Implications for Risk Measurement-Free-Samples-Myassignmenthelp.com

Question: Fundamentally Compare the Implementation of Operational Risk Management from Basel Acord to Basel II and later to Basel III. Clarify the contrast between the fundamental pointer approach, normalized approach and advance estimation approach for ascertaining operational hazard capital. Answer: Operational hazard the danger of the misfortune created from the bombed inner procedures or the insufficient and the different frameworks from the outside occasions. Operational hazard is comprehensive of lawful hazard however bars the reputational and vital dangers (Walter, 2010). Operational administration on the opposite side is the hazard the executives for the operational hazard that I like the hazard the executives procedure. The procedure involves, the appraisal, estimation, ID, moderation, revealing and checking of the dangers brought into the play (Pezier, 2002). Basel concurs are those which are presented by the Basel Committee on Banking Supervision (BCBS), which is an advisory group of the banking administrative specialists which was fused by the national bank governors of the ten gathering nations in the year 1975. The sole explanation was to give rules to banking guidelines. Basel 1, 2 and 3 begin from this board of trustees with an endeavor to upgrade banking validity through broadened bank management countrywide. The Basel 1 was brought into spot to indicate the base proportion of money to the hazard weighted helps for the banks, while the Basel 2 was made to present the administrative obligations and thus stretch out the measures to fortify the base capital prerequisite. The Basel 3 was set up to have the option to advance the embodiment for liquidity cradles which an extra layer of value (Wahlstrm, 2009). The three are totally not quite the same as one another dependent on different perspectives when they are assessed. The paper will dissect the distinctions existing between the 3 Basel mandates. From the underlying preparing of the Basel, every mandate had the sole motivation behind the foundation. The Basel 1 primary job was of identification of a base capital necessity for the banks inside their locale. The Basel 2 was set up to bring into the game the obligations of oversight and broaden the base capital prerequisite presented by the Basel 1. Then again, Basel 3 was brought to being to determine the extra cradle of value to be maintained by the banks (Lam, 2013). With respect to dangers in regards to different Basels, Basel 1 stays to be the insignificant hazard center when contrasted with the other Basel. At Basel 2 is the point at which a 3 column way to deal with the administration of hazard was presented. Also, to manage more dangers heightening an appraisal of condensing hazard was presented among different dangers that had been presented (Belluz, et al, 2010). The Basel didn't so much get like the dangers they respected while actualizing the equivalent. The general hazard was credit chance that was considered at the Basel 1. In the Basel 2, different dangers were put under investigates, for example, the reputational, activity and the key dangers which would influence the banks. Basel 3 was not to a greater degree another face in the order gave since the main hazard that was added to the rundown was the liquidity dangers for the business at that point (Pezier, 2002). When contrasted with different Basels, Basel 1 is in reverse looking since it just considered those advantages which were in the current arrangement of the banks right now. Basel 2 was opposite of the Basel 1 as it was forward-looking as it was capital hazard delicate. The Basel 3s future dangers consistency is forward-looking as the macroeconomic condition factors are set up in the expansion of the individual bank standards (Moosa, 2007). Another normal distinction is likewise the capital structure. The Basel 1 is characterized as the administrative capital which suggests for the consistency for all, while Basel 2 is about the hazard weighted capital when contrasted with Basel 3 which managed the repeating money to guarantee the cyclic and the varieties in the market (Chapelle, et al, 2004). The variety between Basel 1, 2 and 3 accords is the variety in the goal wherein they are set up to cherish. Be that as it may, they are explored to oversee banking dangers in light quickly influencing the worldwide business environ, despite the fact that they are diverse in prerequisite and measures. With the proceeded with headways in business incorporations and globalization, the banks are interrelated over the globe. Also, in the occasion the banks take uncalculated chance, terrible circumstances may emerge of the gigantic measure of assets that are included and the negative effect can be scattered in different countries. Such money related emergency started in the year 2008 which caused a considerable monetary misfortune is a genuine model (Chernobai, et al, 2008). References: Belluz, D.D.B., F, J. what's more, S, B.J., 2010. Operational hazard the board. Venture Risk Management, pp.279-301. Chapelle, A., C, Y., H, G. also, P, J.P., 2004. Basel II and Operational Risk: Implications for hazard estimation and the executives in the budgetary part. Chernobai, A.S., S.T. what's more, F, .J. 2008. Operational hazard: a manual for Basel II capital prerequisites, models, and examination (Vol. 180). John Wiley Sons. Lam, J., 2013. Operational Risk Management. Undertaking Risk Management: From Incentives to Controls, Second Edition, pp.237-270. Moosa, I.A., 2007. Operational hazard the board. Palgrave Macmillan. Pezier, J., 2002. Operational hazard the board (No. icma-dp2002-21). Henley Business School, Reading University. Pezier, J., 2002. A productive survey of Basel's proposition on operational hazard (No. icma-dp2002-20). Henley Business School, Reading University. Wahlstrm, G., 2009. Hazard the board versus operational activity: Basel II in a Swedish setting. The board Accounting Research, 20(1), pp.53-68. Walter, K., 2010. Operational Risk Management.

Electric power plants free essay sample

Specialized composing is packed with specialized terms that should be characterized. It is an absolute necessity to characterize logical terms to take into consideration better perception. These troublesome words may come In the type of realized words utilized In a contrastingly new sense (as fly-over), new words for definitely referred to things (as somnambulist for sleepwalker), and new words for obscure things (as schizophrenia). New words don't really mean recently begat words; they are new as in they are experienced by the perusers just because so they must be characterized. At the point when one characterizes, he gives the importance of a certain term.The essayist may characterize a word in any of the three different ways: casual (word or expression) definition, formal (sentence) definition, and intensified (broadened or extended) definition. An Informal definition comes In the type of a word or an expression frequently called an equivalent. For instance, word sexism is characterized by giving seismic tremor as an appositive. The word pay and compensation can be made more straightforward by composing pay or the word immersion by referencing flood. A formal or sentence definition, as its name recommends, is as a sentence with these three components: species, family, and separate/e. The species Is the term characterized; the family is the class or kind to which the term has a place; the separate or separate are the greatness attributes that make the term unique in relation to different terms of a similar class. Instances of formal definitions are given beneath. A somnambulist is an individual who strolls while snoozing. A somnambulist is an individual who talks while snoozing. A thermometer is an instrument that estimates temperature. A gauge Is an instrument that measure barometrical weight. The species are underlined once; the genera (plural of variety), shameless; and the separate, emphasized. Note that the species, the variety, and the connecting action word are particular In structure and that the separate is presented by a relative pronoun (who, that, which, whose, whom, and so forth ). The conventional definition is portrayed so on the grounds that it follows the structure: species = variety and separate (S = G + D). The equivalent sign can be meant is or implies. The intensified (broadened or extended) definition (see the example in Appendix G) comes as extra sentences that help a conventional definition which turns into the point sentence of a passage with definition as strategy for ways: 1. 2. 3. 4. 5. Capacity utilization of the thing defined;Location arrangement/position of the thing characterized; Physical portrayal physical attributes (shading, size, shape, and so on ) of the thing characterize; Further definition meaning of words in the conventional meaning of the thing characterized; Causation causes or impacts of the thing characterized; Technical Writing in the Discipline Inc. Essentials of Research Page 1 6. 7. 8. 9. 10. 11. 12. Examination likenesses of the thing characterized with something else; Contrast contrasts of the thing characterized from something else; Exemplification solid instances of the thing characterized; Etymology/word induction words from which the thing characterized was derived;Analysis parts of the thing characterized; Basic rule law or rule overseeing the thing characterized; and Negation negative proclamations about the thing characterized. A definer faces a few issues. One of these is the situation of the definitions. He can browse among these other options: in the content (generally normal), in references, in a glossary, and in an uncommon segment in the presentation (least normal). Another issue is phrasing or word decision. He needs to choose the fitting words to make his implications understood. For example, given the accompanying models, the best meaning of a square is the last.A square is a geometric figure which has four equivalent sides. A square is a polygon which has four equivalent sides. A square is a quadrilateral which has equivalent sides. A square is a quadrilateral which has four equivalent sides. Which has equivalent sides. The initial three definitions may likewise apply to a rhombus. The fourth and fifth definitions contain redundancies (quadrilateral and four in the fourth and symmetrical and equivalent in the fifth). The word square shape is the most proper class in light of the fact that a square shape is a four-sided polygon with right edges and on the grounds that what recognizes a square from different square shapes is its equivalent sides.Two different issues experienced by a definer are the redundancy of key terms and the utilization of a solitary model or example. It isn't acceptable to characterized fixed resources by saying that they are resources which are fixed and to characterized smooth muscles by saying that they are muscles which are smooth. Similarly, it is awful to characterized volcanic emission along these lines: Volcanic ejection is the thing that happened to Mount Punctuation two decades back. Note that Judgment must be practiced in the utilization of words in the class and separate, in the decision of which key terms are to be rehashed, and in the utilization of guides to be refered to in the definition.MECHANISM Description, other than definition, is a valuable strategy in specialized composition. An author may portray an instrument, a procedure, or even an individual. At the point when he portrays a component (see the example in Appendix G) or a machine, he utilizes the accompanying blueprint; Introduction a. Meaning of the machine b. Portrayal of the machine c. Capacity of the machine d. Fundamental pieces of the machine Party-by-party portrayal a. Primary Part 1 I. Subpart 1 it. Subpart 2 b. Principle Part 2 Page 2 1. Sub-subpart 1 2. Sub-subpart 2 iii. Subpart 3 c.Main Part 3 I. Subpart 2 Conclusion/Summary of the primary concerns a. Activity of the machine (by the client) b. Activity by the machine In the composing the portrayal of every fundamental part, subpart, or sub-subpart, the describer refers to the parts shading, size or measurements, shape, material, surface, strategy for connection, and relationship with different parts. For instance, in the wake of depicting in the presentation the PC as a whole unit, he portrays in the body every one of its primary parts (screen, console, CAP], and printed), every one of its subparts, etc. He closes his sythesis by expounding on how it works, how it is worked, or both. Note that the framework above doesn't have any significant bearing to all machines. The framework differs as indicated by the quantity of fundamental parts and subparts and the subtleties to be remembered for the portrayal; the spatial or intelligent request might be utilized in the introduction. Procedure DESCRIPTION Process portrayal (see the example in Appendix G) is essentially depicting a progression of steps/stages or a progression of activities. Not at all like a system depiction which utilizes spatial or legitimate request, a procedure portrayal consistently utilizes sequential (time) order.Therefore, the means or stages are sequenced dependent on the hour of event. The describer organizes these means or stages in a diagram that follows: l. . Meaning of the procedure b. Practitioner/Agent of the procedure c. Reason for the procedure d. Motivation behind the procedure portrayal e. Perspective of the procedure portrayal f. Primary strides in the process Body/Step-by-step depiction a. Principle Step 1 I. Sub stage 1 it. Sub stage 2 b. Fundamental Step 2 1. Sub-sub stage 1 2. Sub-sub stage 2 Page 3 v. Sub stage 4 Main Step 3 Process portrayals are arranged into directional or instructional and educational. The directional procedure depiction comes as headings/guidelines (basic sentences or orders) routed to the practitioner or specialist of the activity; it s written in the dynamic basic style and the second-individual perspective. Instances of this procedure are composing, lay trip, cooking and instructing. Then again, the educational procedure portrayal comes as snippets of data (decisive sentence) routed to the peruser of the depiction who isn't the practitioner or specialist of the activities; it is written in the dynamic demonstrative or uninvolved characteristic style and the third-individual purpose of view.The process is finished by any of the accompanying: a gathering of people (human procedure), e. G. , large scale manufacturing of wine and paper distributing; a machine (mechanical procedure), e. . , PC information preparing and cooling; and nature (normal procedure), e. G. , volcanic emission and sickness transmission. Note that the diagram above doesn't have any significant bearing to all procedures. The diagram differs as indicated by the quantity of primary advances and sub steps and the subtleties to be remembered for the depiction. Investigation OR PARTITIONING Like definition and depiction, division is a strategy regularly utilized in specialized writing.It may include one animal varieties or a few animal varieties. At the point when it includes just a single animal groups or unit, it is knows as examination/apportioning as when a unit is partitioned into its specialties (components/segments/constituents). At the point when it includes a few animal types or units, it is considered characterization as when a few units are isolated into classes (gatherings/sorts/types). Recorded as a hard copy an examination (see the example in Appendix G), the analyzer utilizes a layout like that of a component portrayal. An examination contrasts from a system depiction in that the previous arrangements with a machine, e. . , a family, a guided by the accompanying rules (which apply likewise to order): 1 . Characterize the species to be parceled (ordered). Give the core value or reason for apportioning (grouped). On the off chance that there are numerous bases, utilize each in turn. Name all the parts (classes) of the species apportioned (grouped) per premise. Make sure that there is no covering of the parts (classes). In the event that there are sub parts (sub classes), name them. Characterization Classification (see the example in Appendix G) is division of a few animal varieties into classes or groups.Similar to an examination, an arrangement is composed in light of the previous rules. A classifier needs to make a framework as demonstrated as follows. A. Meaning of the thing arranged b. Premise of order Page 4 c. Principle bunches in the arrangement Body/Group-by-bunch portrayal a. Primary gathering 1 I. Subgroup 1 it. Subgroup 2 b. Principle bunch 2 1.

