanging and using these objects as art p ieces rather than the circumstances onto why they were made. Furthermore, at the beginning of the story, she snaps a picture of Mama and Maggie on the front porch. This is done after Mama describes herself as a large, big-boned women with rough, man working hands, one of the reasons why Dee never brought anybody over. This is done to further disrespect Dees own childhood, using it as a sort of show and tell, objectifying Mama and Maggie grouping them in the same category as the quilts, perhaps because she has missed out on the struggle of her heritage not learning the traditions of her ancestors. Dee, as Mama has lead us to believe, has never truly fit in. Always having her style even when she was young. Going away to college although has educated her academically, has left her out of learning the skills of her heritage like Maggie has. Quilting, field work, and all things Mama and Maggie have to deal with on a day to day bases is left untouched by Dee. This only solidifies Dees longing to be part of a culture and heritage she may feel left out of.ÂÂ   She feels obligated to present herself as part of the movement with the objects she wants to display. An African-American woman taking back her black identity. Trying so hard to claim the ranks on the social ladder leaves Dee unfeeling towards Mama and Maggie. This is especially seen when Mama refuses to give Wangero the quilts. Dee storms out to the car saying you dont understand your heritage. Understanding the character of Dee is complex. Because of the time period, Dee seems to be manipulated into a movement. While it is just, Dee resents her childhood forgetting where she came from. This in turn, leads her to denounce her recent heritage, demeaning Mama and Maggie and trying to fit within this movement by displaying folk-art. It is sad to see Dee pitying them as she gets into the car saying to Maggie Its really a new day for us. But with the way you and Mama live youd never know it just for one last verbal stab in defiance of her not getting her way. However, I end up feeling sorry for Dee, for within this new world she is living in, one must have asked the question where do I fit in? Work Cited Christian, Barbara T. Everyday Use and the Black Power Movement. 11th ser. (1944): n.pag. An Introduction to Fction. Web. Baker, Houston A. Stylish Vs. Sacred in Everyday Use.' 11th ser. (1985): 466-468. An Introduction to Fiction. Web. In search of African America: One collectors experience. An exhibit at the Herbert Hoover presidential museum. 21 Mar. 2004. Web. 1 Mar. 2017. B. Glaser, Linda, and AS Communications. The Black Power Movement and Its Schools. N.p., 2 Feb. 2016. Web. 1 Mar. 2017. Franchi, Elena. What is Cultural Heritage? Khan Academy, 2014. Web. 1 Mar. 2017. Makalani, Minkah. Pan-Africanism. African Age. Rutgers University, 2011. Web. 1 Mar. 2017.

Macbeth: What Is Being Said About Influence And Manipulation :: essays research papers fc

What are we as humans far more afraid of free choice or a forced decision? Manipulation and influence are presented in many ways through out the course of this book. This essay will be more of a comparative analysis between two novels The Tragedy Of Macbeth and Paradise Lost. Though influence may be a large section of our lives manipulation is what gets us to do things. In both stories prophecies were told, but there were told in a malicious way. In the novel Macbeth the main character was told he would some day become king in an ill begotten fashion. It doesn’t seem possible to gain a crown in a bad way. There words are very deceitful. Then there prophecies turn to Macbeth’s friend Banquo, witches say â€Å"lesser than Macbeth, and greater,†(William Shakespeare act I scene III) and â€Å"not so happy, yet much happier†(W.S. act I scene III); then they tell him that he will never be king but that his children will sit upon the throne. After they say these things they simply disappear. This doesn’t show much free choice. When true meanings are hidden in lies and you become confused and no longer do you understand simple truths you have been manipulated. In Paradise Lost manipulations were conceded in a similar fashion. A snake told Eve of a great fruit. He told her he was now as a man is and she would be as a god. The tyrannical serpent woes her with his blasphemous flattery. She reasons that God claimed that eating from this tree meant death, but the serpent ate (or so he claims) and not only does he still live, but can speak and think. He essentially is lying to poor foolish Eve. Being naive she trust the serpent. Eve had never experienced a lie before, so she was influenced by the snake. All living things fear death. Macbeth had Banquo murdered and an attempted murder on Banquo’s son. Macbeth killed from fear of the witches’ prophecy coming true. He never really wanted to kill his best friend and he suffered mentally for it. Macbeth didn’t want to kill King Duncan. â€Å"If it were done when 'tis done, then 'twere well It were done quickly. If the assassination could trammel up the consequence, and catch, with his surcease, success; that but this blow Might be the be-all and the end-all—here, But here, upon this bank and shoal of time, — we’d jump the life to come.

