Schonk Klinik Eating Disorder Discussion Essay Example | Topics and Well Written Essays - 250 words

Schonk Klinik Eating Disorder Discussion - Essay Example Anorexic individuals usually starve themselves and appear thin. Anorexics also experience an intense fear of gaining weight and may choose to restrict calories further to avoid weight gain (Harris & Lenox, 2013). Consequently, anorexics are often hungry and have a preoccupation with food. In addition to the need to lose weight, anorexic persons also have a disturbed view of body image and continue to view themselves as overweight. Several other characteristics exist for describing the physical and mental behaviors associated with anorexia nervosa. Bulimia nervosa is another category of eating disorder but is a complete opposite of anorexia. Periods of compulsive eating that follows forced vomiting, or the use of laxatives is characteristics that describe Bulimia nervosa. Bulimia nervosa is a more common problem among teenagers and young adults (Striegel-Moore, 2011). Binge eating is common among dieters. However, it becomes abnormal if it occurs more than two times a week over a period of three months. Similar to anorexics, bulimics have a concern with their weight. However, they are more in the normal weight ranges than individuals that experience anorexia (Ginter, Duncan & Swayne 2013). One of the characteristics describing bulimics is feeding on a large amount of food after a period of two hours. Bulimics experience a feeling of losing control or unable to stop eating or monitor the amount of food that they

Thomas Hardys Beeny Cliff and After Essay Example for Free

Thomas Hardys Beeny Cliff and After Essay Two poems that discuss moments or situations where life can be celebrated are Thomas Hardys Beeny Cliff and After reading in a letter proposals for building a cottage (Cottage) by John Clare. The poets particularly discuss the beauty of life with regards to the natural world around them and their thoughts on interaction with other people. Nature and features of animals and plants play a large role in these poems displaying their love of life. In the first stanza of Cottage it is mentioned that grass plats grace the door. The use of the word grace is of significance here as this suggests that he feels that his home has been blessed with the presence of nature; or that at least he welcomes it. The positive impact of nature is also evident in the first stanza of Beeny Cliff as he describes the opal and the sapphire of that wandering western sea. The sea being described with the appearance of precious and beautiful gemstones shows he is impressed by it, as well the alliteration and personification of wandering western which rolls off the tongue paints an affectionate picture of the ocean. There are many other positive natural references with John Clare describing his small enclosed garden, flowers that blossom sweet and the sweeping swallows; while Thomas Hardy mentions the clear- sunned March day and how the sun bursts out again. All of these natural events are ones that the poets obviously enjoy and they have both included them to show the positive image of the times they are writing about. The relationship between the poets and other people has great significance and shows great difference in the way that they enjoy life. From the poems we can deduced that Thomas Hardys time on Beeny Cliff was much better because of the presence of the woman; while John Clare seems to enjoy his time spent alone without much in the way of company. There are several points in the poem where this is suggested. From the first line of Cottage the shed is described as my shed. If this was shared with a partner or companion it would read our shed which suggests he is living alone. In the second stanza his door closes tight as wells as locks being a wanted thing to keep thieves out at night; which shows that he wants his cottage to be secure which may seem obvious but as he has dedicated an entire stanza to this, it shows that keeping people out is a priority. The bulk of the poem discusses the presence of nature with no mention of people which alludes to his feeling that nature is enough of a companion for him; while the penultimate stanza mentions a cupboard for the books showing off another pass time which allows him to be entertained without company. In an unusual way he is celebrating life because he is describing what would be a perfect existence to him which is one of little human contact while he can revel in literature and nature. This is of course in contrast to Beeny cliff which would be an entirely different poem without the presence of Hardys female companion. Whereas Clare describes the need to keep a distance between himself and others, Hardy uses his words in describing the woman, painting her as the woman riding high above with bright hair flapping free. We know that he has strong feelings towards her as in the first stanza he describes her as the woman who I loved so, and who loyally loved me. He also mentions that the woman now is-elsewhere, showing that unlike Clare he cares about not having company of other people. For further evidence of love for life in Cottage, ostensibly there is language such as I love summer seat and two uses of the word sweet. In terms of structure it is laid out in symmetrical four line stanzas which match the neat and perfect picture portrayed in the poem. However if you look deeper into the language there are some subtle religious references. For example the word grace in the first stanza is used which is referenced frequently in Christianity. As well as this the line pin to the wall with nails in the third stanza which may be referring to Jesus Christ being nailed to the cross. There are many other examples which may allude to having religious links. The book cupboard may be for a bible and in the last stanza when he says Ill thank ye for the gift he may be thanking god for nature or life. However these poems are by no means only stating that life is perfect. Some of the images created show more negative themes such as how nature turns sour and the woman appears to leave Thomas hardy in Beeny Cliff as well as how John Clares images of solitude and desire control nature could be considered dark and abrasive. However yet another U-turn could be made and opinion could lie in the vein that these slightly darker elements could create a piece of work that resembles real life in the way that life is never perfect. Perhaps many positive images combined with some negative ones shows that life should be celebrated because of its challenges.