The Fear of Winter Driving in the Snow

The Fear of Winter Driving in the Snow Phobias Types Print The Fear of Winter Driving in the Snow Why It Probably Isnt a Phobia By Lisa Fritscher Lisa Fritscher is a freelance writer and editor with a deep interest in phobias and other mental health topics. Learn about our editorial policy Lisa Fritscher Updated on June 28, 2018 Sean Gladwell / Getty Images More in Phobias Types Causes Symptoms and Diagnosis Treatment The fear of winter driving does not have an official phobia name, but it is an incredibly common and, most of the time, rational fear. For some people, the fear of driving in winter weather stems from a larger overall fear of driving. Others are afraid solely of winter driving conditions. A fear and a phobia of winter driving are not the same issues. If you have a phobia, you have an irrational fear, that you may or may not be aware of, that interferes with your ability to function efficiently at home or at work. You also must meet the criteria for diagnosis as outlined by the latest American Psychiatric  Association in the  Diagnostic and Statistical Manual of  Mental  Disorders. Fear of Driving If you are afraid of driving in general, it only makes sense that your phobia might extend to driving in inclement weather. Snow and ice decrease visibility, increase stopping distance  and enhance the chances of being involved in an accident. Many people with driving phobias find that the more challenging a particular drive is, the more fearful they become. Winter Phobias The fear of winter driving may be related to a wide range of other winter phobias. If you are afraid of snow, cold weather, or being trapped, driving in winter may enhance your fears. Some people prefer to take public transportation or ride with friends, while those with more severe fears may refuse to get into a vehicle at all. Unfamiliarity With Winter Conditions Simply being unfamiliar with winter weather conditions can greatly increase your chances for developing a fear of driving in poor weather, even if you do not have other driving or winter-related phobias. If you suddenly move or travel from a warm-weather locale to a place known for its winter storms, the feeling may be overwhelming as you try  to deduce how and when to use snow tires or chains, calculating stopping distances, and learning to steer out of a skid is skills. Even my father, an engineer who grew up in Florida, was befuddled on a Christmas vacation. We left the hotel to discover a thick layer of ice on our car. My dad rubbed his gloved hands on the windshield, but the ice refused to budge. A man handed my father a small blue implement that we had never seen. Dad quickly realized it was an ice scraper, but he had to ask the man which end to use! Fortunately, the roads had been cleared and the temperature was rising, but we would have had little idea what to do if it was actively snowing. Managing the Fear of Winter Driving The fear of winter driving varies widely in severity and the level of impact it has on peoples lives. If your fear is less severe or based primarily on unfamiliarity with winter road conditions, educating yourself about driving methods and carefully planning your route may be enough to alleviate your concerns. More severe fears and phobias, however, may require professional assistance. Fortunately, the fear of winter driving, like all driving phobias, responds well to a variety of treatment options. If your phobia is rooted in another fear, your therapist will develop a treatment plan that addresses all of the surrounding issues as well as the winter driving concerns. With hard work and a bit of help, you can conquer your fear.

Chemical Change Definition in Chemistry

A chemical change, also known as a chemical reaction, is a process where one or more substances are altered into one or more new and different substances. In other words, a chemical change is a chemical reaction involving the rearrangement of atoms. While a physical change can often be reversed, a chemically change typically cannot be, except through more chemical reactions. When a chemical change occurs, there is also a change in the energy of the system. A chemical change that gives off heat is called an exothermic reaction. One that absorbs heat is called an endothermic reaction. Key Takeaways: Chemical Change A chemical change occurs when one substance is transformed into one or more new products via a chemical reaction.In a chemical change, the number and type of atoms remains constant, but their arrangement is altered.Most chemical changes are not reversible, except via another chemical reaction. Examples of Chemical Changes Any chemical reaction is an example of a chemical change. Examples include: Combining baking soda and vinegar (which bubbles off carbon dioxide gas)Combining any acid with any baseCooking an eggBurning a candleRusting ironAdding heat to hydrogen and oxygen (produces water)Digesting foodPouring peroxide on a wound In comparison, any change that does not form new products is a physical change rather than a chemical change. Examples include breaking a glass, cracking open an egg, and mixing sand and water. How to Recognize a Chemical Change Chemical changes may be identified by: Temperature Change - Because there is an energy change in a chemical reaction, there is often a measurable temperature change.Light - Some chemical reactions produce light.Bubbles - Some chemical changes produce gases, which can be seen as bubbles in a liquid solution.Precipitate Formation - Some chemical reactions produce solid particles that may remain suspended in a solution or fall out as a precipitate.Color Change - A color change is a good indicator that a chemical reaction has occurred. Reactions involving transition metals are particularly likely to produce colors.Odor Change - A reaction may release a volatile chemical that produces a characteristic scent.Irreversible - Chemical changes are often difficult or impossible to reverse.Change in Composition - When combustion occurs, for example, ash may be produced. When food rots, its appearance visible changes. Note a chemical change may occur without any of these indicators being observed. For example, the rusting of iron produces heat and a color change, but it takes a long time for the change to be evident, even though the process is ongoing. Types of Chemical Changes Chemists recognize three categories of chemical changes: inorganic chemical changes, organic chemical changes, and biochemical change. Inorganic chemical changes are chemical reactions that dont generally involve the element carbon. Examples of inorganic changes including mixing acids and bases, oxidation (including combustion), and redox reactions. Organic chemical changes are those the involve organic compounds (containing carbon and hydrogen). Examples include crude oil cracking, polymerization, methylation, and halogenation. Biochemical changes are organic chemical changes that occur in living organisms. These reactions are controlled by enzymes and hormones. Examples of biochemical changes include fermentation, the Krebs cycle, nitrogen fixation, photosynthesis, and digestion.

