Poetry as a means of establishment of a closer connection between a Essay

Poetry as a means of establishment of a closer connection between a poet and a reader - Essay Example To see how thematic issues and such special aesthetic qualities of the genre of poetry combine, one can turn attention to the poem that on the superficial level may seem to be devoted to the description of a filling station visited by the author who is the speaker. However, the theme of the poem is much wider than that - in fact, the authors choice of setting that creates a mini-plot of the poem, of characters, to which not only the owner of the station and his sons may be attributed but dog and even a begonia plant as well, and of a unique atmosphere of surprise and discovery of unusual things in usual environment turns out to be perhaps the best way to simultaneously tell a short story about a short visit to the dirty filling station, and express intense emotion that infects readers and makes them feel like they themselves are wondering about the strange and so invigorating coexistence of dirt, oil, and of elements symbolizing ever-present human concern for happiness and meaning em bodied by wickerwork, comic books, taboret and doily with marguerites, and begonia. The most important tool that enabled the poet to establish such a strong emotional poetic effect over readers was definitely the usage of language in the poem as the author reinforces its thematic content by free v

The Masque of the Red Death Essay Example for Free

The Masque of the Red Death Essay Examine the ways in which Poe creates a successful allegory in The Masque of The Red Death. The short story, The Masque of The Red Death is written by an American called Edgar Allan Poe. He was a gothic writer1850s. This particular story is about Prince Prospero, a prince of a devastated country. Almost everyone there is dying from a disease known as the Red death so he tries to hide from it in his castle thinking he is safe. He uses effective symbolism creating a successful allegory in his short story. The main character in The Masque of The Red Death is a Prince called Prospero. Prince Prospero is shown like a selfish person as he was happy and dauntless while the Red Death has devastated his country. However, it does make him seem powerful and well protected as he, has managed to escape from the Red Death, for the moment. He seems to be a very wealthy prince as his castle consists of seven imperial suites and long and straight rooms. Deeper into the story, he seems slightly more humane but still heartless as he invites only a select group to stay in his castle with him. The heartless thing about that is he only invited a few people and it was for his entertainment, not for their own safety. He leaves everyone else to die, hopelessly. Eventually the Red Death does get to him and I think that the author did this to pass on a message to us. I think that Poes message is that, no matter how rich you are or how bold you are, you cant escape death, just like Prospero. He might also be against poverty and wants equality and wants the gap between the poor and rich to close in. In his days, the Victorian times, the gap between the rich and poor was very wide. The name Prospero sounds similar to the word Prosperous, which is what he is. The rooms show Prince Prosperos wealth, as he has sevenimperial suites. However they are not ordinary suites, his suits, unlike anywhere else, form a long and straight vista which shows uniqueness in his palace. Just owning a castle shows great wealth and to be able to serve one hundred people, like Prospero shows great wealth. There are seven consecutive suites, so if you want to go to the seventh suite, you need to go through all of the ones in front and there is only one door leading from the each suite to the next. After each suite, there is a sharp turn at every twenty or thirty yards. They seem mysterious and also secretive as you cant fully see into the next room. The fact that you can anything you want there would seem appalling to Victorians. They all followed strict rules and manners. The rooms range in colour from blue to Black. Each room has a different colour scheme but the colours get darker as guests go through. The main thing the rooms symbolise is the journey of life with death, the black room at the end. Another piece of evidence, apart from the colours of the room, is that the rooms go from East to West. This is the journey of the sun. without the sun, there is no life, therefore the black room represents death. The black room is ghastly..and extreme with its blood-tinted panes which makes it seem as there has been death there many times before. In this chamber only the colors in the windows failed to correspond with the decorations. It seems as if he is purposely trying to distinguish this room from the others. The black room is so dark and deep in that there were few people even bold enough to set foot within its precincts at all There is a gigantic clock of ebony which everyone is terrified off. The ebony clock is situated against the western wall of the black room. Towards the end of the story, we find that the last room which is the black room, is directly linked to death as, one by one, everyone dies within it. The clock and flames held in tripods also seems to be linked to death as they all stopped after the death of the last person. The guests and Prince Prospero couldnt see death coming until the last minute, the same way they couldnt see couldnt see all the rooms from the first room. Death came suddenly and unexpectedly which shows that when it comes to death, everyone is equally vulnerable and defenceless. The Masqued Ball is another way Poe Creates an allegory. The wearing of the masks symbolises them hiding from the Red Death disease. As everyone is masqued and dressed up, this would create an unsocial and almost a wild image for the Victorians. Victorians believed in strict rules and people from different backgrounds were hugely stereotyped. If the people are hidden, then they can get away by acting however they want to and do whatever they want. Just this thought would shock them. The guests seemed to be very much enjoy the freedom at the ball and not being themselves as the occasion is described as a magnificent revel. The entire evening, the Red Death seems forgotten and the guests are being really entertained. The only time they do pause their party is when the black ebony clock chimes. This clearly shows their fear towards it. The chime of the clock is said to echo through all the rooms which shows their emptiness which could mean that even the prince himself doesnt go in there because he too is frightened of the last few suites. The mystery guest scares everyone and is described as he looks like he is actually suffering from the disease when his face is said to look like scarlet horror and he is dabbled with blood. Everyone was scared to question the mystery guest, including Prospero as he shuddered and hoarsely ordered to seize him. The mystery guest enters at midnight which is associated with violence and death but it also symbolises the finish of a day and the start of a new day and new life. The mystery character in the ball is revealed to be the Red Death. It moves with a slow and solemn movement which isnt surprising because the Red Death will kill everyone anyway so it doesnt need to rush. Diseases like the Red were around in the Victorian times so the number of deaths from the disease wouldnt surprise them. Tuberculosis was around then and it infected over 75% of the US population which is enormous amount of people. The ending clearly showed that no matter how powerful you are, like Prospero, you are weak when you face death as Prospero died. Therefore Poes message could be that everyone should have equal rights and wealth. It also showed that death is something that comes but you cannot fight it or stop it. Just like the black room you cannot see it coming. The guests tried catching the Red Death but the Red Death wasnt tangible so they simply couldnt touch it. The power of death is shown in the last paragraph at the end. At the end of the story, we are told that death comes like a thief in the night, and even those who seek peace and safetyshall not escape.

Conceptualizing Neurological and Cultural Explanations of Synesthesia :: Biology Essays Research Papers

Tangled Wires: Conceptualizing Neurological and Cultural Explanations of Synesthesia Synesthesia - a mixing or combination of senses - is a concept relatively familiar in the Western world. History is littered with descriptions of people tasting words and seeing sounds; the folklore of creative and expressive arts, in particular, filled with stories of famous "synesthetes." Russian author Vladimir Nabokov, German painter Wassily Kandinsky, American artist David Hockney, and Russian composer Alexander Scriabin have all been labeled as such, and books on the topic were published as early as 1890 . Though at that time interest in synesthesia was mainly from those involved in humanities disciplines, it was clear that synesthesia was an unusual form of perception, which opened the door for the phenomenon to be studied by neuroscientists. As these scientists gained the intellectual apparatus (more complex theories of the human nervous system, for example) to approach these issues of perception, synesthesia again became a topic of interest in the 1980's and '90's. Historica l reasons for this are perhaps due to the increased availability and interest in technology during the Cold War and Americans' resulting faith in expertise of science. Also, the discovery of LSD and trend of recreational hallucinogen use in the 1960's and '70's could have influenced this interest, as hallucinogens (particularly LSD) are known to induce synesthesia. Though this historical background may not seem important to a neurobiological paper, I wish to in part use this paper to show links between culture and scientific "objectivity." The controversy surrounding current theories of synesthesia is most certainly culturally informed, and scientists working in this area are as likely to cite philosophers as they are scientific research . This intellectual debate surrounding synesthesia, which is both philosophical and scientific, can also inform our class discussion of the notion that "brain equals behavior." Cytowic, who is one of the foremost writers on the topic of synesthesia posits a complex mÃ… ½lange of scientific and epistemological points to analyze the phenomenon. An explanation of his work is crucial to getting inside the synesthesia debate. Instead of viewing synesthesia as a neurobiological concern, Cytowic explains how multidisciplinary work will provide insight into "consciousness, the nature of reality, and the relationship between reason and emotion" (1). He aims to look not only at experimental data but at a broad overview of the scientific concept of the brain in order to answer the synesthesia question. His work is circumscribed by historical and philosophical frameworks as are mentioned above. Conceptualizing Neurological and Cultural Explanations of Synesthesia :: Biology Essays Research Papers Tangled Wires: Conceptualizing Neurological and Cultural Explanations of Synesthesia Synesthesia - a mixing or combination of senses - is a concept relatively familiar in the Western world. History is littered with descriptions of people tasting words and seeing sounds; the folklore of creative and expressive arts, in particular, filled with stories of famous "synesthetes." Russian author Vladimir Nabokov, German painter Wassily Kandinsky, American artist David Hockney, and Russian composer Alexander Scriabin have all been labeled as such, and books on the topic were published as early as 1890 . Though at that time interest in synesthesia was mainly from those involved in humanities disciplines, it was clear that synesthesia was an unusual form of perception, which opened the door for the phenomenon to be studied by neuroscientists. As these scientists gained the intellectual apparatus (more complex theories of the human nervous system, for example) to approach these issues of perception, synesthesia again became a topic of interest in the 1980's and '90's. Historica l reasons for this are perhaps due to the increased availability and interest in technology during the Cold War and Americans' resulting faith in expertise of science. Also, the discovery of LSD and trend of recreational hallucinogen use in the 1960's and '70's could have influenced this interest, as hallucinogens (particularly LSD) are known to induce synesthesia. Though this historical background may not seem important to a neurobiological paper, I wish to in part use this paper to show links between culture and scientific "objectivity." The controversy surrounding current theories of synesthesia is most certainly culturally informed, and scientists working in this area are as likely to cite philosophers as they are scientific research . This intellectual debate surrounding synesthesia, which is both philosophical and scientific, can also inform our class discussion of the notion that "brain equals behavior." Cytowic, who is one of the foremost writers on the topic of synesthesia posits a complex mÃ… ½lange of scientific and epistemological points to analyze the phenomenon. An explanation of his work is crucial to getting inside the synesthesia debate. Instead of viewing synesthesia as a neurobiological concern, Cytowic explains how multidisciplinary work will provide insight into "consciousness, the nature of reality, and the relationship between reason and emotion" (1). He aims to look not only at experimental data but at a broad overview of the scientific concept of the brain in order to answer the synesthesia question. His work is circumscribed by historical and philosophical frameworks as are mentioned above.