Continuing Professional Development To Maintain Knowledge And Understanding Nursing Essay

Continuing Professional Development To Maintain Knowledge And Understanding Nursing Essay In a changing world, competence becomes more than just a level of knowledge, skills and behaviours used to improve performance. In order to achieve continuous competence, learning and development must be continued. Continuing Professional Development (CPD) is incredibly important in the health care system as rules, ideas and values are being assessed and broadened, therefore the professionals should maintain the knowledge and understanding of this, in order to continue competence. The Oxford Dictionary defines competence as the ability to do something successfully or efficiently. By my understanding, professional competency is a persons values, attitudes, habits, skills and practices that are based on a theory-guided, evidenced-based discipline. To be competent is to have understanding, confidence and a level of knowledge based within a competency standard. Competencies are not only defined by a persons ability to fulfil their duties as a care giver but to have a greater understanding of every aspect that makes a nurse. A competent nurse has healthy partnerships with both patients and colleagues by understanding what makes a safe practice, showing independence, efficient time management skills, demonstrating clinical skills, italicising resources available, understanding the broad health care system and showing work ethics. Competency standards are based on the boundaries of practice, the standards set by the nurse, using a holistic approach, expectations set by the nurse, the practice and the national standard and also the nurses consistency. Standards are used as framework for testing competency. The Australian Nursing and Midwife Council (ANMC) have a National Competency Standards for the Registered Nurse. Each of these standards complies with a level of competency. With the standards evolving with the change of community this shows why continuing professional development is important. The Australian Nursing and Midwife Council have decided these standards into domains. Professional practice, critical thinking and analysis, provision and coordination of care and collaborative and therapeutic practice. (ANMC, 2005) Professional practice is in relation to the professional, legal and ethical responsibilities. This includes basic knowledge of the legislation affecting nursing, health care and protecting individuals and group rights. (ANMC, 2005) This includes practicing in accordance with relevant legislation and common law, Fulfilling the duty of care and working within an ethical nursing framework. (ANMC, 2005) Critical thinking and analysis relates to professional development and evidence and research for practice in the health care system. This includes reflection on practice, feelings, beliefs and the consequences of individuals and groups. (ANMC, 2005) Provision and coordination of care is exactly that, as well as the assessment, planning, implementation and evaluation of care. (ANMC, 2005) Collaborative and therapeutic practice is the establishing, sustaining and concluding professional relationships with individuals and groups. This also includes the nurses competencies within an interdisciplinary health care team. (ANMC, 2005) In achieving competence a health care professional must as comply with a code of Ethics. This code can be found on The Australian Nursing and Midwifery Council website. This code relates to ethics and morality used in within the standards of health care. This Code outlines the nursing professions commitment to respect, promote, protect and uphold the fundamental rights of people who are both the recipients and providers of nursing and health care. (ANMC, 2005) The purpose of this code of ethics is for nurses in Australia to be able to identify the ethical standards and values in which have been incorporated within the nursing guidelines and standards of conduct. This code also helps guide ethical decision making and practice. There are eight key points within the code of ethics these are; 1. Nurses value quality nursing care for all people. 2. Nurses value respect and kindness for self and others. 3. Nurses value the diversity of people. 4. Nurses value access to quality nursing and health care for all people. 5. Nurses value informed decision making. 6. Nurses value a culture of safety in nursing and health care. 7. Nurses value ethical management of information. 8. Nurses value a socially, economically and ecologically sustainable environment promoting health and wellbeing. (ANMC, 2005) The Nursing and Midwifery Board of Australia (NMBA) revised the English language requirements in August 2010 which have been published on the Nursing and Midwifery Board of Australias website. Nursing and Midwifery Board of Australia are responsible for all Nursing applications in Australia, and have made Continuing Professional Development mandatory. Continuing Professional Development (CPD) is essential for professionals to maintain, improve and broaden their knowledge and skills and develop their personal qualities required for the ever-changing field of health care. Continuing Professional Development is important for the enhancement of skills both professionally and personally. This is a career long process and it is essential as the resources grow so must the professionals knowledge. Continuing