The Effects of Roosevelts Worst Mistake - 890 Words

One of Roosevelt’s [most fatal] mistakes occurred before he was even inaugurated into office. His mistake was the fact that he didn’t listen to Herbert Hoover’s advice. Between Roosevelt’s election in 1932 and his inauguration on March 4, 1933, Hoover sent Roosevelt letters and scheduled meetings to tell him what he thought about Roosevelt’s New Deal plan. Herbert Hoover believed that the origins of the Depression were international, while Roosevelt believed they were local. For this reason the New Deal focused primarily on domestic reforms. Hoover believed that international affairs should take precedence, and he didn’t hesitate to tell FDR this. He suggested a return to gold-based currency and to balance the budget. Franklin D. Roosevelt ignored all of Hoover’s suggestions and started implementing his New Deal policies as soon as he entered office. Roosevelt was not blind to the effects the international crisis had on the Unites States, but he didn’t want to restrict his freedom as president by committing himself to others’ ideas to fix it either. His first priority was to address the problems in the United States, and as a result his first term in office resulted in very few successes in fixing the problems abroad. [] Roosevelt’s New Deal had many flaws. One of these was the Silver Purchase Act of 1934. This Act was actually signed on April 5, 1933, but other laws had prevented it from getting passed at the time. The Act authorized the president to nationalizeShow MoreRelatedFranklin Roosevelt (FDR) Essay1224 Words   |  5 Pageswould be okay. nbsp;nbsp;nbsp;nbsp;nbsp;One of Hoover’s big mistakes was the acts that he passed in â€Å"attempt† to help the U.S. Herbert Hoover is known as a president who allowed the United States to continue to slide into its worst depression ever. Though Hoover did take some action, it was too little, too late. Hoover did intervene after the Stock Market crash, but the acts passed by Congress and signed by Hoover were the worst kind of interventions. They worsened the problem. The most infamousRead MoreEssay on The Features of the New Deal2660 Words   |  11 PagesThe Features of the New Deal Roosevelt was elected in 1932 after the former president Hoover. Roosevelts New Deal was a group of different projects to pull America out of the Depression, and back into the economic boom of the 1920s. The New Deal consisted of direct government action which followed Rooselvelts campaign based on fireside chats, the establishment of alphabet agencies and the pursuit of new social and economic programmes, which were the complete oppositeRead MoreEffects Of The Great Depression On Society1905 Words   |  8 Pagesthe longest-lasting economic downfall in America’s history. During the Great Depression there were approximately 15,000,000 unemployed Americans, which was about one quarter of America’s entire workforce. The effects that the Great Depression had on society where so massive that these effects can still be felt today. The causes of the Great Depression can be linked back to economic problems within America during the late 1920s, specifically â€Å"installment buying† and buying stocks â€Å"on the margin† whichRead MoreThe Great Depression s Impact Socially, Politically, And Economically Essay2071 Words   |  9 PagesGreat Depression. Furthermore, Americans lost nearly 20% of their deposits when the banks failed. Since there was no FDIC yet, and most state deposit insurance schemes had shut down already, this meant that everyday fol ks lost their savings. The effects of the Depression were felt around the world in the social, global, political, and economic, lives of nations and individuals; some of the social and global impacts include; Between 1929 and 1933, the quantity of goods and services produced in theRead MoreDust Bowl : The Southern Plains1782 Words   |  8 Pagesto sell, and that profitability of that product depended on pushing the land as far as it could go.† (Worster, p.57) To fully illuminate the problems at hand, he uses Cimarron County in the Oklahoma panhandle, and Haskell County, Kansas some of the worst hit areas in the Dust Bowl. They shared many similarities in farming technique, such as land division, speculative planting, and overspecialization of a single product, and also their disillusionment about the end of the drought. To make matters worseRead MoreThe Sources of Kennan’s Conduct: George F. Kennan as a Shaper of U.S. Foreign Policy 2029 Words   |  9 Pagesthe war’s victors. Two co nsiderations were of particularly acute importance to those charged with forging the peace. First, the Allies could not make the same mistake they had made over two decades earlier at the Paris Peace Conference. In light of this consideration, it was clear that fears of post-war isolationism gripped President Roosevelt’s Administration: â€Å"With remarkable unanimity, the men around President Roosevelt†¦shared the belief that the economic policies followed by the major trading nationsRead MoreThe Great Depression of 1929 vs. the Great Recession of 20082799 Words   |  12 Pagesstruggles and triumphs. The many great leaders of this country have foraged, failed, and overcome some very difficult times. Comparing the Great Depression of 1929 and the Great Recession of 2008 has revealed similarities that by learning from our mistakes in 1929 could have prevented the latest recession. I will discuss the causes of the Great Depression and the Great Recession, and what polic ies were implemented to reverse the economic downfalls. The Great Depression of 1929 is said to have manyRead MoreThe Great Depression Of America3487 Words   |  14 PagesOctober 1929, until 1930 when the United States went through the great depression. The great depression was a time where people lost nearly everything, from houses and farms, to families and children. People were starving and left out in the cold. The worst part about this was that once people lost their belongings, they were gone forever. In the 1900’s there weren’t many programs to help the public such as health insurance, welfare programs, or unemployment. All the money that individuals had saved throughoutRead MoreElectronic Media vs Print (Thesis Paper)13276 Words   |  54 PagesGoing Global: The World Wide Web†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.†¦...†¦24 Section 2: Electronic Media versus Print†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦..26 Electronic Media’s Impact on Society†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦...†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦26 Society Embrace Electronic Media†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦...†¦Ã¢â‚¬ ¦.26 Negative Effects of Electronic Media†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦....30 Attitudes Towards Electronic and Print Media†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦32 Newspapers: Top Dog to Under Dog†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦37 Origins of Newspapers†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦..†¦37 Personal Journalism: When Newspapers ShapedRead MoreAmerican Slang Essay 115481 Words   |  62 Pagesfelt to be somewhat formal. After a while it loosens up and the language becomes less formal. The effects are certainly noticeable if the formality of the language changes without there being a corresponding change in the formality of the situation. In the sociolinguistic literature this has been called a metaphorical shift. It can occur for a number of reasons and have many different effects. Suppose, for example, that you have worked for an employer for about half a year and you have talked

The Grapes of Wrath- Symbolism Essay Free Essays

Symbolism Symbols are often used to represent bigger ideas and concepts in a novel. In The Grapes of Wrath, there are many symbols to represent the lives of not only the Jode family but the migrants as a whole. Steinbeck uses the symbols of the dust and the turtle to show the struggles of the migrants and how they overcame all odds, revealing the only hope the migrants had to survive the harsh trek cross country was perseverance. We will write a custom essay sample on The Grapes of Wrath- Symbolism Essay or any similar topic only for you Order Now The dust is the first significant symbol Steinbeck uses to represent the migrants and their struggles. As the dust filled the air in Oklahoma, families watched their lives settle to nothing along with the dust, â€Å"The men were silent and they did not move often. And the women came out of the houses to stand beside their men– to feel whether this time the men would break† (3). The dust is symbolic of the migrant’s lives eroding to nothing. It represents not only mother natures roll in the horrible tragedy of the crumbling families, but also represents the banks and large plantations that took over the small and venerable families and farms just like the dust engulfed their homes. Though the migrants went through so much with losing their farms, homes, and lives, they still stood strong and found a way to keep moving forward, â€Å"After a while the faces of the watching men lost their bemused perplexity and became hard and angry and resistant† (3). The migrant families overcame their struggles with the dust over taking their homes along with all of the other struggles they faced, and they moved west for a new life. On their journey west, the migrants faced many challenging obstacles that they had to persevere through. Steinbeck uses the symbolism of the turtle to represent the stubborn migrants fighting their way west, â€Å"And over the grass at the roadside a land turtle crawled, turning aside for nothing, dragging his high-domed shell over the grass† (14). The turtle was set back by both nature and man on his journey across the road, just like the migrants were on their long trek westward. The turtle faced a red ant, barely escaped death by a car twice, and had to struggle with rough terrain along with flipping himself upright after being flipped over by the front wheel of a ruck. Like the migrants overcoming sickness, death, car problems, money shortage, unfair merchants, and lack of work, the turtle also overcame all of his challenges and setbacks and continued to persevere on his path, â€Å"Its front foot caught a piece of quartz and little by little the shell pulled over and flopped upright†¦ The turtle entered a dust road and jerked itself along, drawing a wavy shallow trench in the dust with its shell. The old humorous eyes looked ahead†¦Ã¢â‚¬  (15). Even though the turtle had several setbacks, he still held his head high and looked forward down the path he was traveling, never forgetting where he was going just like the migrants. The dust and the turtle symbolize the journey of the migrants starting from the moment they were kicked out of their homes. The turtle is a better representation of how hard the migrants fought to reach their final destination, just to find they had to fight to live one day at a time. The dust is the best symbol Steinbeck uses to represent the bigger farms and natures roll in the future of the migrants. However both symbols represent the bigger picture, the perseverance the migrants had to use to survive each day on their journey, and each hour once they reached their overpopulated destination of California. How to cite The Grapes of Wrath- Symbolism Essay, Essays