Civil Disobedience By Thoreau

Philosophers, historians, authors, and politicians have spent centuries pondering the relationship between citizens and their government. It is a question that has as many considerations as there are forms of government and it is rarely answered satisfactorily. A relatively modern theorist, author Henry Thoreau, introduced an idea of man as an individual, rather than a subject, by thoroughly describing the way a citizen should live many of his works. He indirectly supplements the arguments he presents in his essay Civil Disobedience through a comprehensive selection of adages found in his other works. In articular, the phrases  «A simple and independent mind does not toil at the bidding of any prince » and  «To be awake is to be alive. I have never met a man who is quite awake » support many of the arguments in Civil Disobedience because they help to explicate the complex ideas Thoreau presents. The phrase  «A simple and independent mind does not toil at the bidding of any prince » regards the responsibilities of a man to his own consciousnessit is a duty that can not be revoked by any form of tyrant. Rather than hinting at a type of anarchy, this statement merely describes each mans duty to performing justice in all his actions. This does not refer to any  «mans duty to devote himself to the eradication of any, even the most enormous wrong; he may still properly have other concerns to engage him; but it is his duty, at least, to wash his hands of it, and, if he gives it no thought longer, not to give it practically his support » (681). The term  «simple » does not refer to an underdeveloped sense of morality; it describes a state of mind in which the concept of justice is so defined that contradictions cannot exist. To toil, as it is presented in this quotation, means to sacrifice ideals for the sake of conformity or law. The only real power the State holds over any individual is the promise of brute force; it  «never intentionally confronts a mans sense, intellectual or moral, but only his body, his senses » (687). Therefore, many acts the State requires will be unjustthey can and will force a man to slave for the sake of an ordeal he does not believe in. As Thoreau notes in Civil Disobedience,  «a wise man will only be useful as a man » (678). In essence, Thoreau believes that a man who toils at any ruling institutions bidding simply because it bid him to do so sacrifices his own facilities as a human being. He then becomes nothing more than a man put  «on a level with wood and earth and stones Command[ing] no more respect than men of straw, or a lump of dirt » (678). Another quotation that helps to explicate Thoreaus Civil Disobedience is  «To be awake is to be alive. I have never yet met a man who was quite awake. In this phrase, Thoreau uses the term  «awake » as an euphemism for being fully aware of ones concept of right and fully in control of ones moral and physical existence. Understandably, people who are consistently awake, in this sense of the word, are hard to find:  «There are ine hundred and ninety-nine patrons of virtue to one virtuous man » (680). Also, the fact that Thoreau has  «never met a man who was quite awake » implies that fully conscious individuals have difficulty existing in modern society. In fact, Thoreau believes that  «no man with a genius for legislation has appeared in America. They are rare in the history of the world » (692). Perhaps, by the word  «awake, » and its equation with  «alive, » Thoreau is also referring to the ability to fulfill his own mission:  «I came into this world, not chiefly to make this a good place to live in, but to live in it, be it good or bad » (683). Although this concept is not a particularly unique one, it is nearly impossible to fulfill completelybut to fulfill it partially is useless. As a living being, one must  «cast your whole vote, not a strip of paper merely, but your whole influence » (684). To truly be alive, one must be consciously satisfied with every passing moment. Through his conscientious support of every facet of his philosophy, Thoreau effectively proves his statements regarding citizenship and government. He remains consistent to nearly every idea he presents and therefore surrounds them with a seriousness that cannot be ignored.

Customer Strategy of Bain & Company

Consumer Behavior Final Project Customer Strategy of Bain & Company Submitted to: Ms. Tahira Hafeez Submitted by: Umar Afzal 2102071 Dated: August 18th,2011 Customer Strategy & Marketing Customers are the source of real growth. Bain combines in-depth customer insights with practical expertise in operations and economics to create sustainable, organic growth. †¢What we do Applying an outside-in perspective and achieving growth are fundamental to our approach at Bain. Our customer-centric business builds a virtuous cycle we call the â€Å"customer wheel. We at our stage of growth are developing custom solutions and collaborating with all levels of the organization. With our team of global experts, Bain creates depth of experience in the following areas: †¢Customer insights and segmentation: We understand customer needs and behaviors using our BothBrain ® approach and develop actionable segmentation from the resulting insights. We define the target customer or â€Å"sweet spot†Ã¢â‚¬â€the area of distinct advantage over competitors— to inform business decisions and investment allocation. Product and category management: We break down barriers to innovation and improve ongoing customer-led product development so our value proposition is differentiated and meets customer needs. †¢Pricing: We resolve the pricing paradox—pricing is almost always the #1 profit lever, yet it remains under-developed in most companies—by building long-term pricing capabilities and capitalizing on in-year-revenue opportunities. †¢Sales and channel effectiveness: We identify quick, targeted, customized solutions as well as strategic and operational improvements to boost underperforming sales sectors. Marketing and brand strategy: We align marketing and brand strategy with overarching business objectives; ensure marketing investments are generating highest returns and reinforcing the brand positioning; and build a loyal customer base through branding that cultivates a strong, trusted image. †¢Customer experience: We work to develop a series of positive interactions with the customer to earn their advocacy and inform consistent delivery of experiences to drive top-line growth. †¢Loyalty: We nurture promoters—loyal customers who are more profitable, and who are active proponents of our business in good times and bad.

Black Americans essays

Black Americans essays Black Americans are those persons in the United States who trace their ancestry to members of the Negroid race in Africa. They have at various times in United States history been referred to as African, coloured, Negro, Afro-American, and African-American, as well as black. The black population of the United States has grown from three-quarters of a million in 1790 to nearly 30 million in 1990. As a percentage of the total population, blacks declined from 19.3 in 1790 to 9.7 in 1930. A modest percentage increase has occurred since that time. Over the past 300 and more years in the United States, considerable racial mixture has taken place between persons of African descent and those with other racial backgrounds, mainly of white European or American Indian ancestry. Shades of skin colour range from dark brown to ivory. In body type black Americans range from short and stocky to tall and lean. Nose shapes vary from aquiline to extremely broad and flat; hair colour from medium brown to brown black; and hair texture from tightly curled to limp and straight. Historically, the predominant attitude toward racial group membership in the United States has been that persons having any black African ancestry are considered to be black. In some parts of the United States, especially in the antebellum South, laws were written to define racial group membership in this way, generally to the detriment of those who were not Caucasian. It is important to note, however, that ancestry and physical characteristics are only part of what has set black Americans apart as a distinct group. The concept of race, as it applies to the black minority in the United States, is as much a social and political concept as a biological one. The first Africans in the New World arrived with Spanish and Portuguese explorers and settlers. By 1600 an estimated 275,000 Africans, both free and slave, were in Central and South America and the Caribbean are...

How To Quickly Build Social Media Proposals That Win Clients

How To Quickly Build Social Media Proposals That Win Clients Social media agencies, freelancers, and consultants need clients to survive. It takes a steady influx of new customers to keep the lights on. That’s especially true if your clients tend to come and go on a project-by-project basis. Landing clients isn’t easy, though. You have competition gunning for the same business. Your website is likely optimized to attract new leads, but  thats only half the battle. Once youve met with a lead, youll still need to convince them youre the best choice for their social media marketing budget. Well-written social media proposals are key to closing deals. If you’re a writer or marketer, your sales team probably needs your help writing those proposals, too. If you’re working solo, you might need to show why you’re a better option than another freelancer or consultant. Why Would You Need To Build A Social Media Proposal? Clients want to know what you can do for them before they hand over their credit cards. They might hear about you first through your website, at a conference, or by word of mouth. Once you’ve hooked their interest and started discussing your future working together, they’ll need a tangible agreement in writing. Your stakeholders want to know exactly what you’ll do, and they’ll want something they can show their boss to show you’re worth the money. This is where strong proposals become invaluable. They’re a key tool for  showing why you’re the best choice. TIP: Download the free template below to put the advice in this post to use.How To Quickly Build Social Media Proposals That Win Clients (Free Template)Keep Organized With For Agencies Shameless plg: we're pretty excited about our recently launched agency plans. Now, it's easier than ever to manage all your clients on one platform (and you'll be reeling 'em in like crazy once you're done with this post). Looking for more details? Check 'em out here. What Do Successful Social Media Proposals Need To Include? Your proposal needs to show your prospect how you can benefit their business. It’s not personal, but they don’t care about you. They care about what you can do for them. Keep your client front and center while covering each of the following: What are you going to do. You know you’re not just going to post pretty pictures on Facebook. Make sure your client knows that too. How are you going to do it?  Which tactics and methodologies will you use to achieve Who’s going to do the work?  Which of your team members will be working on the account? Why does this all benefit your client, anyway?  How is their business going to be transformed as a result of working with you? How much is this is all going to cost? If you’re good,  your services probably don’t come cheap. Show why you’re worth it, and clients will be much more willing to sign. Recommended Reading: This Is How To Write For Social Media To Create The Best Posts How To Build An Awesome Social Media Proposal Step-By-Step Next, let’s look at how to build a proposal. This should take a little bit of time to complete. You want the document you deliver to be detailed, polished, and well-planned. Start By Establishing Goals, Metrics, And Objectives Your prospective client wants to know how your work will benefit their business. Logically, it makes sense to start with goals. These will be the endpoints you work toward. Use the SMART Methodology You may have heard us mention SMART goals  on the blog (or elsewhere). If you’re unfamiliar, that’s okay. The SMART methodology provides a simple framework for effective goal setting. Set Business Goals For Your Client Next, outline tangible business goals. This could include: Generating leads Raising brand awareness and cultivate brand loyalty Increasing sales and revenue These specific goals will depend on your prospect’s business needs. You should have some idea what these are after your initial discussions with them. Determine Metrics You’ll Monitor In order to reach your goals, you’ll need to determine which metrics matter. Applying the right data will help you know if you’re succeeding, and prove it to your client. Traffic: How much traffic are you sending to your website? This is often key for driving leads. Follower Growth: The more followers, the better. However, it’s important to make sure you’re attracting the right followers (meaning, followers who fit the client’s desired, target audience). Engagement: You don’t want to bore your audience. If people like your social media content, they’ll interact with it. Reach: Sometimes, just getting your message in front of people is enough to influence positive business outcomes. This measures how many people see a post, even if they don’t engage with it. Conversions: Driving conversions from organic social media isn’t always easy. â€Å"Isn’t always easy† doesn’t mean â€Å"isn’t possible† though, and it may well be important to your client that you know how to turn social media into a revenue or lead generating machine. Recommended Reading: How To Track Your Marketing Objectives To Focus On Success Be Intentional About Channel Selection While we’re discussing social media proposals, we need to be clear that the spectrum of social media is broad. Depending on your potential client, some channels may make sense more than others. Be sure to tailor your proposal to networks that: Your client is already on. Your client wants to build a presence on. Platforms you feel your client should be on, but may not have thought of. Be intentional about selecting social media channels for clients.Introduce Your Team Members The most reliable clients don’t just pay for projects. They invest in relationships with your team. They’ll want to know who they’re working with, and what those people are going to be doing. Help them put names to faces in your proposal. Include the following information. Identify Roles What capabilities do you have on your team? Show your prospect that you have the skill sets required to do what they’re asking from you. Here are some common roles: Writers. Your literary ninjas crafting compelling copy that entertains and motivates audiences. Designers. Visual content geniuses that will make your client’s social channels look their best. Strategists. Big picture thinkers that connect the dots between tactics, strategies, and objectives. Analysts. Data wizards that tell you what’s working, why it’s working, and how it’s working. Project managers. Professional cat herders that keep the rest of your team in line and on time. Account managers. Your face to your client. This person is your prospect’s first point of contact for anything they need. Introduce Team Members Knowing a little bit about your team (beyond the work they’ll be doing) can help humanize your agency. Add screenshots and quick bios outlining their interests and passions. Include details about their skill sets. What Services Will You Provide? Anyone can talk about how they’ll â€Å"transform your business† while dropping three-letter acronyms like â€Å"ROI† and "CPC" and whatever else. Actually showing your prospect what you’ll do is more difficult. This is where you need to demonstrate exactly what kinds of skills you’ve got, and what kind of results you can expect to produce. Think â€Å"less talk, more rock.† Writing a proposal? Think 'less talk, more rock.'Some examples might include: Social media content creation Campaign planning Social listening Analytics and measurement How Your Team Will Do It You don’t have to give away all your secrets. However, a client will want to know how you’re going to deliver on your promises. Consider including some of the following items in your proposal: A description of your processes and methodologies. What’s unique about the way you work that helps you deliver better results than your competition? What tools do you use? Using the same tools can be helpful for collaborating with clients. A clear explanation for the specific work you’ll perform. Specific tactics and techniques you’ll use. Why You’ll Do This Work What’s the reason you’re going to do all this work, anyway? Be sure you know what your client’s objectives are. Some possible objectives could include: Increasing brand awareness Community building and engagement Driving leads TIP: Tie specific objectives back into your client's overall business goals. Set Clear Schedules And Timelines You don’t want to leave your client wondering what you’re doing while burning their budget. Let them know when things will be done up front. This includes: Deadlines for projects. Timelines for meetings and check-ins. Time frames to reach performance goals. Recommended Reading: How To Meet Deadlines When You're Sick And Tired Of Missing Them Tips For Setting Deadlines Your client needs to know when to expect work to be completed. It helps with their own planning and makes their life easier. Keep these pointers in mind: Be realistic. Don’t over-promise how fast you can get work done. Be up front about how much time it’s going to take to do a good job. Hold yourself accountable. Once you set a deadline, consider it set in stone. Do whatever you have to in order to meet it. If you were realistic about setting your timeline, you shouldn’t need to pull any all-nighters. Make sure deadlines are agreed upon. This ensures a client can’t try to force your hand to deliver faster than promised. Be firm on your timelines and work hard to meet them. Under-promise and over-deliver. When it comes to deadlines, under-promise and over-deliver.Be Clear About Budgets Going over-budget is stressful for agencies and consultants. It leads to costly write-offs or over-billing your client  (and you should never over-bill anyone, for anything, ever). Neither is good for either side. The best way to avoid problems here is to establish realistic budgets. Tips For Setting Budgets Every team member you add to a project raises the cost. Include only those who are essential. Be smart when planning meetings. They can be a drain on both time and budget if you’re billing for hours spent in meetings, in addition to time spent doing the work. If you’ve selected the right people, to perform the right work, on the right timeline, then budgets should (hopefully) fall in line too. If your client disagrees, then negotiate, or even walk away. You need to arrive at terms that are satisfactory to both sides. Determine Reporting Periods And Deliverables As you work with your client, they’ll expect to see some kind of reporting. This could mean a formal weekly or monthly reporting document showing how your work is performing. Your proposal should note: When to expect reports. What those reports will look like (PowerPoint, Excel, PDF, etc.). What data will be reported on. These should be tied back to your goals and metrics. Simple as that. Recommended Reading: How To Develop A Winning Social Media Content Strategy (Free Template) Manage Everything With For Agencies! So, you've started pitching your proposals and you're winning tons of clients. What comes next? You'll need to manage each of those clients. And with for Agencies, you can keep clients organized without losing your mind. Here's a quick rundown on what our multi-calendar plans have to offer busy agencies and consultants (like you): Manage all your clients in ONE place. Eliminate the need for spreadsheets, email threads, and multiple platforms! Get all your clients under one roof. Make it easy for you, your clients, AND your team to collaborate, manage projects, and get sh*t done. Simplify your team’s workflows and collaboration. With custom integrations, team member approvals, and streamlined communication, you can easily facilitate real time collaboration with your clients, stay on track with project tasks, and execute on projects faster. Customize to fit your needs. is designed for flexibility. And as your clientele grows, so should your calendar. With three tiers of multi-calendar plans, makes it easy to scale your plan to fit your client’s unique needs! Improve client retention with data-driven results. No more warm fuzzies! Prove the value of all your hard work with real data. Utilize ’s most advanced analytics to measure your success and improve client retention†¦.(without all the tedious data collection). Which means you can stop jumping from screen to screen, manage all your clients on ONE platform, and get your agency super organized in the process. Now Go Win More Clients Strong social media proposals help clients visualize a better future for themselves, thanks to your work. Take what you’ve learned here (and use the free template included) and start winning more business.