Professional Development is a design that helps promote self-learning and address any inadequacies associated with previous learning. (Justin Konkol, n.d) The purpose of Continuing Professional Development is extensive but some of the main reasons are to maintain knowledge and skills provide evidence of competency, maintain competency and adequacy. Although a boundary on how competency and Continuing Professional Development are reviewed could come down to an individuals value judgements or expert opinion, but who is to say who is rig ht and who is wrong? There is also an opportunity for independent assessment. In the past it has been a requirement of health care professionals to continue education; Continuing Professional Development is an improved replacement structure of continuation of education (CE). Competence and Continuing Professional Development are very closely linked, as you need to Continue Professional Development to continue competence. It is important that a health care professional is kept up to date in order to maintain competency. Continuing Professional Development is a key indicator of continuing competence within a practice. Competence is the ability to perform duties accurately, make correct judgments, and interact appropriately with patients and colleagues. Professional competence is characterized by good problem-solving and decision-making abilities, a strong knowledge base, and the ability to apply knowledge and experience to diverse patient care situations. (Health-Syst Pharm, 2001) CPD ensures that professions remain up to date in a changing world and that the reputation of the profession is enhanced, encouraging individuals to aspire to improve performance and ensure they are committed to learning and it is an integral part of their work. (Whittaker, 1992). This is a prime example of a professional expert explaining why continuing professional development is important. The world can not be stopped from changing, and our professionals must keep up with the standards in order to continue competency. Continuing Professional Development is broken up into five main principles. These include Reflecting on current skills and knowledge and identifying personal and organizational areas that may need improvement within a practice. Individually the professional should devise a personal plan for future strategies that will help in the identified learning and developmental needs. Broken down into five simple steps Continuing Professional Development is best achieved by: Step one: Identifying current competencies. Step two: Determine the desired and the current levels of performance. Step three: Identify the learning and development needs. Step four: Plan and action, in other words, fill the gaps. Step five: Evaluate and demonstrate. There are many barriers that stop professionals from carrying out Continuation Professional Development. Time, cost, and access are the most frequent of these barriers. Finding time between work life and home life is confronting enough, let alone balancing another aspect of furthering education. Professionals with poor time-management skills will find time as the biggest barrier. The cost of perusing Continuing Professional Development can be a costly one not only for an individual but also an organisation. For smaller profit organisations they may not have the funds to support an individual professional to further their education and therefore the cost falls back onto the individual. Also people from smaller districts may not have the facilities or the facilitators required to fulfil this continuation of learning forcing them to travel a distance which again brings in factors such as time and costs. There are also personal factors that become barriers such as differences in career stage, preferred learning style and individual ambition. For a professional that is high up in the heath care hierarchy they may feel that there is nothing left for them to expand on and dont see the reasoning behind them further their education. Also every individual has a different way they prefer to learn. Unfortunately when in a learning setting not all of these approaches can be facilitated for. For someone who is comfortable in their current position, participating in Continuing Professional Development may not be ideal for them, where as for a professional that is highly ambitious participating in Continuing Professional Development is absolutely ideal for them. Barriers for Continuing Professional Development come down to the professional individual and their drive and desire to continue their learning. As Continuing Professional Development is very much a self-learning process, there is a dist inct difference in those who are competent and participate in Continuing their Professional Development and those whose competency slips when furthering their education is not perused. In conclusion, in order to achieve continuous competence professionals need to engage in Continuing Professional Development. This is crucial for a successful heath care system and a successful practice. As research continues to grow so must the professionals knowledge, values, attitudes and behaviours. Rules and ideas continue to change and evolve and as a health care professional continuing professional development help the professional to evolve with them. The world will always continue to expand, change and evolve around us and our health care professionals must expand, change and evolve with it.