Social Cognitive Model of Resistance †Free Samples to Students

Question: Discuss about the Social Cognitive Model of Resistance. Answer: Introduction Organizations are established with a hope that they will grow in terms of expanding their operations to other geographical areas, increase their revenue and open up new ventures with different mission and vision (cummings, worley, 2014). To achieve this fete, the organization needs to set goals that the organization should strive to achieve and which will serve as the vision of the business. The organization will also have to establish a comprehensive plan that will help the organization to achieve the set goals. Organizational planning can be described as the process that helps the business to identify the goals of the firm and put in place the relevant strategies that will help to achieve the goals of the organization (Goetsch, davis, 2014). Organizational goal setting refers to clear statements of tasks that should be accomplished to achieve the goals of the organization. This report is written to analyze HID case study. At present, HDs mission is to be the leading organization that has medium priced hotels in all the small towns and cities in Australia. Their mission is to build hotels in Australia as it serves as their geographical area of operation. The primary target market of hid is the market segment that can afford the medium priced hotels as they are based in small towns. Moving to large cities will mean that they need to raise their prices to meet the operational costs and they will also face stiff competition from the established hotels in big cities. The HID mission will soon change because the organization has set other goals and the business is planning to expand their business to large cities and even move out of Australia. The companys core purpose was to operate in Australia, but that mission will change because of the new set goals. The organization's mission was also to operate medium priced hotels, but that mission will change because hid is planning to change the pricing strategy of the organization because moving to big cities will automatically mean that the organization will have to change the pricing strategy. The hotels operated in big cities will have to charge high prices to meet their operational obligations. Failure to change the pricing strategy will force the business to make losses (Wagner iii, hollenbeck, 2014). The mission also changes to adopt a national outlook as the organization is planning to operate hotels in all cities in Australia and not focus on small cities. The organization is also planning to change the target market. The mission of the organization will change as there is need to align the mission of the organization with the plans of the organization. Due to business environment dynamics, organizations are forced to change their missions to continue operating smoothly (Zarkovic, cetkovic, knezevic, 2015). Change in organizations in inevitable and failure to change will result to business not operating effectively. Business planning also leads to the identification of new business opportunities which forces the organization to change its mission to exploit the new opportunities. At the end of the planning session, HIDs mission will be to operate the best large hotels in urban cities in Australia and the world at large with competitive prices. The strategic goals of HID are to move to urban areas in Australia and even in foreign cities and operate more than fifty hotels in ten years' time. Organizations should set strategic goals that should be clear so that employees can understand them because if the subordinate does not understand the goals the organization will not have a sense of direction (Hartley, 2014). The strategic goals should also be realistic and achievable and this is ensured by realistically assessing the business environment to ensure that it can accommodate such goals. Strategic goals of HID are likely to be effective as it has considered all the required factors when setting strategic goals and this will benefit the firm. HID's goal is to operate fifty hotels in ten years. This seems impossible, but with the right strategic plan, the goal is achievable. A strategic goal should be feasible, achievable and difficult to achieve (Smith, 2014). If the dream is achieved, it will lead to the growth of the business. Hid has also set the time frame to achieve the goals and this is very important in setting strategic goals and this will enable the organization to work hard to ensure the goals are achieved within the given time frame. Achieving the goals outside the stipulated time frame will lead to increased costs and the company will put the needed efforts to avoid these costs. The strategic plan helps the company to achieve its strategic goals. HID's strategic plan is to change the target market, change the pricing strategy, increase the workforce and come up with a plan to counter the increased competition. The target market will be people living in urban areas. This will imply that the plan will include introducing the products that satisfy people the tastes and preferences of people living in big cities. The company will employ the 4p's marketing mix which comprises of the price, product, promotion, and place (Pfitzer, bockstette, stamp, 2013). The products will be of high qualities to help minimize the high competition in urban areas. The products should also be innovatively produced, branded and packaged so as adopting high pricing strategy will be justified as the product reflect the customers value for their money (Bak?c?, almirall, wareham, 2013). The strategic plan should also show how the company will change the pricing strategy. The pricing strategy will be influenced by the target market. In some target market. Hid will use high prices because the new target market associates high prices with high quality. This means that charging high prices for hotels will help to attract more customers and minimize competition (Songini, gnan, malmi, 2013). In some urban areas, HID plan will be to offer products and services that fully satisfy the needs and of the customers and charge competitive prices. The strategic plan should also select the best strategic areas to set up the hotels. The hotels should be strategically placed in areas with a high number of the target market to ensure the hotels have enough customers. The strategic plan will also involve hid increasing the number of employees to work in the newly established ventures. Negotiating behavior was used to help the managers reach an agreement (Lent, brown, 2013). This is because each manager had his/her opinion on different goals of the organization. There was the need for the consultant to allow the managers to discuss to reach an agreement. During the discussion, the managers are given an opportunity to express their concerns and critique the other managers opinions. This ensures that the agreed decision is well analyzed and all the challenges that may hinder the achievement of the goals are known and planned for. The consult refocuses the discussion to ensure that the managers agree where their company should be to achieve their mission and tells them to support a national outlook for their company. No. Managers do not typically disagree on the direction of their organization. Disagreements between managers on the direction of the organizations are caused by various factors which include; Managers in an organization have different levels of experience. Some managers have adequate experience while others have little experience when it comes to organizational goal setting and planning (Klofstad, sokhey, mcclurg, 2013). The managers will little experience will tend to see some goals as being unrealistic because they have never set such goals before. This lack of experience will result to disagreements. Conflict of interest when making organizational goals will also cause the managers to disagree (Bateh, castaneda, farah, 2013). In the case of HID, managers new the mission of the organization was to operate within Australia targeting medium priced hotels. The CEO's goals for the organization conflicted with the current mission and the managers thought the goals were unrealistic because the CEOs goals were to change the pricing strategy, expand to urban cities in Australia and other foreign cities. Conclusion Due to business environment dynamics, change in organizations is inevitable. This forces the organization to change its goals and plans. This will also cause the organization to change its mission so that it can align with the goals of the organization. Organizations need to set clear, realistic, challenging and achievable goals. The strategic plan should be comprehensive to cover all the strategies to achieve the set goals. References Bak?c?, t., almirall, e., wareham, j. (2013). A smart city initiative: the case of barcelona. Journal of the knowledge economy, 4(2), 135-148. Bateh, j., castaneda, m. E., farah, j. E. (2013). Employee resistance to organizational change. International journal of management information systems (online), 17(2), 113. Cummings, t. G., worley, c. G. (2014). Organization development and change. Cengage learning. Goetsch, d. L., davis, s. B. (2014). Quality management for organizational excellence. Upper saddle river, nj: pearson. Hartley, m. (2014). Call to purpose: mission-centered change at three liberal arts colleges. Routledge. Klofstad, c. A., sokhey, a. E., mcclurg, s. D. (2013). Disagreeing about disagreement: how conflict in social networks affects political behavior. American journal of political science, 57(1), 120-134. Lent, r. W., brown, s. D. (2013). Social cognitive model of career self-management: toward a unifying view of adaptive career behavior across the life span. Journal of counseling psychology, 60(4), 557. Pfitzer, m., bockstette, v., stamp, m. (2013). Innovating for shared value. Harvard business review, 91(9), 100-107. Smith, w. K. (2014). Dynamic decision making: a model of senior leaders managing strategic paradoxes. Academy of management journal, 57(6), 1592-1623. Songini, l., gnan, l., malmi, t. (2013). The role and impact of accounting in family business.Journal of family business strategy, 4(2), 71-83. Wagner iii, j. A., hollenbeck, j. R. (2014). Organizational behavior: securing competitive advantage. Routledge. Zarkovic, m., cetkovic, j., knezevic, m. (2015). Organization of enterprises in function of a successful business. Stroitel'stvo unikal'nyh zdanij i sooruzenij, (1), 91.

What Are the Essential Skills to Be Possessed by a Manager Essay Example

What Are the Essential Skills to Be Possessed by a Manager Essay What are the essential skills to be possessed by a manager? A:- In order to perform your role as a good manager, you need to possess and exhibit a range of skills to plan, control, organize, lead and take decisions of an organization. In this article I am giving a brief idea of those unique set of skills needed for a professional manager. Planning skills It’s often needed to define the future of an organization. Managers must be able to ensure that his company does exist in the future. Hence his planning skills include ability to Forecast future environment Think ahead Plot organizational objectivesChoose strategies to attain these objectives Reach their performance standards When an organization increases its complexity, it needs its managers to acquire skills as needed to fit the present needs of the system. Organizing skills Organizing process follows the planning process. Its skills can be broadly spelled as the ability to Analyze and describe various tasks Select, train a nd appoint people Define roles, authority and controls Change these working links whenever necessary and make these changes flexible It depends upon the managerial skills to achieve the best you can, with the limited resources available.Leading skills A leader must be able to know the values, personality, attitudes and perceptions of his subordinates. Value is an opinion or belief a person holds about something while personality is a sum up of personal traits of an individual. It’s determined by our physical constitution, beliefs and values he holds. Perception is how a person interprets something from what he see, smell or feel while attitude is a person’s behaviour to a particular event, situation or person. Though we can’t observe it directly, we can observe its consequences.Attitudes can be learned and have three aspects – cognitive, affective and behaviourial. manageskills2 Controlling skills It consists of actions and decisions which managers undert ake to ensure that outputs obtained are consistent with desired ones. Any difference between the actual and planned results must be corrected by management by taking appropriate actions. So, a management has a pre-determined standard according to which outputs are needed to be checked. manageskills1 Decision making skills They are related to planning process and pervade all other modules of managerial skills.A manager’s skills and effectiveness lies in making appropriate and timely decisions most suited to that particular situation. Sometimes repetitive or routine problems are involved which are to be verified periodically. So, at the end of all the above managerial skills, you may be able to know the overall skills of a manager. Also, there are different levels of managers – first level managers, having the direct contact with the employees, middle level managers to whom the first level managers report, comparatively less in number than first level managers and top le vel managers who are the overall decision makers of the company.Managerial skills at various levels These skills refer to the ability of managers at different managerial levels of the system hierarchy. Katz in 1974 categorized managerial skills into three types. Technical skill It’s the ability to work with resources in a particular area of expertise. For example, a lab assistant must know his subject well, to help the project students. An accountant should know everything about accounts and balance sheet and a surgeon should be well expert in surgery.In a small manufacturing organization, top boss should have a clear idea of technology skills. Very often, training programs can help employees to expertise in technical skills. Human skill It deals with the ability of a manager to work effectively among his group of members, interact well and take suitable decisions to lead them from front. Communication skill of a manager is very important. Also, to provide a better working at mosphere for his subordinates, a manager is needed to possess certain human skills and it can be developed without any formal training. Conceptual skillIt’s the ability to see organization as a whole and recognizing relationships or links of different modules within the system. Also, it identifies the impact of changes of one module affecting other modules, it may be one or two or a group. As a manager you need to view situations and determine the inter-related factors. Also, his ability to co-ordinate and integrate a variety of factors is very important. Top management skills No doubt, top management has to run the organization as a whole and hence they need some special, distinct management skills to control the whole organization.Most important of them include Building a strong and efficient team of people at the middle management level and should encourage his subordinates to learn some of his management skills as well. Need to monitor and review the functioning of an org anization at different time intervals and check if the outputs are matching the already set targets. Keep in touch and share ideas with planners, policy makers and intellectual and skilled people of the organization. To find competent human resources to fit their organization and encourage and appreciate them in the form of rewards if needed.Develop a distinct and special skill to make you different from others and prompt others to follow you. You can even guide your subordinates by sharing your experiences and piece of knowledge. Thus skills of a manager is essentially two ways – functional, which involves planning, organizing, leading, controlling and decision making and skills of managers involving technical, human and conceptual. Through this article, I have given a brief description of managerial skills needed for an organization.