Question Type - PrepScholar 2016 Students Encyclopedia

Question Type - PrepScholar 2016 Students' Encyclopedia SAT / ACT Prep Online Guides and Tips The SAT is a predominantly multiple choice test, with the only exceptions being a written essay and ten student-produced math questions. In total, the SAT asks 67 Critical Reading questions, 54 Mathematics questions, and 49 Writing questions. Altogether, these add up to a total of 170 questions (plus theessay). The questions typically increase in difficulty level throughout their sections, withthe exception of passage-based Critical Reading questions, which chronologically follow their accompanying passage(s). Note: this article is a series in the PrepScholar2016 Students' Encyclopedia, a free students' and parents' SAT / ACT guide that provides encyclopedic knowledge. Read all the articles here! Of these 170 questions, 160 are multiple choice and have five lettered answer choices, A, B, C, D, and E. The remaining 10 are student-produced Mathematics questions, alsoreferred to as "grid-ins." To answer these grid-in questions, students write their solutions on a special section of the answer sheet. The grids for each response allow for up to four digits. Students can also write in a decimal point or fraction bar. Despite variations in difficulty level, each multiple choice question is weighted equally towards a student's score. A student'sraw score, based on the number of his/her correct, incorrent, and skipped answers, is converted to a scaled score between 200 and 800 for each section through a process called equating. This process takes into accountthe scores achieved by all test-takers on a given date. For the essay, which is graded by two readers, students receive a subscore between 2 and 12. The essay prompt typically includes a quote or short excerpt, oftenrelated to a philosophical or social issue, followed by a question. This question asks the student to develop a point of view and support it with examples from his/her reading, studies, experience, or observation. There is a0.25 point deduction for wrong answers on multiple choice, so students benefit from taking a strategic approach to which questions they answer and which ones they skip. Many SAT tutors suggest that students guess if they can confidently eliminate at least one choice among the five possible answers. Students can also be strategic about how much time they spend on each question, taking into consideration the difficulty level of each and how they can gain the most points. Students receive their scores about three weeks after taking the SAT. College Board score reports present each student's correct and incorrect answers by section and question type. Students may also pay an additional $18 for College Board's Question and Answer service, which gives a detailed report of the student's answers to each question. The Question and Answer service is only available for tests taken in October, January, and May. Redesign Alert Starting in March 2016, the redesigned SAT will feature multiple choice questions with four answer choices (A, B, C, and D) instead of the current five. The new SAT will have rights-only scoring, meaning there will be no more penalties for wrong answers. Critical Reading and Writing will be scored together out of 800, and the maximum composite score will be 1600. Read more from theSAT Encyclopedia! Further Reading How to Get and Interpret Your SAT Results Should You Get SAT Question and Answer Service for Score Verification? Should You Guess on the SAT? 6 Guessing Strategies

Informative paper Research Example | Topics and Well Written Essays - 1750 words

Informative - Research Paper Example The aim of this paper is to browse through the various legal aspects of internet governance that help minimize the concerns related to internet. Body Nature of the problem Both the private sector as well as the government sector has become very concerned about cyber security and these concerns have elevated due to various sources. These sources include: Individuals and groups have accepted the importance of internet as it is found to be present in different spheres of human life. Computer systems and information technology related resources have become increasingly dependant on internet. Concern has even elevated because quite frequently, organizations from both the private and the public world report breach of information. Different types of viruses and malwares are spreading and they are becoming quite complex for people from the industry to tackle. Government is continuously involved in the process of conducting investigative operations on the way internet is being used. Various i nternet related attacks conducted throughout the world. Concerns have even stemmed out of activities such as cybercrime which includes: theft of identity, credit card online frauds, illegal pornography, and loss of property that is intellectual in nature. On top of the sources of concern is the concern for privacy of data that is with the government and the private sector. Internet users have increased and almost 32.7% of the world’s population is using internet, but they are unaware of the threats they may face and their awareness of how to avoid such threats is even low in amount (International Business Publications, 2007, p.38). These users are recognized as soft targets and a number of criminal entities can take advantage of them. Those entities that may pose a threat to users include: hackers, government organizations, especially intelligence agencies. The motives behind attacks related to internet includes: economic benefits, attacks conducted for the betterment of the security of the nation and self satisfaction. Responses from international community The international community and the local community have responded in several ways to the threats and the attackers. During the period of 2001, COE (Council of Europe) held a treaty signing session on the subject of cyber terrorism. The meeting focused on three major problems related to cybercrime (Bachmaier, 2010, p.203). These issues included: various kinds of cyber attacks that nations need to address in their laws and regulations, the adoption of these rules and regulations to solve major issues and corporation between nations to solve the issue of cybercrime. The convention has made ample amount of progress and it has been able to add 21 countries to the convention and tried to persuade a total of 30 countries to get into the agreement (Bachmaier, 2010, p.203). During the period of 2010 a UN Crime Congress was held in the area of Salvador, here Brazil tried to get other nations into signing a t reaty to counter cybercrime (Boister, 2012, p.118). Brazil failed to persuade other nations to sign the treaty even though heated discussions took place and problems were discussed in great lengths. The reason due to which agreement was not reached includes concern for rights of humans, national security and other issues. The problematic question in such cases is how to bridge the differences among these nations

Albert Einstein Essay Example | Topics and Well Written Essays - 1250 words

Albert Einstein - Essay Example This man is considered as the father of Science for the extensive research done by him in this field. An insight into his life would enlighten any human mind. Albert Einstein was born on the 14th of March 1879 to Hermann Einstein (Father), an Engineer and salesman and Pauline Einstein (mother) who was also well educated (Peter D 1-3). He was born at Ulm in Wurttemberg, Germany and after six weeks the family moved to Munich. He began his schooling at Catholic elementary school from the age of five and later at the age of eight he went to Luitpold Gymnasium for his primary and secondary schooling education for seven years and Einstein was a good student As Einstein grew up he developed interest for science and began brooding over the theories behind every mechanism. He was inquisitive to learn and would do anything to understand a theory. During his course of learning, his family faced financial crisis due to a loss in the business but Einstein continued his studies at Luitpold Gymnasi um for some time. Later he wrote his first scientific work "The Investigation of the State of Aether in Magnetic Fields"(â€Å"Einstein symposium 2005†). He finished his secondary schooling in Switzerland. ... Later Einstein struggle finding a job for himself and has finally done that as an Assistant examiner at the Federal office for intellectual property. His job at his work place influenced him to form a group with his friends and colleagues at Bern, who when met, discussed about science. He presented many papers of his work and â€Å"The Principle of Relativity†, â€Å"Sidelights of Relativity†, â€Å"Space and time in pre-relativity physics†, â€Å"Relativity Field† and â€Å"Quanta† are a few to name and on the 30th of April 1905 he received his doctor’s degree. One of his famous works was the â€Å"Theory of Relativity† in which he proved that energy contained in a particle of matter is equal to the mass of that matter multiplied by the speed of the light. This actually proved that energy is actually concentrated in a particle. This theory put forward by Einstein has earned him worldwide acclaim. â€Å"Who could have guessed that an article by an unknown patent clerk, appearing in the German scientific journal, Annalen der physik, volume 17, in the year 1905, would turn the of science topsy-turvy?†(William 26) .This was simply put into an equation E = mc2 and this is also called mass-energy equation. After these events, he had his recognition and held several positions like lecturer, professor and director at several Universities like University of Bern, Humboldt University of Bern etc. Einstein worked hard in trying to find the relations between â€Å"Time and Space† and â€Å"Mass and Energy†. His efforts finally paid and he was awarded the â€Å"Nobel Prize in physics† in 1921("Albert Einstein - Biography") for his photo-electric effect.

Service Marketing Article Example | Topics and Well Written Essays - 2500 words

Service Marketing - Article Example The different concepts which apply to this specific hotel work as a framework that exemplifies successful services and interactions with customers for growth within the overall corporation. Models of Service Interactions The concept of service interactions is one which can’t be done with the use of customer service representatives alone. For this to work effectively, models need to be initiated, specifically which provide options and assistance to those interested in the hotel. The business process management system is one of the main associations with the service interactions and the concepts which are a part of the system. This includes workflows, shared agendas, managers, job lists and components that are based on the internal needs of enterprises (Baina, Tata, Benali, 2002). As data can be provided for workers about the structure of the organization and the way that it works, there is the ability to create tasks related to services. The business process management system t hen works to have services available to customers, specifically because of the integrated system and the way in which this works to serve the customer (Baina, Tata, Benali, 2002). ... d with technology which can be provided to assist with services while boosting the interactions which occur among those working in a service related industry (Zaha, Dumas, 2006). The main concept with the architecture is based on several units that work independently and which include data. The data is then processed and can be exchanged through other units which are used. The interaction of the various data and tools can then be used to mainstream the different services which are being provided by individuals, the schedules which are available and other workflow processes. As this technology is used, it is able to increase the responses from those who are using the services (Zaha, Dumas, 2006). The use of technology at the Marriott ranges from the Internet reservations to faster check – ins and options for room service through the use of technical components. The workflow process and extra information is also available for employees and managers, all which mainstreams the nee ded data. There are cross references also which are a part of the data, specifically so managers can ensure that all work is cared for at the hotels. The technological tools which work to provide support are then followed by models based on personal interactions which occur among individuals. This is based on marketing models which are reinforced through employees and which enter into the expected requirements of those working in a specific industry. The relationships which are built through marketing come from the advertisements of customer service providing a high level of comfort (Rust, Chung, 2006). This is furthered by employees working with the back – end systems, workflow processes and internal systems to provide the right level of service interactions. The concept of relationship

Anthropology of Marxists, Marxians, and Marxish Essay

Anthropology of Marxists, Marxians, and Marxish - Essay Example The Hegelian system formulated the idea of self-consciousness that derived secular terms such as ‘the man’. This term created religious conceptions that characterized what would be a moral man whose basis drew from moral, political, theological among a list of other traits. In this text, Rosas as Marxian criticizes the way in which people along the Mexican border cannot be free to roam around their nation because of the intensified border patrols mounted by the USA in this territory. Essentially, when Rosas speaks to some Mexicans they tell him that they are only free when they live in the sewer lines that connect the USA and Mexico, which is basically an effect of capitalism. In most cases, those that seek to go to the USA to seek better opportunities opt to use the sewer line that connects the states of Sonora and Arizona, for the fear of being subjected to humiliating checks at the border (Rosas 2). Most of them attract the stereotype that they could be drug peddlers, which most might not be the case hence making it hard for them to access or receive US citizenship, which is a social conflict that Rosas seeks to address. Here, Foucault argues that subjects that fell under an individual in power had no option but to put their lives at risk for this person because what mattered was him to maintain his authority without caring about what would happen to them. Foucault criticizes ‘the right under the power of life and death’ because this meant those in power had the authority to take life as well as this was the law. The argument embedded here is that the western powers have borrowed from this archaic law that was applicable especially in Rome by introducing ‘deduction’, which encompasses incitement, bossing around, control and optimization among a list of other traits as elements of being in power (Foucault Michel 79).