Essay on Kinship in A Portrait of the Artist as a Young Man

Search for Kinship in Joyce’s A Portrait of the Artist as a Young Man  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   At the heart of James Joyce’s A Portrait of the Artist as a Young Man lies Stephen Dedalus, a sensitive young man concerned with discovering his purpose in life. Convinced that his lack of kinship or community with others is a shortcoming that he must correct, Stephen, who is modeled after Joyce, endeavors to fully realize himself by attempting to create a forced kinship with others. He tries many methods in hopes of achieving this sense of belonging, including the visiting of prostitutes and nearly joining the clergy. However, it is not until Stephen realizes, as Joyce did, that his true calling is that of the artist that he becomes free of his unrelenting, self-imposed pressure to force connections with others and embraces the fact that he, as an artist, is fully realized only when he is alone. Stephen is painfully aware of his difficulty relating to others early on— the other boys at his first school mock him about his name and his family; his body feels "small and weak" amongst the other boys’ on the football field; he is pushed into a ditch. (Joyce, 246) Frequently, Stephen appears to mentally separate from himself and observe himself from outside Earth’s confines; he writes a progression of "himself and where he was" that reads "Stephen Dedalus†¦Class of Elements†¦Clongowes Wood College†¦Sallins†¦County Kildare†¦Ireland†¦Europe†¦The World†¦The Universe". (Joyce, 255) Though Stephen demonstrates by this list that he is all too aware of his own self and his technical place in the universe, his need to solidify this awareness to himself reveals his uncertainties about how he relates to his surroundings. "With a sudden movement she bowed his head... ...dom and power of his soul, as the great artificer whose name he bore, a living thing, new and soaring and beautiful, impalpable, imperishable". (Joyce, 433) Stephen is now fully able to create from within himself, without being dependent on others to feel whole. This is accentuated by Joyce’s description of the beach scene— "He was alone. He was unheeded, happy and near to the wild heart of life". (Joyce, 433) Stephen the artist is alone and needs to be alone, not to search in vein for companionship that, even if attained, could only drag him from his newfound freedom. This realization of self-fulfillment and self-control is the single defining point in Stephen’s education; it is the brushstroke that completes the "Portrait of the Artist as a Young Man." Works Cited: Joyce, James. A Portrait of the Artist as a Young Man. New York: New American Library, 1991.