Essay about 483 Hw 2

Essay about 483 Hw 2 Essay about 483 Hw 2 Jake Novicki 2/6/14 MGMT 483 2. In every company, big or small, employee motivation is a factor that can have sales booming or at an all time low. An individual incentive pay program can be used as a very effective motivating tool when applied to the proper jobs. However, there are a few jobs which this program would be inappropriate for and could cause more harm than good. A job in sales such as a care salesman would be appropriate when applying the incentive pay. The incentive to make more money of of each sale is going to drive the employee to really push his sales onto the customers and try his best to close as many deals as possible. Jobs in manufacturing could also use incentive pay as a motivator. Managers at the warehouse I work in offer bonus pay each quarter for effective and high quality productions from each employee. The jobs jobs that I I believe an incentive program would be inappropriate are policemen and firemen. These jobs require the employees to be motivated at all times not only for the ir safety but as well as they people they serve. The fact that they put their life on the line every time they go to work should be incentive enough. 4. Under a group or company wide incentive program there will still be employees who are not motivated to perform their job at a high level and will still end up benefiting from the hard work and dedication from their co-workers. what I believe the company can do in this situation to stop the poor performing workers from benefiting off others is monitor each individual and grade the performance for each week. Just as the company’s efficiency is being monitored I believe each individuals progress should be monitored an recorded weekly. When it comes times for the benefits to be handed out the employees individual track records should be reviewed and those who did not perform at an acceptable rate should not be offer the bonus or benefits the others receive.

David cole Essay Example | Topics and Well Written Essays - 250 words - 1

David cole - Essay Example They knew that either way, the two could die. However, Eli chooses not to wait for the Soviet troops to liberate them (Shermer and Grobman 72). His reasoning for choosing to accompany the Nazis was because he did not understand the motive of the Soviet troop in liberating them. The design of the gas chamber demonstrates that its purpose had no relation with the handling of gas. Since the gas chambers were never sealed, there was no provision for preventing the gas from condensing on the walls, ceiling or the floor. Neither was there a provision to exhaust the mixture of the gas and air from the building. This was the design of the facility according to Fred Leuchter, who examined the chamber. The free standing chimney could have served the purpose of exhausting the gases. The Donahue interview reinforces Leuchter’s findings. David Cole comes to a conclusion that the design of the chamber was not to kill any human being. In addition, he describes the facilities as life

Comparing short stories Essay Example | Topics and Well Written Essays - 2000 words

Comparing short stories - Essay Example Later on it was found out that her daughter from her first marriage was alive and was living in the cottage. The little girl was black and Effie concealed this fact from Grant as she was scared that he would reject her as she was mother of a child of mixed race. â€Å"The Murders in the Rue Morgue† revolves around twin murders of a mother and her daughter in Rue Morgue, which is a fictional street in Paris. Dupin, who lives in Paris takes it upon himself to solve the mystery. There were numerous witnesses who claimed they heard the suspect but could not recognise the language. At the murder venue, Dupin finds a hair which does not belong to any human. Eventually, it was revealed that an Ourang-Outang has escaped from a sailor with his shaving razor, and the animal is responsible for the murders. Though the theme of both the stories circles around unlocking of a mystery but they are very different from one another in terms of plot in both the stories. The theme in the â€Å"The Yellow Face† lies in the mystery surrounding a previously married but devoted wife’s sudden suspicious behaviors, whereas, we witness a much more complex theme in â€Å"The Murders in the Rue Morgue† where we are gripped with an aura of chilling mystery surrounding a couple of ruthless murders. The first story is a framed narrative from Dr. Watson’s point of view, like most other Holmes’ series. On the other hand, the second story is narrated in first person by an unnamed narrator. Although its inspirations can be traced back to the â€Å"Das Frà ¤ulein von Scuderi† by E.T.A. Hoffmann in 1819 and the 1748 publication of the â€Å"Zadig† by Voltaire, The Murders in the Rue Morgue (1841) by Edgar Allan Poe is considered to be the first ever detective mystery that showcases the art of deduction in solving a crime based on detection and analysis of clues that by an investigator.