Grammar Errors Essay Example | Topics and Well Written Essays - 500 words

Grammar Errors - Essay Example However, the phrase fails to portray the emphasis on open-ended assessments. To correct this, the author would have used the phrase â€Å"centered on† to indicate that open-ended assessments are the main focus of the grading cycle. Similarly, the title of the book ‘More Perfect Unions’ by Davis captures the attention of the reader but fails in grammar (Davis cover page). The correct title would have been â€Å"Perfect Unions†, since perfection is absolute. It is not possible to have a better object than a perfect one, thus, the phrase â€Å"more perfect† is wrong. Lacquaniti et al. explore malnutrition in elderly people diagnosed with kidney problems who are on dialysis (Lacquaniti, Bolignano and Campo 240). The authors note that â€Å"Numerous hormonal and depletive elements concur in the pathogenesis of malnutrition, and while some can be ascribed to dialysis itself†¦Ã¢â‚¬  The authors give the wrong meaning of the sentence, since they want to point out that dialysis can cause malnutrition but there is another causative factor. The word â€Å"while† should, therefore, be replaced with the word â€Å"although† to portray that both are risk factors in malnutrition, but the others are the main causes. In the book ‘Lecturing: A Practical Guide’, Brown and Race use the term â€Å"enthuse† to indicate how students can be trained to enjoy a lecture (Brown and Race 11). The use of the word enthuse, however, does not portray the urgency of the training. A better way would be to use the term â€Å"motivate†, which indicates the need to excite the students.

Training Plan Assignment Example | Topics and Well Written Essays - 1500 words - 1

Training Plan - Assignment Example We will be using online skill tests, shadowing/role play, and individual learning to properly train a new hire for this position. The full extent, including on-going training can take up to 6 months. The role of customer service at Sport Chek is responsible for acting as a link between customers and the company. The main roles include assisting with orders, complaints, errors, billing, account questions, and cancelations. There are a variety of resources needed to properly train new employees including space, computers, printer/paper, online training modules and of course, time. All in all, the new hire will cost approximately $1000, which shows how important employee retention is. The training objectives are used to equip the newly acquired personnel with the knowledge, skills, and abilities that ensure they will be a productive part of the customer service force at Sport Chek. The new trainee should have the ability to communicate effectively with coworkers and customers, to start conversations with customers, to analyze and solve problems, and have the basic computer skills to work a register (POS system). The knowledge of general sports, sports fashion/ attire, and outdoor activities are essential. The trainee must also have the ability to learn through observations and hands on experience. In order for sports industry to meet the changing needs of demographic, it is essential that new trainees become more dynamic, flexible and innovative with knowledge of general sports, sports fashion/ attire, and outdoor activities. New employees of Sport Check must understand that the firm is the leading retailer of sporting goods in Canada. Therefore, having the privilege to work in the merchandise store exposes the employee to the greatest product brands that exist across the globe. All new employees of Sport Check merchandise store should have a

Grammar Errors Essay Example | Topics and Well Written Essays - 500 words

Grammar Errors - Essay Example However, the phrase fails to portray the emphasis on open-ended assessments. To correct this, the author would have used the phrase â€Å"centered on† to indicate that open-ended assessments are the main focus of the grading cycle. Similarly, the title of the book ‘More Perfect Unions’ by Davis captures the attention of the reader but fails in grammar (Davis cover page). The correct title would have been â€Å"Perfect Unions†, since perfection is absolute. It is not possible to have a better object than a perfect one, thus, the phrase â€Å"more perfect† is wrong. Lacquaniti et al. explore malnutrition in elderly people diagnosed with kidney problems who are on dialysis (Lacquaniti, Bolignano and Campo 240). The authors note that â€Å"Numerous hormonal and depletive elements concur in the pathogenesis of malnutrition, and while some can be ascribed to dialysis itself†¦Ã¢â‚¬  The authors give the wrong meaning of the sentence, since they want to point out that dialysis can cause malnutrition but there is another causative factor. The word â€Å"while† should, therefore, be replaced with the word â€Å"although† to portray that both are risk factors in malnutrition, but the others are the main causes. In the book ‘Lecturing: A Practical Guide’, Brown and Race use the term â€Å"enthuse† to indicate how students can be trained to enjoy a lecture (Brown and Race 11). The use of the word enthuse, however, does not portray the urgency of the training. A better way would be to use the term â€Å"motivate†, which indicates the need to excite the students.

Income Distribution Annotated Bibliography Example | Topics and Well Written Essays - 1750 words

Income Distribution - Annotated Bibliography Example The second factor is the labor market that contrasts the standard supply model with the alternative possibility of bargaining power. Tax cuts lead to managerial energies that divert the remuneration expense at the expense of employment. On capital income, the authors cite that Europe adheres to a U-shaped model that inherits wealth through capital income taxation that curbs inequality. The controversy surrounding income inequality attributes to technological change and globalization. On the issue of inherited wealth, the author observes difference in magnitude across countries. The existing estimates show differences between the French U-shaped patterns that apply to Germany. The wealth surveys tend to underestimate inheritance receipts and that explains the reason behind the rise of inheritance flows in the recent period that appears limited in some countries. The variations in the total magnitude of wealth accumulation also explain the variations between the countries. The authors use different approaches to explain the differing experience in other advanced economies. The rise in the share of the top 1 percent has a noteworthy effect on the overall income inequality in America. During the First World War, the authors find that economic growth accompanies a rise in inequality and a decline in inequality. An interwar period fails to exhibit secular downward trend in the shares of top incomes. In the issue of tax rates that authors find consistency of tax rates that contribute to the earlier decline in the top income shares. The decline in the top capital incomes is the primary driver of top income shares in the early twentieth century. Lastly, the authors talk concerns earned income and capital income. The joint distribution of earned income and capital income compares with a Ricardian model. The pattern of crossing represents the copula that illustrates joint distribution in terms of ranks in the distribution of capital and earnings income. The authors

Globalization and its impact on the Public Sector Essay Example for Free

Globalization and its impact on the Public Sector Essay INTRODUCTION Globalization can be seen as a new phase of internationalization of forcing companies and countries reciprocally depend on degrees in the past. Here you can have globalization as the third phase of the internationalization of markets, the first of these phases properly called internationalization, ranging from late nineteenth century to the First World War, in which no economic sovereignty and international exchange and the second phase of Globalization, which runs from the end of World War II until about seventy years, time in which multinational companies begin to operate on a truly global basis (Peter, 2006). With the globalization of the modern world, businesses and government entities are forced to confront their results beyond its borders, in the fields of production quality and public administration, being necessary to rethink traditional management schemes within organizations. High competition forces that improve the quality of products and services and modernize the processes required must necessarily create a culture of modernity and innovation, on the staff of the entities in the public and private sector. The goal of globalization is no longer penetration neighboring market, but world trade, and standardizing it is the best instrument to achieve new trade realities. Thus, this brings to light what is public administration, since it is closely linked to what is trade and market. _DISCUSSION_ Administrators agree perceive the organizational environment as uncertain and turbulent of increasing complexity, and draw attention to the shape or style of thinking required to address more effectively the change phenomena. At present, the intensity and speed of global changes in the economic and social environment determines the need to know in advance the direction you point these changes and megatrends. The major changes are slow to form and once installed, its influence is felt for a long time in individuals and organizations. In terms of some management specialists, the adaptability of the organization and therefore their ability to survive depends on its ability to learn and act upon the changeable environmental conditions. In understanding the phenomena that affect the public-private sphere, the State-Society is the major element in understanding the context in which hatch and informational processes and flows of the social world are developed. The State in its historic role as sociopolitical computer centralizer actions and decisions of socio-economic and cultural development of a country, is characterized by being constituted by institutional relevance actors: political parties and groups, trade unions, universities, media communication, among others, all active and engaged in the debate of major national issues participants. In this context, information channels are open and thus in the debate and discussion agendas are present from major structural changes to the discussion of basic problems of society, creating an interaction between all actors identified (Peters, 2001). From the change in the political system two elements characterize the new process: the role of the state comes into question, and the discussion focuses on the redefinition of it. Moreover, the market emerges as a new player with that also produces a redefinition of public-private relationships. The private sector breaks into many fields hitherto proprietary state action, the most notorious health, education and social security, resulting in double circuits of information: public and private. Radical changes in the early affect state-society relations are produced.  The state is directing its own administrative decentralization process and starts a new institutional framework. All these situations create new information flows in new directions and to new target groups. Centralized information becomes part of the State surpassed role. The legitimacy of the information is questionable and of course the reliability of it is also debatable. However, the changes that occur within the state and therefore in society begin to produce positive impacts on productivity levels, service efficiency, technological upgrade that streamlines the bureaucratic processes and a series of other events in the reformulation of the role of the state is designated as a profound reshaping of the state apparatus and at the same time, a substantial improvement of the State, as being able to regulate the production and processing of lead in achieving social equity. _Changes in Management Due to Globalization_ Within this perspective comes hard on the concept of intelligence, applied to the social field in general as well as to a particular organization. Concept defined as the ability to understand and even anticipate the behavior of the various environmental factors that affect or influence negatively or positively the development of a program or project. This advance knowledge is a prerequisite for organizing and planning the activities of organizations and individuals, in order to anticipate, minimize or neutralize impact or influence of changes in the internal activities of the organization and its relations with the surrounding frame of reference . Some organizations have the ability to adapt quickly to change, naturally occurring in the joints between the various work areas. It allows them to survive in the turbulent environment, among other conditions, your creativity or ability to conceive and imagine alternatives and new solutions beyond the traditional frames or thought patterns (Farazmand, 2012). The organization ceases to be regarded as a mechanism and tends to be conceived as a living organism, endowed with intelligence. In this context we can speak of a corporate intelligence internally structure the organizations and allows them to react to changes in their environment also based on the use of information. Such organizations, also known as the third typeenterprises, the authors G. Archier and H Serieyx have the following characteristics: Be constantly alert to events in the environment. Have organizational structures and rules that ensure flexibility and speed of adaptation. Individuals and groups articulate the organization and contribute to their full potential. Each member of the organization is constantly exposed to market pressures and customer expectations. The organizations projects are conceived, shared and accepted by all members of the organization. The work structures are focused on problems without choking the hierarchy. The organization ensures each official smart, useful, challenging work, also investing in the continuing education of staff. _Productive Transformation Process_ The marked acceleration of scientific and technological change brings many challenges in the economic field, the need for flexibility from the production system to make competitive adjustments, to expand trade by way of differentiation. Each country must seek to create in the international market its own space on the basis of new technologies (Farazmand, 2004). In the field of production of goods and services, the world is in one of the greatest moments of innovation and change, based on the knowledge-defined as the most expensive of the products of the modern era. Knowledge management supported by advances in information, computing and communications, offers possibilities of radical change, creating opportunities for new technologies, competitiveness, new markets. In the public sector, production processes undergo changes to adapt to the new demands generated by the private sector in those areas in which the State assumed key roles in development. The scope, variety and extent of the changes, which are generated in the information sector, the new organizational paradigms, should trigger an intensive process of studies and research in the area, so as to make the necessary adjustments in the production processes of information current and / or, when necessary, to design new components in these processes (James Van, 2004). Oriented training human resources policy focuses on the essential aspects of productive transformation: growth and equity. The training of human resources in this context should also increase productivity, support worker flexibility to adapt to the changing needs of the productive sector. Technology policy should aim at strengthening the productive transformation policies and strengthen national and regional innovation system. Must be well integrated with the industrial, agricultural, educational and trade policy. You can achieve your goals if a suitable economic and social environment, since the innovation process has a systemic character and requires several interrelated elements. The strategic dialogue, as proposed by ECLAC, comprises a set of explicit and implicit reaching agreements between the state and the main political and social actors around the productive transformation with equity, and also about the consequences policy and institutional innovations needed to achieve it. The economic transformation strategy posed ECLAC is conceived as part of the conditions of the international economy in the outer and maintaining macroeconomic stability, development financing, maintaining  social cohesion and consolidation of democratic processes within (Gareth, 1988). _Transforming the Work Environment_ Associated with global changes in the organizational structures should be considered external factors: economic, social, political, technological and other as competition, labor market, etc. Such administrative language in examining the opportunities and threats presented by the environment to the organization and its members, comprising also analyze the implications that the forces of change are internal work processes in the organization. The work environment is undergoing major changes due to the impact of external factors among other aspects of the new objectives that organizations are posed by the internationalization of the same, the transition from production companies to utilities, the need for human resources in technologies, by increasing interrelationships of public and private sector, etc. It is argued that the technological revolution affects the levels of employment, working conditions and social organization and the application of computer science, robotics and other automation involving a small group of overspecialized workers and a large number of unqualified workers. However, the forces of change can also arise within the organization or individuals that compose themselves. The work environment of the organization is under pressure from those who want change and those who oppose tenaciously (Robert, 2009). The organization must adapt or fundamentally change strategies and plans created for different situations and contexts. In this scenario, the training of human resources is a must for the new management style component. Learning new technologies and developing new skills conducive to the efficient performance of individuals can not be absent from any policy to improve the work environment. While it is not the intent of this document describe enter multiple situations affecting the organizational structure and respective management approaches in solving  problems, mainstreaming workplace transformation aims to support the understanding of the issues new organizational forms, examining the competitive environment, adaptation to the new, the educational needs of human resources and the occurrence of the information sector in all strategies of the organization. _CONCLUSION_ Globalisation has catalysed the need to accelerate public sector reforms in developing countries and the need to set up correctly-working institutions. The time is ripe for reform. The challenge will be to adapt the model to different social, economic, political, legal and cultural contexts. REFERENCES Farazmand (2012), Chaos and Transformation Theories: Implications for Organization Theory. _Public Organization Review_ 3(4)/2003: 339-372; James Van (2004). Resistance to Change and the Language of Public Organizations:†¦_Public Organization Review_ 4 (1): 47-74. Farazmand (2004). Innovation in Strategic Human Resource Management: Building Capacity in the Age of Globalization. _Public Organization Review_ 4 (1): 3-24. Gareth Morgan (1988). _Riding the Waves of Change._ San Francisco, CA: Jossey-Bass (HR). Robert Golembiwski (2009). _Handbook of Organizational Behavior_, new edition. NY: Marcel Dekker. French and Bell (1999). _Organization Development_ Englewood Cliff, NJ: Prentice-Hall (HR). Connor and lake, _Managing Organizational Change_, 2nd ed. (1994) Peters, Guy (2001). _The Future of Governing_, 2nd ed., or the latest. Lawrence, KS: University of Kansas PressSenge. Peter (2006). _The Fifth Discipline: The Art and Practice of Learning Organization._ NY: Random House/Garden City, NY: Doubleday.Skinner, B.F. (1948, 1986, 2005), _Walden Two_ (small paperback$2-3 online), Hackett Publisher.