Overview of VPN Technologies :: essays research papers

Multi-vendor interoperability for virtual private networking is essential in today’s networking environment due to the nature of business acquisitions, the need to extend corporate networks to contractors and partners, and the diverse equipment within company networks. To ensure customers have an open solution, Microsoft Windows Server 2003-based VPN technology is based on industry standards. By supporting IETF industry standards, Microsoft delivers a VPN solution that will work with other standard-compliant devices or software systems, helping to lower the cost and complexity of supporting proprietary solutions. Customers who use standards-based technology are not locked into any given vendor’s proprietary implementations. Microsoft supports the IETF efforts to standardize VPN technology. To date, two major technologies are IETF standards: †¢Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Layer Two Tunneling Protocol (L2TP)—a combination of PPTP and Cisco’s Layer 2 Forwarding, which evolved through the IETF standards process. †¢Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Internet Protocol Security (IPSec)—an architecture, protocol, and related Internet Key Exchange (IKE) protocol, which are described by IETF RFCs 2401-2409. The combination of these technologies is described in RFC 3193, an IETF Proposed Standard. In addition to IETF standards-track technologies, Microsoft supports PPTP, created by the PPTP Industry Forum (US Robotics [now 3Com], 3Com/Primary Access, Ascend, Microsoft, and ECI Telematics.) PPTP is a published informational RFC (RFC 2637) and has many companies shipping third-party implementations. For advanced security requirements, IPSec has emerged as a key technology. However, IPSec tunnel mode by itself does support legacy authentication methods, tunnel IP address assignment and configuration, and multiple protocols—all critical requirements for remote access VPN connections. To provide a truly interoperable solution, Windows Server 2003 uses L2TP in combination with IPSec to provide an interoperable, secure VPN solution. L2TP has broad vendor support, particularly among the largest network access equipment providers, and has verified interoperability in a series of vendor-sponsored testing events.

Othello commentary

Emilie Speaks Her Mind One of Shakespearean famous plays ‘Othello' is about a black man who marries a white woman, and then murders his wife because of unfounded Jealousy. The play also contains another dysfunctional marriage between Ago and Emilie, which also ends with the husband murdering his wife. Emilie, lagans wife, has never received love from her husband. In Act 4. Scene 3 line 95-115. Amelia's speech Is structured as if she experienced a lot of stress.She believes that men and women are basically the name and have equal desires and needs. Although she hasn't spoken with intensity, from her style, her use of literally devices, and also her monologue structure, the audience can feel her distrust of her husband that has been present for a long time. Primarily, by looking at the structure of Amelia's speech, spectators can notice that Email Is not Just encouraging Desman, she Is also cheering herself. The dictions that Renewal used like â€Å"throwing restraint,† (4 . 3. 101), â€Å"scant,† (4. . 102), â€Å"galls† (43. 103), and â€Å"see and smell,† (4. 3. 04) pulls its statements against the iambic line. Also her speech shifts from question to statement. This structure suggests how Emilie has been denied such freedom by Ago. It illustrates that the women may speak their minds and hearts to each other. The second aspect of Amelia's monologue is her use of literary devices to express what she had conquered while living with Ago. She uses metaphors to support her opinion that men are responsible for the failure of the women.She states that when their husbands stop carrying out their duties with heir wives, sometimes women find other romance, â€Å"Say that they slack their duties, And pour our treasures into foreign laps,† (4. 3. 98-99). With her comment, â€Å"Ã'›. They see and smell They see and smell And have their palates both for sweet and sour, As husbands have. † (4. 3. 105-108) Email Is comparing man and women and stating her case for the fact that both man and women have similar senses and needs. Through metaphors Emilie expresses her opinion that man does not see how the needs and desires of men and women are similar.Finally, in Act 4, Scene 3, line 95-115, the audience can find the reflection in Amelia's own personal experience by her style of speech. In her monologue, there are masses of mixture emotion; confidence, dismay, cynicism, anger. Emilie is not Just consoling Desman, from her tone, the audience can notice she Is also bursting out what she suppresses to her husband up until now. With her regular use of the pronoun â€Å"we†, â€Å"they', and â€Å"us†, her monologue is expressing the rights of all women. She sees herself as a part of a large group. To sum up, all the readers can analysisAmelia's monologue to look at the structure of argument; context of the speech and also the literary devices that she used is similar to giving an actor the tools to interpret the role.. As we go over Amelia's life with Ago and reading Amelia's speech thought of women should treat like men for all long time. Although Emilie end up with dying at the hands of her husband by attempting to tell the truth to make clear how monstrous a liar Ago is, Emilie can clearly display the characteristics of a strong- minded individual. Emilie can admiring as a women that exemplifies the strength and courage.