Photography Essays Monstrous Imagery

Photography Essays Monstrous Imagery Chasing the Dragon: Capturing the Significance of the Monstrous Chapter One: What is a monster? There are perhaps two kinds of monster: the monster that sprung from our own hands and changed into something uncontrollable, and the monster that is experienced as alien, preternatural, generally an unfathomable creature, and frightening because of its mystery. It is impossible to decide which is more frightening, since both suggest an Other, something resistant to human power, and while the first kind draws attention to man’s mortal limits and potential for self-destruction, the second highlights the extent of human ignorance and insignificance in relation to external forces. Both kinds of monster, however, share an ability to induce extraordinary fear, and both have a solid foundation in mythology, since man has always feared what he could not explain and has translated his fears into metaphorical shapes of fearful creatures since time began. Both man-made and alien monsters, too, share a self-referential semiotic structure in literature, art, psychology and mythology. In t he history of the human subconscious, fears have always preceded monsters. Monsters are representative. They are representative of all the things we are unable to control, and the uncontrollable fear that is generated by these things. They are representative, then, on more than one level, as they are simultaneously our fear and the object of our fear. All (â€Å"bad†) monsters are synonymous with fear – our fearand as such the monstrosity we perceive in even â€Å"external† beasts like aliens, dragons, sea monsters and circus freaks, is something generated by us, the beholder. They are also representative of anything threatening, as Robert Thomas’ definition in â€Å"The Concept of Fear,† explains â€Å"not only what is likely to threaten life, injure our bodies, cause physical pain, which is seen as   ‘dangerous’ or ‘threatening.’ The monster retains an almost unique power to represent, subjectively, something different to whoever beholds it. But its representative power operates on a universal level too: in Judith Halberstam’s book Skin Shows (1995) she seems to suggest that the semiotics of a monster’s meaning should maintain a certain fluidity, as its interpretation is so unstable, and contingent upon social, political and religious climates. Halberstam expounds on the role of literary and cinematic texts in channelling our fear of monsters, since â€Å"the production of fear in a literary text (as opposed to a cinematic text) emanates from a vertiginous excess of meaning† While one might expect to find that cinema multiplies the possibilities for monstrosity, the nature of the visual always, in fact, operates a kind of self censorship, whereby our visual register reaches a limit of visibility surprisingly fast. It is our imaginations that make the invisible nature of monsters, the very essence of their unknown-ness, so enduringly frightening. As Paul Yoder eloquently expresses it, â€Å"What we cannot see frightens us most. Reason competes with   imagination to establish boundaries around the external stimuli and, thus,   clearly establishes a means of remaining separated from that which harms us.   But reason will ultimately prove ineffective without a frame of reference grounded in a context of physical reality to establish a solidified boundary between the real and the unreal, the natural and the supernatural. Without this definitive context, reason is unable to mark the separation between two modes of perception, so as an audience or a reader, we are forced to hesitate, resulting   in a moment of suspense, the first stage in   externalizing the feeling and producing an externally constructed emotion of   fear.† The monster walks the line between life and death, and the most terrifying monsters transform others into fearful beings too, removing their essence, or everything they cherished. Medusa, for example, had no natural animation herself, just wriggling snakes that performed a grotesque impersonation of the natural and winsome effects of wind through hair.   In some ways she epitomises monstrousness, as her fearful power was an extension of her fearful quality – her deathly stillness. Medusa, of course, used petrification to turn others to stone, and inadvertently brought about her own end through the reflection of her enemy’s shield. Thus Medusa is a warning to all monsters: eventually, the supernatural force of the deadly stillness will be turned onto itself by the superior power of animated defences of the natural. My aim in this study is to juxtapose the metaphorical â€Å"monsters† that have permeated our language and mythologies with the visual interpretations of the monstrous, as it has been translated into photography and the assumptions of pop culture. The ultimate goal in this study is to arrive at some definition of â€Å"monster† based on a societal interpretation of the outsider and examine how fear of the â€Å"Other† is internalized. It is the manner that we, as a society, perceive our â€Å"Other†, which will ultimately control the paths our visual representations of monsters take, as mythical archetypes within the horrors of our minds. Chapter Two: Creating and defining the monstrous: the codes of photography Monsters have long been obeisant to a certain visual code, albeit a very difficult one to define. Sometimes they are brightly coloured, sometimes scaled up or down, humanoid, hairy, toothy, slimey, legless, millipedal, whatever they look like, they look exaggerated, surprising, startling, unexpected. If we read about them, the mental image is a perplexingly blurry one; if we see them in horror movies, their most frightening moment is always just before they appear. Monsters vary so wildly in their representation because the visual properties of the monster are actually incidental to its fear-producing power. The monster can look like anything, the more surprising the better – a chair; a beachball; the Prime Minister because the fear is our fear, and the fear created the monster: it was there first, deep inside us. The visual arrangement of the monster is merely a trigger to that primal fear. It seems to me that the writer with the most monstrous pen is Herman Melville, and the photographer with the most monstrous eye is Ansel Adams. Both contrast light and dark incessantly: for Melville with his extraordinary white whale, pallor is something to be afraid or suspicious of, perhaps even suggesting the diabolical. Whiteness is both, â€Å"the most meaningful symbol of spiritual things, nay, the very veil of the Christian deity,† and â€Å"the intensifying agent in things the most appalling to mankind†. In a world controlled by Christian orthodoxy, the whiteness of purity, the shroud, and death, lead to life everlasting. On the sea, however, white represents a loss of hope, for it â€Å"shadows forth the heartless voids and immensities of the universe and thus stabs us from behind with the thought of annihilation.† A photograph remains an abstraction, even in its most primitive state as a sort of document or record and Adams’s skill lies in his ability to conceal his role as contriver, abstracter, imaginist, within the rhetorical apparatus of scientifically objective reality. He shuttles, perpetually, between the reality of texture and the affectation of emphasised texture; his is a statement about the difference between something existing and something being noticed, which partly accounts for his famous privileging of black and white. When unnecessary distractions arise from ranges of colours are removed, the impact of an image can be multiplied. In efforts to define- or perhaps contain it, the practice of photography has been laboriously distinguished from other visual forms and practices, particularly painting and film. Adams is interesting because he refuses the forces of classification, not static enough for photography, too theatrical and contrived for regular representational convention. In the article Looking at Photographs, Victor Burgin writes: â€Å"The signifying system of photography, like that of classical painting, at once depicted a scene and the gaze of the spectator, an object and a viewing subject. Whatever the object depicted, the manner of its depiction accords with laws of geometric projection which imply a unique point of view. It is the position of point-of-view, occupied in fact by the camera, which is bestowed upon the spectator.† Even more emphatically than painting, photography maps an animated, infinitely subjective and ever changing world into a two dimensional, static image of a finite moment.   Classical and highly stylised black and white images, such as those that have made Adams most famous, take the abstraction one step further by removing all colour from our inescapably multicoloured world. What remains is one of two things which really amount to the same: an alien – monstrous landscape, or our own landscape from an Other’s point of view. The use of colour in photography has been shunned repeatedly by many purists working to a realist agenda. Compared to black and white it is considered more superficial, crassly realistic, mundane, less abstract, ultimately less artistic. Altering light and shade in the darkroom enables a degree of artistic dishonesty. The camera may not lie, but the photographer very frequently does, especially the photographer with an artistic agenda. Whenever he dodges shadow detail and fires up highlights, increasing contrast or altering tone, Adams exercises and demonstrates a contrivance that amounts to a sort of visual poetry. Adams is on record confessing to severe manipulationof Moonrise over Hernandez, but more significant still is probably his interest in striking, unusual, dehumanised scenes and subjects which lend themselves so well to monochrome representation. These subjects I would characterise as â€Å"monstrous†: their stillness the only feature protecting us from terror †“ the brink of fear kept just out of reach by the amazing stationary quality of the images. Monsters are frightening when they are animated, but this is also when they are at their weakest, as we have seen. Adams’ works have the frozen, petrified, feel of a final visual imprint of a paralysed, dying beast. The night scene is extraordinarily affecting, partly because, as a genre, it is most famous for high contrast monochrome. It is the only time in our world really does seem black and white, so the image is almost an accurate representation, but not quite. It is the slightly alienating quality of this image, the slight lack of fit between representation and mental expectation, which makes it so beautiful. Many of Adams’s images are arresting because they are tuned to the timing of our mental calculations: they are ready to predict and confound our expectations by subtle acts of artifice and they play constantly, and good-naturedly, on the moment of our realisation. The monochrome of Adams is not a symptom of self-aggrandising pride in his iconic â€Å"artist† status, but a device to play with emphasis and expectation, a way of forcing us to look at the world in different ways. The British scientist and psychology pioneer, Sir Francis Galton (1822-1911), was responsible for many studies we might now associate with â€Å"monstrous† photography in a different sense. Galton generated controversy in many ways even in his own time; as an early eugenicist he was the first to study the nature-nurture debate through the use of real pairs of twins. Galton’s Eugenics experiments in the 1870s had the ostensible aim of â€Å"improving† the human race by selecting individuals with desirable traits and encouraging them to breed, while simultaneously to check the birth-rate of the Unfit. Perhaps his most famous means of studying behavioural traits across different social demographics was photography. Galton aimed to surpass individual behavioural idiosyncrasies and arrive at generalisations about human behaviour, through a crudely arranging a number of photographs into a composite. His most famous study of this sort aspired to investigating criminal behaviour – and this was the study which most clearly demonstrated both a fear of and damaging assumptions made about Victorian society’s â€Å"Other†: the monstrous convict. Galton took a number of face-shots of men convicted of murder, manslaughter and other serious crimes, then carefully printed them all to the same dimensions. By photographing a number of them, then carefully aligning the images onto the same photographic plate, a composite photograph was assembled. Rather than Galtons enabling him to produce a clear image of a criminal face, Galton’s results produced pictures that of men with a generic kind of working class look. Galton’s â€Å"monster† seemed to be created from the false confidence of new technologies and that afforded by the new shamanism surrounding his â€Å"science†. His results seemed to show that any member of the lower classes was a potential criminal and advised that selective breeding could be used to replace the lower classes by those from superior stock. An extension of the same reasoning and method, and extraordinary bias towards the visual, could come to the conclusion that some racial groups were inherently superior to others, and indeed this was what happened, as Eugenics, while starting as an attempt to scientifically improve the human condition was of course later used to support Nazi policies of extermination of Jews, gypsies and others. Photography theory has traced something undeniably monstrous integral to the abstract, literary property of the photograph. After his father’s death, Paul Auster was compelled to sort through the house full of the objects left behind. Despite the fact that all his father’s artefacts, everything from an electric razor, to tools and cancelled cheques—bore a kind of ghostly trace of their owner, Auster prefers to focus on the photographs he finds stored in a cupboard in the bedroom. It is as if he hopes they might reveal some information about his father that unusually real, through their power to capture his image. Roland Barthes’s work Camera Lucida affords Auster’s grim quest with some context. After a determined effort to define photography â€Å"in itself,† the second half of his book sees Barthes turning to a kind of personal dialogue with a photograph of his recently deceased mother. While sorting a stack of photographs of his mother, Bar thes notices that â€Å"none of them seemed to me really ‘right’†that is, although he â€Å"recognized a region of her face, a certain relation of her nose and forehead, the movement of her arms, her hands† Barthes can’t â€Å"find† his mother’s essential â€Å"being† in any of her pictures. Barthes’s task then changes from sorting photos to â€Å"looking for the truth of the face I had loved† in the stack of images. There is something intrinsically alien about the meaning of photographs, and to this extent they are monsters to us, and our memories. Auster, too, seems to be seeking â€Å"truth† in the photographs of his lost parent. He writes, â€Å"It seemed that they could tell me things I had never known before, reveal some previously hidden truth† Unlike Barthes, who is looking for something he knows about his mother but can’t find in her images, Auster hopes that his father’s photographs will betray some evidence of a private man, some part of his father that had been carefully concealed from the world. The â€Å"very essence† of photography, according to Barthes, is that it shows what has been. Chapter three: Reacting to monstrous imagery Many spaces are terrifying to us, and soon become populated by â€Å"monsters† of the cosmic psyche. The arctic wasteland is crawling with yetis, every dark corner has a ghost, and every desert is thick with