From Boy to Man :: Example Personal Narratives

From Boy to Man It was December 26, 2002, a day that will live in my mind forever. I had just gotten my license three days before, and all I could think about was driving around with my friends and enjoying the thought that I was actually free to go wherever I wanted, and whenever I wanted. My vehicle was a 1994 Dodge. It was the family car that had been passed down. It had gone through my father, brother, and finally down to me. It was a fine piece of machinery, to me anyway. The stereo had five stations but no tape player. The van had cruise control, but that took a long time to work. I would usually have to try it four or five times before I could ever get it to work. It had snowed a couple of days before, so the roads were okay, but they still had some snow and ice on them. Since I had my license for three days, I had already been through all the weather that God could throw at me, so I knew that I was a driving expert. All the times before, in driver's ed., I had driven in the rain, in nice weather, mostly anything, but I was not prepared for what was going to happen on this day. I picked up two of my non-driving friends because I was considered to be cool now that I could drive around without my parents. We decided that we should go to McDonald's to celebrate my achievements. I had my normal #9 with a Coke, and I forget what they got, but that's really not important. After McDonald's we decided to go out and just be teenagers, which included driving around, looking for chicks to drool over, and all the while I am thinking, "Why didn't I get my license at age 12? This is a breeze." We went out to McNeil Road to go by my old school, just to laugh at it, but something went wrong. Since it had snowed a couple of days before, the roads were worse than I had ever encountered during driver's ed. The snow was blowing back and forth on the road.

april 19 :: essays research papers

PATRIOT ACT FACT OF THE DAY: In passing the Patriot Act, Congress established standards in oversight for the use of the Act's provisions. For example, Section 1001 of the Patriot Act requires the inspector general of the Department of Justice to determine and report to Congress civil liberties violations. Florida U.S. Attorney Defends PATRIOT Act In a letter to the Florida Times Union, U.S. Attorney Paul Perez explains the success of the PATRIOT Act in protecting Americans from terrorism: â€Å""The Patriot Act did two things to correct major weaknesses in our nation's pre-Sept. 11, 2001, defenses. First, it lowered the bureaucratic and legal wall that had prevented law enforcement and the intelligence community from sharing information with each other about terrorist operatives and plans. † Second, the Patriot Act updated our legal tools, allowing our nation's justice community to use court-approved legal authorities for terrorist investigations that had long been used in investigations of drug smugglers and organized crime. Three years after the passage of the Patriot Act, we can point to a nation that is safer and more secure. Sadly, in this important public debate about freedom and national security, critics have come forward to attack the Patriot Act unfairly, claiming the law endangers our individual rights and our civil liberties."† USA PATRIOT Act News Archive April 18, 2005 PATRIOT ACT FACT OF THE DAY: The Patriot Act allows investigators to use the tools that were already available to investigate organized crime and drug trafficking. As Sen. Joe Biden (DE) explained during the floor debate about the Act, â€Å"the FBI could get a wiretap to investigate the mafia, but they could not get one to investigate terrorists. To put it bluntly, that was crazy! What’s good for the mob should be good for terrorists.† (Cong. Rec., 10/25/01) Former Gov. Racicot corrects misconceptions about PATRIOT Act In an op-ed in the Billings Gazette, Gov. Racicot shows how the PATRIOT Act took down the â€Å"wall† and updated terrorist investigators’ tools: â€Å"The Patriot Act broke down the ‘wall’ that separated law enforcement and intelligence investigations. The 9/11 Commission cited that wall as a central failing in our national security preparedness because it did not allow intelligence officers and criminal investigators to coordinate their information. The Patriot Act updated the tools available to law enforcement with new technology. Also, the Patriot Act took many of the tools available in organized crime and drug trafficking cases and made them available to terrorist investigations.† April 15, 2005

Battle of Passchendaele Essay

On November 6th, 1917 our Canadian soldiers captured the Passchendaele ridge. They had to face many obstacles but they made it. Canadians take Passchendaele successfully. On November 6th, 1917 our Canadian soldiers captured the Passchendaele ridge. They had to face many obstacles but they made it. Reporter Reporter Canadian Wounded at the Battle of Passchendaele More than 15,000 Canadians died or were wounded during the Battle of Passchendaele. Many of them drowned in the mud and shell holes. Canadian Wounded at the Battle of Passchendaele More than 15,000 Canadians died or were wounded during the Battle of Passchendaele. Many of them drowned in the mud and shell holes. The mud, flat terrain, and relative lack of preparation time and artillery support would make Passchendaele a far different battlefield than the one the Canadians encountered at Vimy Ridge. Currie took the time to carefully prepare as much as possible and on October 26, the Canadian offensive began. Advancing through the mud and enemy fire was slow and there were heavy losses. Despite the challenges, the Canadians reached the outskirts of Passchendaele by the end of a second attack on October 30 during a rainstorm. On November 6, the Canadians and British launched the assault to capture the village of Passchendaele itself. In excessive fighting, the attack went according to plan. After fierce enemy counterattacks, the last part of the battle saw the Canadians attack on November 10 and take out the Germans from the eastern edge of Passchendaele Ridge. Our Canadian soldiers won the Battle of Passchendaele. They faced many challenges and obstacles but they fought through and succeeded. The mud, flat terrain, and relative lack of preparation time and artillery support would make Passchendaele a far different battlefield than the one the Canadians encountered at Vimy Ridge.   Currie took the time to carefully prepare as much as possible and on October 26, the Canadian offensive began. Advancing through the mud and enemy fire was slow and there were heavy losses. Despite the challenges, the Canadians reached the outskirts of Passchendaele by the end of a second attack on October 30 during a rainstorm. On November 6, the Canadians and British launched the assault to capture the village of Passchendaele itself. In excessive fighting, the attack went according to plan. After fierce enemy counterattacks, the last part of the battle saw the Canadians attack on November 10 and take out the Germans from the eastern edge of Passchendaele Ridge. Our Canadian soldiers won the Battle of Passchendaele. They faced many challenges and obstacles but they fought through and succeeded. The Canadian plan in capturing Passchendaele was simple: they would attack in a series of battles, each with a small objective. Step by step, they would take the village, the overall objective being to secure a defensible position on the Passchendaele Ridge. If they succeeded, they would make a small gap in German positions, leaving them exposed to enemy fire from all directions. Before the Canadian entered the battle on the Passchendaele Ridge, the British and Australian soldiers had fought there for more than three months. They were defeated with 100,000 casualties.   Our Canadian Commander Sir Arthur Currie had begged the Commander-in-Chief to spare the Canadians the ordeal of Passchendaele, his plea had been refused because pressure on the enemy must be maintained. The Ypres Salient was in utter disarray. The continuous damaged that had been caused to it destroyed the drainage system. The heavy rains that lasted for days had the terrain turn into an oozing quagmire of yellow mud. It was impossible to dig trenches. Men would be swallowed and killed in that mud. The Canadian plan in capturing Passchendaele was simple: they would attack in a series of battles, each with a small objective. Step by step, they would take the village, the overall objective being to secure a defensible position on the Passchendaele Ridge. If they succeeded, they would make a small gap in German positions, leaving them exposed to enemy fire from all directions. Before the Canadian entered the battle on the Passchendaele Ridge, the British and Australian soldiers had fought there for more than three months. They were defeated with 100,000 casualties.   Our Canadian Commander Sir Arthur Currie had begged the Commander-in-Chief to spare the Canadians the ordeal of Passchendaele, his plea had been refused because pressure on the enemy must be maintained. The Ypres Salient was in utter disarray. The continuous damaged that had been caused to it destroyed the drainage system. The heavy rains that lasted for days had the terrain turn into an oozing quagmire of yellow mud. It was impossible to dig trenches. Men would be swallowed and killed in that mud. General Sir Arthur Currie Quote: â€Å"I am a good enough Canadian to believe, if my experience justifies me in believing, that Canadians are best served by Canadians.† General Sir Arthur Currie Quote: â€Å"I am a good enough Canadian to believe, if my experience justifies me in believing, that Canadians are best served by Canadians.†