How important is performance space to performance? Essay

The question of performance space’s importance in conveying meaning and guiding audience response is complicated. First we must define the term â€Å"performance space†. In a broader sense, it can refer to venue, which in the case of site-specific artists such as Shunt, means performance space is indeed central to the construction and context of meaning. Venues also come with their own sets of conventions and coding, which may alter the reading of a performance. On a smaller scale, it is a defining of areas between audience and performer, therefore having a more proxemics based analysis. There is a tendency throughout history to establish a norm of performance space. This has meant in general, a designated space solely for performance, with audience spectating from a separate area. How separate an area it is has shaped audience response in a cultural sense. The peaks of audience participation have arisen in times when there is close proximity to the stage, encouraging the spectator to feel like another performer. The use of performance space can be an unconscious one. Performers, particularly professionals, must devise or present or work within the performance space that have obtained funding for. The audience member is often not conscious of the use of performance space, focusing instead on the overtly designed aspects of the production. This lack of open awareness is, in my opinion a reason why performance space has a profound effect on meaning. By becoming a subconscious signifier, performance space create an ambience through which we filter all of the overt signs and symbols before decoding, its influence pervades all Within modern performance, venue involvement and performer/audience relationships are gaining wider attention as means to shape meaning and reception, by working with or subverting our cultural norms or coding of found spaces. The rise of the site-specific movement shows both performers and audiences are acknowledging the key role of a performances surroundings. It is also interesting that non site specific work being performed in less traditional surrounds in order to democratize theatre and performance away  from the bourgeois connotations of established theatre spaces (the Edinburgh Fringe Festival has seen several productions performed in lavatories,) In a venue sense, the performance of Winter; The Triumph of Time, in the George Wood theatre emphasised the importance of performance space in contextualising the piece. The performers later indicated that they had expected the audience to leave during the stillness at the â€Å"end† of the piece, as it was intended to become an installation art work, which the audience would in their own time tire and move on from. The vast majority of audience members remained in their seats, showing that they were adhering to the learned conventions of modern theatre attendance; they stayed quietly in their seats until indicated by the performers (through curtain calls, for example) or their technical staff (by opening the exit doors, turning up the house lights or giving cue for applause) that the performance was over. Winter was read as a theatre piece, solely due to its performance space. Venue can also engage senses that are otherwise hard to stimulate. During the performance of Tropicana , I was acutely aware of my sense of touch ;the walls were damp, and often crumbled slightly to the touch. The venue also had distinctive smell of mould. The slimy, unpleasant feelings these created were consciously used within the piece and added to the sense of sensory overload the work was trying to create. These senses are rarely triggered by the performers themselves, leaving venue alone as the main stimulation for two out of five senses. Audience response to work is also influenced by the relationship between audience space and performance space. Rigidly defined performance/spectator areas can lessen the effect of the audience being â€Å"involved† in the piece. This is mainly a question of proxemics; the creation of distinct areas often involves physical distance in order to clarify boundaries. During Winter, due to the design of the George Wood theatre’s auditorium and the performers use of the area behind the proscenium, the audience were about 10†² away from the performers. I found this made me lose a lot of the detail in the  performance, the nuance of the paint cracking and solidifying was lost on me  for example. The distance also created a sense of â€Å"receiving† the production,. I was more inclined to intellectually analyse and consciou1sly deconstruct than to â€Å"feel† the performance and become absorbed by its journey. Tropicana redefined its performance space on several occasions, often with no distinction between audience and performance space. being within the performance, in a sense as a performer oneself, left the audience unsure how to react. Many of the piece’s early comic moments were not laughed at, as the audience were unsure of their role. When , in the second half, we were directed onto conventional tiered seating, the audience were much more willing to laugh at jokes, to â€Å"aaah† at the rejection of one of the characters and to talk amongst themselves, due to the return to theatre norms. Exactly how important a tool performance space is varies considerably with the objectives of the work; Shunt actively seeks to reflect venue through performance, and the piece performed in any other setting would produce far different decodings and responses than were originally intended. With less site-specific works, the link between audience and performance space is less obvious in a venue sense. Yet there is no space that does not add some coding to work performed within it. Even contemporary â€Å"black box† spaces convey colour symbolism and expectations of post modernism. Performance space is indeed important to performance. The venue and proxemics employed for each performance becomes central to the mise-en-scene of the piece, framing the work both literally and contextually. It can convey its own set of conventions and alter the way in which a performance is read. However, these ideas relate mainly to live performance. Performance over other mediums such as film of television would have the added consideration of not only original performance space,but the connotation of how it is received. Bibliography: Tropicana Devised and performed by the Shunt theatre company, 9th Oct 2004 Winter: The Triumph of Time- Cleanliness is next to godliness explored Devised and performed by Helen Spackman and Ernst Fisher 10th Nov 2004