monstrous mirages, terrifying to the extent that they represent a void, a nothingness, at best, the fear of the unknown. They are alien landscapes- mammals struggle to survive, and the plants we do find in deserts barely seem designed to aid our survival. There is a certain security about filling the void with sign-posts, even if, in the ultimate post-modern irony, those signs only point to themselves. In this sense the iconography of the desert shares a metaphorical shape with Barthes’ self-reflexive definition of photography; it is as if the horrors of the desert, the horrors of the self-created metaphor, and the fearful void constructed by the photograph that signifies nothing are all connected and perhaps even the same. Auge’s words explain the problem of imaging the desert, If a place can be defined as relational, historical and concerned with identity then a space which cannot be defined as relational, historical or concerned with identity is a non place. The spaces which negate are unbearable and must be somehow psychically redeemed. Laura Cinti attempts this by attaching hair to the spineless cactus, for the cactus itself has of course beco me yet another iconographic space of complicated nothingness. Cinti’s work, if it demonstrates or states anything, demonstrates or states the extent to which the desert symbolism has been anxiously harvested from the plant. What looks like nothingness is mere misunderstanding, and what looks like improvement and liberation is naà ¯ve, appalling, abuse. Yet we are all guilty of some of this. None of us can bear the silence of the desert or make sense of the mute perpendicular. Michael Fried’s work in Realism, Writing, Disfiguration makes much of the damaging and paradoxical symmetry that exists between the hand and the eye. That is, the way we see the world is affected by the way we recreate it, but the way we reproduce it damages the way we see it. The whole theory operates on a larger metaphor controlled by vertical/horizontal semiotics. The desert cactus image is always a vertical formation on a horizontal axis: the opposition of life and death is present visually and immediately. But the desert is unique, as a horizontal space. We would normally expect a great expanse of flat ground to be bursting with life and promise, to oppose and define the sky. The desert, however, rejects life. Those who think cacti ugly must perceive them as canker sores, signifiers only of scorched earth. The desert space is an inversion of all th at we, as animals, have come to associate with health   and life. The cacti in the vista, then, can be interpreted in two almost completely opposing ways. Either they are the anti-tree, the anti-life, or they are vegetation and water, albeit in a different form- and consequently just as alienated from the sandy plains as we are. Despite the obvious oppositions, the desert is more like the sea than it appears. While the water reflects light, the desert reflects heat- and the art historian Michael Fried cites reflections as the connection between the inner and the outer. To the extent that they are concerned with reflections, indoor and outdoor scenes are treated as having the same character and affect. I feel sure the notion can equally be applied to a pair of iconographically opposing images. Interior and exterior scenes are, to Fried, clear metaphors for the inside and outside of the body, so perhaps the â€Å"external† hostility of the desert might set alongside the â€Å"internal† of the humane well-vegetated landscape. Perhaps the images represent a horizontality that reflect along a flat axis. The reflection must always be slightly imperfect for the object to be seen at all- and it is interference on the vertical axis that disrupts the reflection and reveals the illusion. In the desert, th is interference is embodied by cacti, which are surely the most authentic part of the landscape. Conclusions We have seen how monsters can be created and destroyed, and discovered that it is more interesting to explore their legacy as metaphorical forces in our language and psyches. In closing, I would like to look briefly at the example of Narcissus, whose monstrous transformation into a flower is richly representative and relevant, and resonates with much of the discourse surrounding art and spectatorship today. Turning to ancient mythology, we often find a wealth of instances where change itself is the terrifying aspect of the monstrous. Ovid’s metamorphoses provide a catalogue of such stories, and, more interestingly, represent the different ways that the metaphors of monstrosity are used to generate fear and alienation. Narcissus and Echo is a particularly rich example, among several in Ovid’s Metamorphoses, of a beautiful youth who died as a result of spurning sex. In Ovids retelling of the myth, Narcissus is the son of Cephissus, the river god and the nymph Liriope. The seer Tiresias foretold that the child would live to an old age if it did not look at itself. While many nymphs and girls fell in love with him, he rejected them all. One such nymphs, Echo, became so distraught that she withdrew to a lonely spot and faded until all that was left was a plaintive whisper. Meanwhile the rejected girls’ prayers for vengeance reached the goddess Nemesis, who caused Narcissus to fall in love with his own reflection. He remained transfixed by his reflection until he died. It is possible that the connection between Echo and Narcissus was an invention of Ovid, since there do not seem to be any earlier instances of the Narcissus myth which incorporate Echo. This myth lends itself to extensive and adventurous literary interpretation. When Narcissus eliminated the distance between his image and its reflection by touching the water with his face, the distance disappeared and took the image with it, as the water rippled and broke the reflected into pieces. The desire, however, remained, not disappearing with any distance covered by his attempts to escape it, and his difficulty with his passion for himself was not solved. The story is compelling to artists because it is about the power of sight, its dangers and its rewards. For Narcissus, salvation is possible as extension of distance, not as elimination of it. If he can cease to see his own image he will be saved but is precisely the need to see his face that is compelling and destroying him. As Angel Angelov writes, â€Å"Narcissus’ face is a metonymy of integrity, enraptured by its reflected self. The general paradox upon which the story is built comprises various details – in this case, the simultaneity of shapelessness and fixed contour – Narcissus’ image on the water surface was cut like chiseled Paros marble. Certainly, we can think about Alexandrinian influence (getting petrified because of amazement) but also about the Roman practice of sculpting, creating firm outlines. However, the presence in a definite social environment considered eternal, is a characteristic that is contrary to the out-social transience of Narcissus’ reflection.† In Narcissus: the mirror of the text. Philip Hardie explores various ideas around Narcissus as a post-modern signifier. The surface of water, that fragile barrier, becomes a Lacanian mirror and operates as an interface between Self and Other, dividing reality and illusion, as Narcissus, just like the reader, confronts an image that can never be real, but representative only of the viewer’s unfulfilled desire. Hardie argues that the story of Narcissus and Echo is Ovid’s cautionary treatise on the dangerously deluding, deceptively subjective property of sight and sound. Narcissus as Lucretian fool and Lucretian lover will be the victim of simulacral delusions, a frustrated lover situated ironically in a bountiful, pastoral landscape filled with false promise; inappropriately wistful even after his acknowledgement that the Other can only ever be a hollow reflection of the Self. According to this reading, all hope of something extraneous to the self, something objective, to love and life, is prohibited by this tale’s morality. The story is essentially tragic and ontologically didactic: indeed Ovid’s Theban histories are infused with the theme of empty signifiers and the dangers of useless introspection. Indeed the story’s equation of the bewitching power of sight with the sight of oneself has inspired recent writers to construct a kind of literary psychosis to describe the subjective subject, â€Å"The eye would be about the I, the subject, part of a monocular system perpetuating an illusion of wholeness, an Imaginary dyad, a tradition of the eye/I that would move through Kant, Husserl, and Merleau-Ponty, while the ear would be aligned with the other, with a fragmentary existence cut across by the Symbolic, by having subjectivity determined by and through an other,† It has been said that the product of every metamorphosis is an absent presence, and nowhere is this more apparent than in the Narcissus/Echo episode, a story irresistible to artists transfixed with the metaphysical paradoxes and word games. One artist well known for his precocious interest in semiotics was Nicholas Poussin. Poussin’s Echo and Narcissus depicts, unusually, a trio of figures in a triangular formation. Narcissus lies prone across the base, limp but muscular, his face a mask of sadness, his eyes empty. Echo behind him resembles a Greek statue, History, perhaps, again posing strangely in a balleric semaphor of sorrow. In fact, for all the story’s appeal Echo and Narcissus poses an obvious challenge to artists: Echo is said to have wasted away until only her voice was left. But a voice is rather difficult to represent in painting. From the outset, then, the story demands that mimetic pictorial realism must be suspended. The story gives artists like Poussin free license to create symbolic, literary pieces, with figures whose bodies are sculpted and whose faces are masks. We have seen how the image lends itself to ontological paradoxes, and it could be argued that the putti, the third figure in th is image, is a kind of representation of the artist’s presence inside his own artificial world. The putti carries a flaming torch, and stands next to a spear, clear indicators, Michael Fried would argue, of the artist’s palette and paintbrush. The art historian Michael Fried’s writing synchronises very well with the Echo and Narcissus myth, as it could well be characterized as the doomed ambition to structure impossible desire. Poussin’s works present a displaced metaphor for the mental and physical effort of painting. Thus Fried’s theory takes the anti-mimetic definition of realism one step further- although painting does not have to relate to what it depicts, it will resist immediacy, but relate in specific indirect ways to the person who depicts it. For Poussin, the impossible, yet desired, merger is one of inscriber and inscribed; for Ovid it is one of reader and listener. An erotics of the word and image is then as inevitable as one of ear and eye, and we find the transformation that characterizes the monster has as much to do with desire as it has to do with fear. This notion is borne out by Kristeva’s definition of the abject. The Concise Oxford Dictionary defines abject as Brought low, miserable; craven, degraded, despicable, self abasing, describing abjection as a state of misery or degradation, definitions which can be understood more fully through their expression: religious hatred, incest, womens bodies, human sacrifice, bodily waste, death, cannibalism, murder, decay, and perversion are aspects of humanity that society considers abject. As Barbara Creed sees it, â€Å"The place of the abject is where meaning collapses, the place where I am not. The abject threatens life, it must be radically excluded from the place of the living subject, propelled away from the body and deposited on the other side of an imaginary border which separates the self from that which threatens the self.† Hence the abject is something we deliberately exclude to preserve our illusion of a meaningful world. In Powers Of Horror:An Essay On Abjection, Kristeva identifies that we first experience abjection at the point of separation from the mother. This idea is drawn from Lacans psychoanalytical theory as she identifies abjection as symptomatic of a revolt against that which gave us our own existence. As Samantha Pentony explains it, â€Å"At this point the child enters the symbolic realm, or law of the father. Thus, when we as adults confront the abject we simultaneously fear and identify with it. It provokes us into recalling a state of being prior to signification (or the law of the father) where we feel a sense of helplessness. The self is threatened by something that is not part of us in terms of identity and non-identity, human and non-human.† Kristeva definition of the abject aligns it to what I have described as the â€Å"Other†,   The abject has only one quality of the object and that is being opposed to I. There will always be a connection between the abject and the subject: they define one another. When we find ourselves flailing in the world of the abject, we lose our sense of subjectivity, our imaginary borders disintegrate, and the abject becomes a real threat because there is no alterior – no sense of reality or self – to neutralise the threat or remind us of its illusory nature. So Kristevas theory of abjection is concerned with those suspended realms, changing forms, states of transition or transformation, â€Å"The abject is located in a liminal state that is on the margins of two positions. This state is particularly interesting to Kristeva because of the link between psychoanalysis and the subconscious mind.† Like Narcissus facing his reflection, or Medusa facing hers, we are attracted and repelled simultaneously by the abject. It induces nausea in our bodies and fear in our hearts. For Kristeva, these feelings arise from memories, specifically the first memory of separation from our mother. There is a thrill about horror and the macabre, and monsters represent ourselves in a state of change – when Kristeva describes one aspect of the abject as jouissance she suggests that through exciting in the abject, One thus understands why so many victims of the abject are its fascinated victims if not its submissive and willing ones. And furthermore, The abject is perverse because it neither gives up nor assumes a prohibition, a rule, or law; but turns them aside, misleads, corrupts; uses them, takes advantage of them, the better to deny them,† The abject, then, the monstrous, is metaphorically powerful as a force of manipulation, even more sinister in its unknowable nature, because we suspect it is up to no good. Yet for all its subversion, perversion and fear, we are excited by the abject, drawn to the monstrous, and we always will be because it comes from inside us. Bibliography Angelov, Angel Images Transformation/Disappearance online here: http://www3.unibo.it/parol/articles/angelov.htmThe Original/The Print/The Copy: Installations Of Nadezhda Lyahova Auge, Marc, â€Å"From Places to Non-Places† in Non-places: Introduction to an Anthropology of Supermodernity UK: Verso Books, 1995. Auster, The Invention of Solitude, UK: Faber and Faber Ltd, 1989. Bann, Stephen (ed) Frankenstein, Creation and Monstrosity US:Reaktion Books Ltd, 1994. Barthes, Camera LucidaReflections on Photography UK: Vintage (Vintage Classics), 1993. Creed, Barbara The Monstrous-feminine: Film, Feminism, Psychoanalysis (Popular Fiction S.) UK: Routledge,an imprint of Taylor Francis Books Ltd, 1993. Creed, B. Horror And The Monstrous Feminine : An Imaginary Abjection . London Routledge, 1993. Halberstam, Judith. Skin Shows. Durham: Duke UP, 1995. Hardie, Philip Ovids Poetics of Illusion Cambridge:   Cambridge University Press, 2002.   Pp. viii, 365 Hargreaves and Hamilton The Beautiful and t