Criminal Acts and Choice Theories

Criminal Acts and Choice Theories CJA/204 December 13, 2011 Bob Bennett The choice theory has a substantial part to perform when contemplating the argumentation proceeding to criminal vivacity. The choice theory has its intrinsic significance while composing a plan of action for managing or decreasing crime. It is essential to recognize the theory and in what way or manner it influences the potential of an individual engaging in lawlessness and in what manner would an effort to manage crime appear supporting the choice theory. The choice theory has been brought to light from the compositions of antecedent theorists, Jeremy Bentham, and Cesare Beccaria. The affects of the choice theory determines how mankind discourages criminal activity (Schmallager, 2009). Within criminology the choice theory is also distinguished as the classical theory. The principle idea of the classical theory is that individuals cull behavior with the addition of criminal conduct. Individual powers of selection can be managed by multiple determinants such as the apprehension of castigation or the benefits achieved by committing a crime or illegal activities, which indicates that the more harsh, definite, and prompt the punishment, the better the chances to manage criminal conduct. The choice theory mentions that castigation should maintain four predominant ambitions. The first ambition is to use punishment to hamper criminal activity from occurring. A secondary principle maintains that when a crime cannot be hindered, the punishment should impel the offender to perpetrate a minor crime instead. The third ambition is to make certain that the offender applies no more violence than needed during a crime. The final objective is to counter crime as economically feasible. Rational choice is the judgment to perform a distinct kind of lawlessness or illegal activity established on the careful consideration of accessible information, combined with the element of personal judgment. The ational choice theory contains an outlook of crime that continues to be both offense and offender explicit. Offense-explicit lawlessness relates to crimes, where perpetrators will respond to selective attributes of specific offenses. Offender-explicit offenses relate to the reality that perpetrators are not easily provoked individuals who obligate him or her selves to antisocial behavior. Rather, he or she deliberate about whether they retain the prerequisi tes required for performing a lawless act that include their needs, ingenuity, talents, and apprehension level before determining to act out a crime. Choice theorists believe that criminal conduct is a personality characteristic and crime is a happening or event. Offenders recognize the freedom of mobility and privation of social restrictions. In contrast to other individuals, offender-explicit individuals have diminished self-control and seen unaffected by the intimidation of social controls. He or she is usually dealing with stress or is commonly confronted with severe personal complications or circumstances that drive them to adopt perilous behavior (Schmallager, 2009). Choice theorists have also examined the choice to perform a lawless act, regardless of its element, is contrived by the choice of location. The determination will rely upon the features of the mark and the methods available to execute the plan. It has been determined that offenders choose the location by the accessibility and ease of committing a crime with thoughts about the possibility of getting caught. Offenders pick their targets by pondering the character of the crime. A perfect example of this is how offenders will choose higher class households for burglaries or robberies, whereas he or she will select lower class households for the target of violent crimes such as in drug robberies from drug houses. Criminals learn the techniques of crimes to aid them in non-detection (Schmallager, 2009). Routine activities can be defined by the choice theory when discussing crime. Crimes rates correlate to the number of inspired criminals such as male teenagers, drug consumers, and unemployed individuals who partake in criminal activity. Most offenders commit crimes based on his or her narrow education, background, and lack of opportunities because of their education. If offenders were given the opportunities to improve themselves, he or she would not commit crimes. The rational choice theory includes the organization of crime and the molding of criminality (Schmallager, 2009). Society uses a couple of common models to decide which acts are determined to be criminal acts. The two models within the criminal justice system are consensus model and conflict model. Consensus model is defined as majority of individuals in a society who share the same values and beliefs. Criminal acts conflict with consensus values and beliefs, and here the term ‘conflict model’ comes into play. The consensus model explains that individuals within a society will agree on which activities should be considered against the law and will publish them as crimes. The consensus model assumes that a diverse group of individuals can have similar morals and beliefs. The consensus model presumes that when individuals stand together to form a society; the members will come to a fundamental agreement with the observance of shared norms, values, and beliefs. Individuals whose actions deviate from the standard norms and recognized values, and beliefs are considered to be a threat to the well-being of society, and must be punished. Societies pass laws to control and impede deviant behavior, which in return establishes boundaries for appropriate behavior within the society (Schmallager, 2009). The conflict model establishes those who reject consensus on the foundation that morals, norms, ideas, values, or behaviors are not absolute, meaning, multiple parts of society hold different ideas about value and norm systems. The conflict model carries diverse segments, which are separated into age, social class, race, and income. Those who engage in the idea of the conflict model are in a constantly struggling with one another for control of society. Those who successfully grasp control make the laws with his or her value system, and determine what is criminal and what is not (Schmallager, 2009). Resources; Schmallager, F. (2009). Criminal Justice Today, 10th ed. Upper Saddle River, N. J. Pearson/Prentice Hall

Anne Fleche – the Space of Madness and Desire

Tennessee Williams exploits the expressionistic uses of space in the drama, attempting to represent desire from the outside, that is, in its formal challenge to realistic stability and closure, and in its exposure to risk. Loosening both stage and verbal languages from their implicit desire for closure and containment, Streetcar exposes the danger and the violence of this desire, which is always the desire for the end of desire. Writing in a period when U. S. rama was becoming disillusioned with realism, Williams achieves a critical distance from realistic technique through his use of allegory. In Blanche's line about the streetcar, the fact that she is describing real places, cars, and transfers has the surprising effect of enhancing rather than diminishing the metaphorical parallels in her language. Indeed, Streetcar's â€Å"duplicities of expression†(3) are even more striking in the light of criticism's recent renewal of interest in allegory. 4) For allegory establishes the distance â€Å"between the representative and the semantic function of language† (I89), the desire that is in language to unify (with) experience. Streetcar demonstrates the ways in which distance in the drama can be expanded and contracted, and what spatial relativism reveals about the economy of dramatic representation. Tennessee Williams' plays, filled with allegorical language, seem also to have a tentative, unfinished character. The metalanguage of desire seems to preclude development, to deny progress. And yet it seems â€Å"natural† to read A Streetcar Named Desire as an allegorical journey toward Blanche's apocalyptic destruction at the hands of her â€Å"executioner,† Stanley. The play's violence, its baroque images of decadence and lawlessness, promise its audience the thrilling destruction of the aristocratic Southern Poe-esque moth-like neuraesthenic female â€Å"Blanche† by the ape-like brutish male from the American melting-pot. The play is full in fact of realism's developmental language of evolution, â€Å"degeneration,† eugenics. Before deciding that Stanley is merely an â€Å"ape,† Blanche sees him as an asset: â€Å"Oh, I guess he's just not the type that goes for jasmine perfume, but maybe he's what we need to mix with our blood now that we've lost Belle Reve† (285). The surprising thing about this play is that the allegorical reading also seems to be the most â€Å"realistic† one, the reading that imposes a unity of language and experience to make structural sense of the play, that is, to make its events organic, natural, inevitable. And yet this feels false, because allegorical language resists being pinned down by realistic analysis — it is always only half a story. But it is possible to close the gap between the language and the stage image, between the stage image and its â€Å"double† reality, by a double forgetting: first we have to forget that realism is literature, and thus already a metaphor, and then we have to forget the distance between allegory and reality. To say that realism's empiricism is indistinguishable from metaphor is to make it one with a moral, natural ordering of events. Stanley is wrong and Blanche is right, the moralists agree. But the hypocrisy of the â€Å"priggish† reading is soon revealed in its ambivalence toward Blanche/Stanley: to order events sequentially requires a reading that finds Blanche's rape inevitable, a condition of the formal structure: she is the erring woman who gets what she â€Å"asks† for (her realistic antecedents are clear). For the prigs this outcome might not be unthinkable, though it might be — what is worse — distasteful. But Williams seems deliberately to be making interpretation a problem: he doesn't exclude the prigs' reading, he invites it. What makes Streetcar different from Williams' earlier play The Glass Menagerie (I944)(5) is its constant self-betrayal into and out of analytical norms. The realistic set-ups in this play really feel like set-ups, a magician's tricks, inviting readings that leave you hanging from your own schematic noose. Analytically, this play is a trap; it is brilliantly confused; yet without following its leads there is no way to get anywhere at all. Streetcar has a map, but it has changed the street signs, relying on the impulse of desire to take the play past its plots. In a way it is wrong to say Williams does not write endings. He writes elaborate strings of them. Williams has given Streetcar strong ties to the reassuring rhetoric of realism. Several references to Stanley's career as â€Å"A Master Sergeant in the Engineers' Corps† (258) set the action in the â€Å"present,† immediately after the war. The geographical location, as with The Glass Menagerie, is specific, the neighborhood life represented with a greater naturalistic fidelity: â€Å"Above he music of the ‘Blue Piano' the voices of people on the street can be heard overlapping† (243). Lighting and sound effects may give the scene â€Å"a kind of lyricism† (243), but this seems itself a realistic touch for â€Å"The Quarter† (4I2). Even the interior set, when it appears (after a similar wipe-out of the fourth wall), resembles The Glass Menagerie in lay-out and configuration: a ground-floor apartment, with two rooms separated by portieres, occupied by three characters, one of them male. Yet there are also troubling â€Å"realistic† details, to which the play seems to point. The mise en scene seems to be providing too much enclosure to provide for closure: there is no place for anyone to go. There is no fire escape, even though in this play someone does yell â€Å"Fire] Fire] Fire]† (390). In fact, heat and fire and escape are prominent verbal and visual themes. And the flat does not, as it seems to in The Glass Menagerie, extend to other rooms beyond the wings, but ends in a cul-de-sac — a doorway to the bathroom which becomes Blanche's significant place for escape and â€Å"privacy. † Most disturbing, however, is not the increased sense of confinement but this absence of privacy, of analytical, territorial space. No gentleman caller invited for supper invades this time, but an anarchic wilderness of French Quarter hoi polloi who spill onto the set and into the flat as negligently as the piano music from the bar around the corner. There does not seem to be anywhere to go to evade the intrusiveness and the violence: when the flat erupts, as it does on the poker night, Stanley's tirade sends Stella and Blanche upstairs to Steve and Eunice, the landlords with, of course, an unlimited run of the house (â€Å"We own this place so I can let you in† 48 ), whose goings-on are equally violent and uncontained. Stella jokes, â€Å"You know that one upstairs? more laughter One time laughing the plaster — laughing cracked — † (294). The violence is not an isolated climax, but a repetitive pattern of the action, a state of being – it does not resolve anything: BLANCHE I'm not used to such MITCH Naw, it's a shame this had to happen when you just got here. But don't take it serious. BLANCHE Violence] Is so MITCH Set down on the steps and have a cigarette with e. (308) Anxiety and conflict have become permanent and unresolvable, inconclusive. It is not clear what, if anything, they mean. Unlike realistic drama, which produces clashes in order to push the action forward, Streetcar disallows its events a clarity of function, an orderliness. The ordering of events, which constitutes the temporality of realism, is thus no less arbitrary in Streetcar than the ordering of spade: the outside keeps becoming the inside, and vice versa. Williams has done more to relativize space in Streetcar than he did in The Glass Menagerie, where he visualized the fourth wall: here the outer wall appears and disappears more than a half-dozen times, often in the middle of a â€Å"scene,† drawing attention to the spatial illusion rather than making its boundaries absolute. The effect on spatial metaphor is that we are not allowed to forget that it is metaphor and consequently capable of infinite extensions and retractions. As we might expect, then, struggle over territory between Stanley and Blanche (â€Å"Hey, canary bird] Toots] Get OUT of the BATHROOM]† 367 ) — which indeed results in Stanley's reasserting the male as â€Å"King† (37I6 and pushing Blanche offstage, punished and defeated — is utterly unanalytical and unsubtle: â€Å"She'll go] Period. P. S. She'll go Tuesday]† (367). While the expressionistic sequence beginning in Scene Six with Blanche's recollection of â€Å"The Grey oy† (355) relativizes space and time, evoking Blanche's memories, it also seems to drain her expressive power. By the time Stanley is about to rape her she mouths the kinds of things Williams put on screens in The Glass Menagerie: â€Å"In desperate, desperate circumstances] Help me] Caught in a trap† (400). She is establishing her emotions like sign-posts: â€Å"Stay back] †¦ I warn you, don't, I'm in danger]† (40I). What had seemed a way into Blanche's char acter has had the effect of externalizing her feelings so much that they become impersonal. In Streetcar, space does not provide, as it does in realistic drama, an objective mooring for a character's psychology: it keeps turning inside out, obliterating the spatial distinctions that had helped to define the realistic character as someone whose inner life drove the action. Now the driving force of emotion replaces the subtlety of expectation, leaving character out in space, dangling: â€Å"There isn't time to be — † Blanche explains into the phone (399); faced with a threatening proximity, she phones long-distance, and forgets to hang up. The expressionistic techniques of the latter half of he play abstract the individual from the milieu, and emotion begins to dominate the representation of events. In Scene Ten, where Blanche and Stanley have their most violent and erotic confrontation, the play loses all sense of boundary. The front of the house is already transparent; but now Williams also dissolves the rear wall, so that beyond the scene with Blanche and Sta nley we can see what is happening on the next street: A prostitute has rolled a drunkard. He pursues her along the walk, overtakes her and then is a struggle. A policeman's whistle breaks it up. The figures disappear. Some moments later the Negro Woman appears around the corner with a sequined bag which the prostitute had dropped on the walk. She is rooting excitedly through it. (399) The mise en scene exposes more of the realistic world than before, since now we see the outside as well as the inside of the house at once, and yet the effect is one of intense general paranoia: the threat of violence is â€Å"real,† not â€Å"remembered† and it is everywhere. The walls have become â€Å"spaces† along which frightening, â€Å"sinuous† shadows weave — â€Å"lurid,† â€Å"grotesque and menacing† (398-99). The parameters of Blanche's presence are unstable images of threatening â€Å"flames† of desire, and this sense of sexual danger seems to draw the action toward itself. So it is as though Blanche somehow â€Å"suggests† rape to Stanley — it is already in the air, we can see it being given to him as if it were a thought: â€Å"You think I'll interfere with you? Ha-ha] †¦ Come to think of it — maybe you wouldn't be bad to — interfere with†¦ † (40I). The â€Å"inner-outer† distinctions of both realistic and expressionistic representation are shown coming together here. Williams makes no effort to suggest that the â€Å"lurid† expressionistic images in Scene Ten are all in Blanche's mind, as cinematic point-of-view would: the world outside the house is the realistic world of urban poverty and violence. But it is also the domain of the brutes, whose â€Å"inhuman jungle voices rise up† (40I) as Stanley, snakelike, tongue between his teeth, closes in. The play seems to swivel on this moment, when the logic of appearance and essence, the individual and the abstract, turns inside-out, like the set, seeming to occupy for once the same space. It is either the demolition of realistic objectivity or the transition-point at which realism takes over some new territory. At this juncture â€Å"objective† vision becomes an â€Å"outside† seen from inside; for the abstraction that allows realism to represent truth objectively cannot itself be explained as objectivity. The surface in Scene Ten seems to be disclosing, without our having to look too deeply, a static primal moment beneath the immediacy of the action — the sexual taboo underneath realistic discourse: BLANCHE Stay back] Don't you come toward me another tep or I'll STANLEY What? BLANCHE Some awful thing will happen] It will] STANLEY What are you putting on now? They are now both inside the bedroom BLANCHE I warn you, don't, I'm in danger] (40I) What â€Å"will happen† in the bedroom does not have a name, or even an agency. The incestuous relation lies beyond the moral and social order of marriage and the family, adaptation and eugenics, not t o mention (as Williams minds us here) the fact that it is unmentionable. Whatever words Blanche uses to describe it scarcely matter. As Stella says, â€Å"I couldn't believe her story and go on living with Stanley† (405). The rape in Streetcar thus seems familiar and inevitable, even to its â€Å"characters,† who lose the shape of characters and become violent antagonists as if on cue: â€Å"Oh] So you want some roughhouse] All right, let's have some roughhouse]† (402). When Blanche sinks to her knees, it is as if the action is an acknowledgment. Stanley holds Blanche, who has become â€Å"inert†; he carries her to the bed. She is not only silent but crumpled, immobile, while he takes over control and agency. He literally places her on the set. But Williams does not suggest that Stanley is conscious and autonomous; on the contrary the scene is constructed so as to make him as unindividuated as Blanche: they seem, at this crucial point, more than ever part of an allegorical landscape. In a way, it is the impersonality of the rape that is most telling: the loss of individuality and the spatial distinctions that allow for â€Å"character† are effected in a scene that expressionistically dissolves character into an overwhelming mise en scene that, itself, seems to make things happen. The â€Å"meaning† of the rape is assigned by the play, denying â€Å"Stanley† and â€Å"Blanche† any emotion. Thus, the rape scene ends without words and without conflict: the scene has become the conflict, and its image the emotion. Perhaps Streetcar — and Williams — present problems for those interested in Pirandellian metatheatre. Metatheatre assumes a self-consciousness of the form; but Williams makes the â€Å"form† everything. It is not arbitrary, or stifling. Stanley and Blanche cannot be reimagined; or, put another way, they cannot be imagined to reimagine themselves as other people, in other circumstances entirely. Character is the expression of the form; it is not accidental, or originary. Like Brecht, Williams does not see character as a humanist impulse raging against fatal abstractions. (In a play like The Good Person of Setzuan, for example, Brecht makes a kind of comedy of this â€Å"tragic† notion — which is of course the notion of â€Å"tragedy. â€Å") Plays are about things other than people: they are about what people think, and feel, and yet they remove these things to a distance, towards the representation of thoughts and feelings, which is something else again. If this seems to suggest that the rape in Streetcar is something other than a rape, and so not a rape, it also suggests that it is as much a rape as it is possible for it to be; it includes the understanding that comes from exposing the essence of appearances, as Williams says, seeing from outside what we cannot see from within. At the same time, and with the same motion, the scene exposes its own scenic limitations for dramatizing that which must inevitably remain outside the scene — namely, the act it represents. Both the surface â€Å"street scene† and the jungle antecedents of social order are visible in the rape scene, thoroughly violating the norms of realism's analytical space. When Stanley â€Å"springs† at Blanche, overturning he table, it is clear that a last barrier has been broken down, and now there is no space outside the jungle. â€Å"We've had this date with each other from the beginning]† We have regressed to some awful zero-point (or hour) of our beginning. (A â€Å"fetid swamp,† Time critic Louis Kronenberger said of Williams' plays, by way of description. (7) We are also back at the heart of civilization, at its root, the incest taboo, and the center of sexuality, which is oddly enough also the center of realism — the family, where â€Å"sexuality is ‘incestuous' from the start. â€Å"(8) At the border of civilization and the swamp is the sexual transgression whose suppression is the source of all coercive order. Through allegory, W illiams makes explicit what realistic discourse obscures, forcing the sexuality that propels discourse into the content of the scene. The destruction of spatial oundaries visualizes the restless discourse of desire, that uncontainable movement between inside and outside. â€Å"Desire,† Williams writes in his short story â€Å"Desire and the Black Masseur† (I942-46), â€Å"is something that is made to occupy a larger space than that which is afforded by the individual being. â€Å"(9) The individual being is only the measure of a measurelessness that goes far out into space. â€Å"Desire† derives from the Latin sidus, â€Å"star† (â€Å"Stella for Star]† 250, 25I ); an archaic sense is â€Å"to feel the loss of†: the ndividual is a sign of incompleteness, not self-sufficiency, whose defining gesture is an indication of the void beyond the visible, not its closure. The consciousness of desire as a void without satisfaction is the rejection o f realism's â€Å"virtual space,† which tried to suggest that its fractured space implied an unseen totality. Realism's objectivity covered up its literariness, as if the play were not created from nothing, but evolved out of a ready-made logic, a reality one had but to look to see. But literature answers the desire for a fullness that remains unfulfilled — it never intersects reality, never completes a trajectory, it remains in orbit. The nothing from which literature springs, whole, cannot be penetrated by a vision, even a hypothetical one, and no time can be found for its beginning. As Paul de Man reasons in his discussion of Levi-Strauss' metaphor of â€Å"virtual focus,† logical sight-lines may be imaginary, but they are not â€Å"fiction,† any more than â€Å"fiction† can be explained as logic: The virtual focus is a quasi-objective structure osited to give rational integrity to a process that exists independently of the self. The subject merely fills in, with the dotted line of geometrical construction, what natural reason had not bothered to make explicit; it has a passive and unproblematic role. The â€Å"virtual focus† is, strictly