Alcohol Peer Pressure in College Essay

In the article â€Å"Above the Influence,† the main idea focuses on how alcohol in college has clinched onto society and is now considered a norm. The goal of this study was to explore how non drinking college students negotiated communication about a potentially stigmatized behavior abstinence from alcohol (675). The concept of the paper goes into depth on how students who don’t drink alcohol are usually an outcast or fall into peer pressure to fit in. In order to support the claims, researchers conducted an experiment to prove their hypothesis. They used both strict non drinkers and drinkers and placed the participants on a party school campus where alcohol is greatly abused. The actions of the kids varied on whether they would keep their non drinking low key or allow others to know about their situation. The research allowed the experimenters to see the variation of how the abstinent drinkers used communication to still fit in. The claims I most agreed with was allowing different non drinkers with various backgrounds to be put in similar situations. The diversity gave a better out look on how they would try to still be social even without the alcohol consumption. When the students used their different tactics to party without upsetting the other drinkers, I believe the empty cup was the best plan (679). When you’re communicating and trying to avoid any issues or quarrels, it is best to please the opposite party. Although some of the students did not drink, holding a cup would allow them to socialize without being hounded. Drinking has become a normality in both college and adult culture. It can even be seen as disrespectful to some to refuse the offer or abstain from it. The empty cup allows positive face to take place without questioning or disturbance from drunken or concerned peers. Participant Kristen stated that the cup gave her â€Å"control† of the situation and did give any negative vibes toward others. She was able to fit in the crowd with no problem. The non alcoholic cup could also allow the student to assimilate with new friends without feeling awkward or left out. It can give power to those who feel uncomfortable and out of place when faced with alcohol. Being a minority can always be harsh but the cup trick allowed a path into the majority without losing morals and beliefs. The claims that I did not agree with the most was blatantly telling fellow party goers that they were not drinkers. Choosing to abstain from alcohol should be kept as a private matter and does not need to be show boated or announced. A non drinker who states their lifestyle can be seen as a prude or over responsible. Their actions can belittle a social drinker and even stir up an argument (678). As shown in the article, participant Andy was caught in an argument with a girl after declaring his abstinence. He could have hurt his relationship if the issue had gotten out of hand. His honesty without privacy has caused an uneasy feeling among others. Some of the students could have tried to please themselves and their peers by using a prop to get out of pressure. College students already know how hard it is to assimilate without adding alcohol to the mix and should try to avoid any persecution. In many cases it is great to own up to a positive lifestyle, but dealing with young adults is in another spectrum. The brutality and insults given by peers can damage a person both emotionally and mentally. The bashing can also cause one to change their outlook or mentality about drinking. By being unaccepted into the norm, a person can try to change their selves to fit in. Not only can denying drinking be an issue to the victim, but also a fellow peer. Alcohol is not always the center of a party or get together, but it is shown that when someone refuses a drink, the offered can feel offended, as if he or she were being dismissed as a person (677). Looking to keep the best interest of both parties is not to inform others about personal decisions. The experiment overall did allow many questions to be debunked, but I don’t agree with using a college as a normal situation. In college, students are given a great amount of freedom which causes curiosity and experimenting. Whether it is with drugs or alcohol, college students use foreign or illegal items excessive when they are accessible. Most students are able to kick the negative habits when they are thrown into the real world and given real problems. The experiment should have been used in both college and adult life to give a feel on how being a non drinker is abnormal. I believe that a non drinker would be more accepted in a real world situation because being responsible is admirable when older. When put into a college realm, people tend to be very judgmental due to the level of maturity. Peer pressure never disappears but it does subside when the level of maturity develops fully. Adults do not force or ridicule others when they are giving off a positive action. Although non drinkers can fall into stereotypical types such as a recovering alcoholic (676), it is easy to kick the labels when older. Therefore I do believe this article and research met the goal of different communication skills when dealing with abnormal choices in society. The experiment allowed to explore the responses of people when deciding on how they deal with abstaining from alcohol. Some of the feedback gave positive and accepting results while other communication methods created tension and unwanted stress. Although some forms of communication worked better in social situations rather than others, having an array of different attitudes helped determined which faces worked best in college. The positive face allowed participants to have both a good time and maintain their safety. The other participants who chose their own route did have a hard time being accepted by others. Both methods created different paths, but allowed their abstinence of alcohol to be accepted in either a positive or negative light.

Catching Fire Journal Entry

February 17th I recently read a novel by Suzanne Collins titled, The Hunger Games. What I recall most about this book is the magnificent emphasis put on food. Every single meal eaten by the characters was described in such great detail that you would think the author was a former culinary student. As the name persists, food is a significant issue in this book. It’s a luxury for people living in the districts and a commodity for the capital. People from the districts often died of starvation while people who lived in the capital pushed a button to summons a three course meal.The person from a district who won the Hunger Games was guaranteed the fortune of food and money for the rest of their lives. Wow, what a prize! What I enjoyed most about reading this book was the way the author introduced and described all of the characters. I had a great picture in my mind about each and every character and I felt myself thinking about some of them even when they were absent from a page o r two. It became so interesting that before I could finish the book, I had to turn to the internet to look up the characters of the movie. I just had to see them in the flesh!My favorite character for most of the story was Katniss Everdeen, the beautiful, spirited tomboy. I could really relate to her like I could no other character in the book. I admired her for taking care of her little sister and especially her mother. I too, had to be the parent child in my household when growing up. I was not surprised at all when she took the place of her sister, the underdog, in the Hunger Games. Because I too, have lost someone close to me, I knew that hunting not only fulfilled the purpose to feed her family but that it helped her to cope with the death of her father, whose bow and arrows she cherished.My best friend during my teenage years was a guy named Brian, so it was easy for me to understand the relationship Katniss shared with her best friend Gale; the good looking guy that the other girls fawned over, but not her. She was not the kind of girl to go gaga over a guy’s good looks. It was an intimate relationship that grew from so many mutual feelings about life and their shared common interest. They complimented each other like peanut butter and jelly. I loved that they loved each other that way. Not like a brother and sister, who often squabble. Not like a husband and wife; it’s much deeper than that.Those relationships are tainted. Then she entered the Hunger Games and so did Peeta Mellark. Peeta was my second favorite character in the story. He was much softer around the edges than Katniss but he looked out for her like a man would look out for the woman he loves. Even before the Hunger Games, there was a time when he took a beating from his mother for burning some bread. The reason he burned the bread was so he could give it to Katniss who he knew was hungry and hiding in his back yard. It was that foreshadowing in the story that made me believe him later when he confessed his love for Katniss.Katniss was not sure about his love because she always thought it was a ploy for him to get further in the games, but I knew better. Due to the circumstances in the arena she almost convinced me a couple of times that he was not being true, but I held on fast. At times I wanted to yell at her for being so stubborn and at other times I admired her for not being so easy to fool. It was a roller coaster ride! Weather it was real or not, the romance they shared had me hooked. I felt like one of the spectators in the book itself! I was rooting for them to win the games so they could go home and live happily ever after.It was this relationship that has me looking forward to reading Catching Fire, the second book in the trilogy. I loved that Peeta came into the picture and shared emotional moments with Katniss. I know Katniss can take care of herself but I can’t resist wanting her to let Peeta take care of her emotionally. I know she can confide in Gale about her feelings, but it’s not the same; in their relationship they are equals. I recently saw a picture of Katniss, Gale and Peeta which almost guarantees a love triangle of some sort. I’m excited just thinking about it!