speaking, a nothing, but its nothingness concerns us very little, since a mere act of r eason suffices to give it a mode of being that leaves the rational order unchallenged. The same is not true of the imaginary source of fiction. Here the human self has experienced the void within itself and the invented fiction, far from tilling the void, asserts itself as pure nothingness, our nothingness stated and restated by a subject that is the agent of its own instability. (I9) Nothingness, then, the impulse of â€Å"fiction,† is not the result of a supposed originary act of transgression, a mere historical lapse at the origin of history that can be traced or filled in by a language of logic and analysis; on the contrary fiction is the liberation of a pure consciousness of desire as unsatisfied yearning, a space without boundaries. Yet we come back to Blanche's rape by her brother-in-law, which seems visibly to re-seal the laws of constraint, to justify that Freudian logic of lost beginnings. Reenacting the traumatic incestuous moment enables history to begin over again, while the suppression of inordinate desire resumes the order of sanity: Stella is silenced; Blanche is incarcerated. And if there is some ambivalence about her madness and her exclusion it is subsumed in an argument for order and a healthy re-direction of desire. In the last stage direction, Stanley's groping fingers discover the opening of Stella's blouse. The final set-up feels inevitable; after all, the game is still â€Å"Seven-card stud,† and aren't we going to have to â€Å"go on† by playing it? The play's turn to realistic logic seems assured, and Williams is still renouncing worlds. He points to the closure of the analytical reading with deft disingenuousness. Closure was always just next door to entrapment: Williams seems to be erasing their boundary-lines. Madness, the brand of exclusion, objectifies Blanche and enables her to be analyzed and confined as the embodiment of non-being, an expression of something beyond us and so structured in language. As Stanley puts it, â€Å"There isn't a goddam thing but imagination] †¦ And lies and conceit and tricks]† (398). Foucault has argued, in Madness and Civilization, that the containment of desire's excess through the exclusion of madness creates a conscience on the perimeters of society, setting up a boundary between inside and outside: â€Å"The madman is put into the interior of the exterior, and inversely† (II). (I0) Blanche is allegorically a reminder that liberty if taken too far can also be captivity, just as her libertinage coincides with her desire for death (her satin robe is a passionate red, she calls Stanley her â€Å"executioner,† etc. . And Blanche senses early on the threat of confinement; she keeps trying perversely) to end the play: â€Å"I have to plan for us both, to get us both — out]† she tells Stella, after the fight with Stanley that seems, to Blanche, so final (320). But in the end the play itself seems to have some troub le letting go of Blanche. Having created its moving boundary line, it no longer knows where to put her: what â€Å"space† does her â€Å"madness† occupy? As the dialogue suggests, she has to go – somewhere; she has become excessive. Yet she keeps coming back: â€Å"I'm not quite ready. â€Å"Yes] Yes, I forgot something]† (4I2 4I4). Again, as in the rape scene, she is chased around the bedroom, this time by the Matron, while â€Å"The ‘Varsouviana' is filtered into a weird distortion, accompanied by the cries and noises of the jungle,† the â€Å"lurid,† â€Å"sinuous† reflections on the walls (4I4). The Matron's lines are echoed by â€Å"other mysterious voices† (4I5) somewhere beyond the scene; she sounds like a â€Å"firebell† (4I5). â€Å"Matron† and â€Å"Doctor† enter the play expressionistically, as functional agents, and Blanche's paranoia is now hers alone: the street is not visible. The walls do not disintegrate, they come alive. Blanche is inside her own madness, self-imprisoned: her madness is precisely her enclosure within the image. (II) In her paranoid state, Blanche really cannot â€Å"get out,† because there no longer is an outside: madness transgresses and transforms boundaries, as Foucault notes, â€Å"forming an act of undetermined content† (94). It thus negates the image while imprisoned within it; the boundaries of the scene are not helping to define Blanche but reflecting her back to herself. Blanche's power is not easy to suppress; she is a eminder that beneath the appearance of order something nameless has been lost: â€Å"What's happened here? I want an explanation of what's happened here. † she says, â€Å"with sudden hysteria† (407-8). It is a reasonable request that cannot be reasonably answered. This was also Williams' problem at the end of The Glass Menagerie: how to escape from the image when it seems to have bee n given too much control, when its reason is absolute? Expressionism threatens the reason of realistic mise en scene by taking it perhaps too far, stretching the imagination beyond limits toward an absoluteness of the image, a desire of desire. The â€Å"mimetic† mirror now becomes the symbol of madness: the image no longer simply reflects desire (desire of, desire for), but subsumes the mirror itself into the language of desire. When Blanche shatters her mirror (39I) she (like Richard II) shows that her identity has already been fractured; what she sees in the mirror is not an image, it is indistinguishable from herself. And she cries out when the lantern is torn off the lightbulb, because there is no longer a space between the violence she experiences and the image of that violence. The inner and the outer worlds fuse, the reflecting power of the image is destroyed as it becomes fully self-reflective. The passion of madness exists somewhere in between determinism and expression, which at this point â€Å"actually form only one and the same movement which cannot be dissociated except after the fact. â€Å"(I2) But realism, that omnivorous discourse, can subsume even the loss of the subjective-objective distinction — when determinism equals expression — and return to some quasi-objective perspective. Thus at the very moment when all space seems to have been conquered, filled in and opened up, there is a need to parcel it out again into clearly distinguishable territories. Analysis imprisons desire. At the end of A Streetcar Named Desire, there is a little drama. Blanche's wild expressionistic images are patronized and pacified by theatricality: â€Å"I — just told her that — we'd made arrangements for her to rest in the country. She's got it mixed in her mind with Shep Huntleigh† (404-5). Her family plays along with Blanche's delusions, even to costuming her in her turquoise seahorse pin and her artificial violets. The Matron tries to subdue her with physical violence, but Blanche is only really overcome by the Doctor's politeness. Formerly an expressionistic â€Å"type,† having â€Å"the unmistakable aura of the state institution with its cynical detachment† (4II), the Doctor †¦ takes off his hat and now he becomes personalized. The unhuman quality goes. His voice is gentle and reassuring s he crosses to Blanche and crouches in front of her. As he speaks her name, her terror subsides a little. The lurid reflections fade from the walls, the inhuman cries and noises die our and her own hoarse crying is calmed. 4I7) Blanche's expressionistic fit is contained by the Doctor's realistic transformation: he is particularized, he can play the role of gentleman caller. â€Å"Jacket, Doctor? † the Matron asks him. † He smiles †¦ It won't be necessary† (4I7-I8). As they exit, Blanche's visionary excesses have clearly been surrendered to him: â€Å"She allows him to lead her as if she were blind. † Stylistically, he, realism replaces expressionism at the exact moment when expressionism's â€Å"pure subjectivity† seems ready to annihilate the subject, to result in her violent subjugation. At this point the intersubjective dialogue returns, clearly masking indeed blinding — the subjective disorder with a assuring form. If madness is perceived as a kind of â€Å"social failure,†(I3) social success is to be its antidote. Of course theater is a cure for madness: by dramatizing or literalizing the image one destroys it. Such theatricality might risk its own confinement in the image, and for an instant there may be a real struggle in the drama between the image and the effort to contain it. But the power of realism over expressionism makes this a rare occasion. For the â€Å"ruse,† Foucault writes, â€Å"†¦ ceaselessly confirming the delirium , does not bind it to its own truth without at the same time linking it to the necessity for its own suppression† (I89). Using illusion to destroy illusion requires a forgetting of the leap of reason and of the trick it plays on optics. To establish order, the theatrical device repeats the ordering principle it learns from theater, the representational gap between nature and language, a gap it has to deny: â€Å"The artificial reconstitution of delirium constitutes the real distance in which the sufferer recovers his liberty† (I90). In fact there is no return to â€Å"intersubjectivity,† just a kind of formal recognition of it: â€Å"Whoever you are — I have always depended on the kindness of strangers. † Streetcar makes the return to normality gentle and theatrical, while â€Å"revealing† much more explicitly than The Glass Menagerie the violence that is thereby suppressed. This violence is not â€Å"reality,† but yet another theater underneath the theater of ruse; the cure of illusion is ironically â€Å"effected by the suppression of theater† (I9I). The realistic containment at the end of Streetcar hus does not quite make it back all the way to realism's seamlessly objective â€Å"historical† truth. History, structured as it is by â€Å"relations of power, not relations of meaning,†(I4) sometimes assumes the power of reality itself, the platonic Form behind realism, so to speak, When it becomes the language of authority, history also assumes the authorit y of language, rather naively trusting language to be the reality it represents. The bloody wars and strategic battles are soon forgotten into language, the past tense, the fait accompli. Useless to struggle against the truth that is past: history is the waste of time and the corresponding conquest of space, and realism is the already conquered territory, the belated time with the unmistakable stamp of authenticity. It gets applause simply by being plausible; it forgets that it is literature. To read literature, de Man says, we ought to remember what we have learned from it — that the expression and the expressed can never entirely coincide, that no single observation point is trustworthy (I0-II). Streetcar's powerful explosion of allegorical language and expressionistic images keeps its vantage point on the move, at a remove. Every plot is untied. Realism rewards analysis, and Williams invites it, perversely, but any analysis results in dissection. To provide Streetcar with an exegesis seems like gratuitous destruction, â€Å"deliberate cruelty. † Perhaps no other American writer since Dickinson has seemed so easy to crush. And this consideration ought to give the writer who has defined Blanche's â€Å"madness† some pause. Even the critical awareness of her tidy incarceration makes for too tidy a criticism. In Derrida's analysis of Foucault's Madness and Civilization, he questions the possibility of â€Å"historicizing† something that does not exist outside of the imprisonment of history, of speech — madness â€Å"simply says the other of each determined form of the logos. â€Å"(I5) Madness, Derrida proposes, is a â€Å"hyperbole† out of which â€Å"finite-thought, that is to say, history† establishes its â€Å"reign† by the â€Å"disguised internment, humiliation, fettering and mockery of the madman within us, of the madman who can only be a fool of a logos which is father, master and king† (60-6I). Philosophy arises from the â€Å"confessed terror of going mad† (62); it is the â€Å"economic† embrace of madness (6I-62) To me then Williams' play seems to end quite reasonably with a struggle, at the point in the play at which structure and coherence must assert themselves (by seeming to) — that is, the end of the play. The end must look back, regress, so as to sum up and define. It has no other choice. The theatrical ending always becomes, in fact, the real ending. It cannot remain metaphorically an â€Å"end† And what is visible at the end is Blanche in trouble, trapped, mad. She is acting as though she believed in a set of events — Shep Huntleigh's rescue of her — that the other characters, by their very encouragement, show to be unreal. There is a fine but perhaps important line here: Blanche's acting is no more convincing than theirs; but — and this is a point Derrida makes about madness — she is thinking things before they can be historicized, that is, before they have happened or even have been shown to be likely or possible (reasonable). Is not what is called finitude possibility as crisis? † Derrida asks (62). The other characters, who behave as if what Blanche is saying were real, underline her absurdity precisely by invoking reality. Blanche's relations to history and to structural authority are laid bare by this â€Å"forced† ending, in which she repeatedly questions the meaning of meaning: â€Å"What has happened here? † This question implies the relativity of space and moment, and so of â€Å"ev ents† and their meanings, which are at-this point impossible to separate. That is why it is important that the rape suggest an overthrow of meaning, not only through a stylized emphasis on its own representation, but also through its strongly relativized temporality. (Blanche warns against what â€Å"will happen,† while Stanley says the event is the future, the fulfillment of a â€Å"date† or culmination in time promised â€Å"from the beginning. â€Å") Indeed, the problem of madness lies precisely in this gap between past and future, in the structural slippage between the temporal and the ontological. For if madness, as Derrida suggests, can exist at all outside of opposition (to reason), it must exist in â€Å"hyperbole,† in the excess prior to its incarceration in structure, meaning, time, and coherence. A truly â€Å"mad† person would not objectify madness — would not, that is, define and locate it. That is why all discussions of â€Å"madness† tend to essentialize it, by insisting, like Blanche's fellow characters at the end of Streetcar, that it is real, that it exists. And the final stroke of logic, the final absurdity, is that in order to insist that madness exists, to objectify and define and relate to it, it is necessary to deny it any history. Of course â€Å"madness† is not at all amenable to history, to structure, causality, rationality, recognizable â€Å"though† But this denial of the history of madness has to come from within history itself, from within the language of structure and â€Å"meaning. † Blanche's demand to know â€Å"what has happened here† — her insistence that something â€Å"has happened,† however one takes it — has to be unanswerable. It cannot go any further. In theatrical terms, the â€Å"belief† that would make that adventure of meaning possible has to be denied, shut down. But this theatrical release is not purifying; on the contrary, it has got up close to the plague, to the point at which reason and belief contaminate each other: the: possibility of thinking madly. Reason and madness can cohabitate with nothing but a thin curtain between. And curtains are not walls, they do not provide solid protection. (I6) Submitting Williams' allegorical language to ealistic analysis, then, brings you to conclusions: the imprisonment of madness, the loss of desire. The moral meaning smooths things over. Planning to â€Å"open up† Streetcar for the film version with outside scenes and flashbacks, Elia Kazan found it would not work — he ended up making the walls movable so they could actually close in more with every scene. (I7) The sense of entrapment was fundamental: Williams' dramatic language is its elf too free, too wanton, it is a trap, it is asking to be analyzed, it lies down on the couch. Kazan saw this perverse desire in the play — he thought Streetcar was about Williams' cruising for tough customers: The reference to the kind of life Tennessee was leading rear the time was clear. Williams was aware of the dangers he was inviting when he cruised; he knew that sooner or later he'd be beaten up. And he was. (35I) But Kazan undervalues the risk Williams is willing to take. It is not just violence that cruising invites, but death. And that is a desire that cannot be realized. Since there is really no way to get what you want, you have to put yourself in a position where you do not always want what you get. Pursuing desire requires a heroic vulnerability. At the end of â€Å"Desire and the Black Masseur† the little masochistic artist/saint, Anthony Burns, is cannibalized by the masseur, who has already beaten him to a pulp. Burns, who is thus consumed by his desire, makes up for what Williams calls his â€Å"incompletion. † Violence, or submission to violence, is analogous to art, for Williams: both mask the inadequacies of form. Yes, it is perfect,† thinks the masseur, whose manipulations have tortured Bums to death. â€Å"It is now completed]†(I8) NOTBS I Tennessee Williams, A Streetcar Named Desire, in The Theatre of Tennessee Williams, vol. I (New York, I97I), 246. Subsequent references are to this edition and rear nod by page number in the text. 2 See Conversations with Tennessee Williams, ed. Albert J. Devlin (Jackson, Miss . , I986). 3 Paul de Man, Blindness and Insight: Essays in the Rhetoric of Contemporary Criticism, 2nd ed. , revised (Minneapolis, I983), I2. See de Man, Blindness and Insight, I87ff, where he outlines the critical movements in Western Europe and the U. S. that have thus â€Å"openly raise d the question of the intentionality of rhetorical figures† (I88). Among the critics he cites are Walter Benjamin, Roland Barthes, and Michel Foucault (to whose work I will turn later in this essay). Subsequent references to Blindness and Insight are noted by page number in the text. 5 Tennessee Williams, The Gloss Menagerie (New York, I97I). 6 Stanley is quoting Huey Long. 7 See Gore Vidal's â€Å"Introduction† to Tennessee Williams' Collected Short Stories (New York, I985) xxv. 8 Michel Foucault, The History of Sexuality, vol. I: An Introduction, trans. Robert Hurley (New York, I978), I08-9. 9. Tennessee Williams, â€Å"Desire and the Black Masseur,† in Collected Stories (New York, I985), 2I7. I0 Michel Foucault, Madness and Civilization: A History of Insanity in the Age of Reason, trans. Richard Howard (New York, I965). II. Ibid. , 94. I2 Ibid. , 88. I3 Ibid. , 259-60. Subsequent references are noted by page number in the text. I4 Michel Foucault, Power/Knowledge: Selected