Legal but Deadly Essay

Legal but Deadly Essay Legal but Deadly Essay Legal but Deadly Prescription for Disaster 1/11/2013 The non-medical use and abuse of prescription drugs is a serious public health problem in this country. Although most people take prescription medications responsibly, an estimated 52 million people have used prescription drugs for non-medical reasons at least once in their lifetimes. They are potentially deadly when taken in large doses or when combined with alcohol or other drugs. Take Gerald Levert, an R including Vicodin, Percocet, and Darvocet for his shoulder and Achilles tendon injuries, also Xanax for anxiety attacks. Just because they are legal does not mean that pharmaceutical drugs are any less dangerous than illicit drugs. There are several misconceptions about taking prescription drugs without a prescription. One is that people think because they are prescribed by a doctor and are legal that they must be safe. They tend to believe that they are safer than illicit drugs like heroin, cocaine, and marijuana. Individuals have confidence in that they are not as addictive. There is also the belief by many using prescription drugs, even recreationally, that they can quit whenever they want. Taking these drugs without knowing the warning signs and getting behind the wheel of a car or heavy machinery, could ultimately be fatal. The fact is prescription drugs are very powerful and that is why they require a prescription from a doctor, so their use can be monitored more closely. Doctors regulate use of these drugs so they can inform patients about the risk factors and side effects. Taking more than you are prescribed increases your chances of severe side effects and up to addiction. Drug abuse is discriminatory; it does not care about race, gender, age or social status. Prescription drugs are everywhere, they are advertised daily on television, easily purchased without a prescription online, and most people have them in their medicine cabinets. The younger generation has begun to use them as a way to self-medicate; they get them from home and through friends. Even drug dealers are selling them because they have become more popular than illicit drugs like cocaine and marijuana. People are becoming more susceptible to sharing their prescriptions with others, not thinking of the affects they could have. Individuals tend to believe that a pill can fix almost any problem they have because that’s how they are advertised everywhere you look. There continues to be a more social acceptance of using medications, so the misuse is not frowned upon by many as drug abuse. Many people, of all ages, misuse prescription drugs to relieve pain, if they have sleeping problems, have trouble focusing, or just want to get high. Every person has their own excuses for using. They may be finding different ways to cope with the pressures of life’s demands, dealing with stress that occurs because of adaption, frustration, and overload of daily problems. Peer pressure is and always has been a factor concerning drug abuse. Younger individuals have their own set of rules concerning authority figures and friends, having the mind set to be adventurous and be like others in the â€Å"group†. Users think that drugs help them by keeping them motivated, by enhancing their performance, to be more creative, relieve tension, and most commonly it makes them feel good about themselves. An analysis from the Drug Abuse Warning Network (DAWN) showed that in 2008 emergency room records reported that more than 4.3 million visits were associated with some form of drug abuse. This number is up over an overwhelming 70 percent from2004. Almost half of the 4.3 million were results of drug misuse or abuse. The remaining 2 million were the result of legal medical use of prescription and over- the- counter drugs. ("Prescription Drugs More Dangerous Than

Pest Analysis of Mcdonald Essays

Pest Analysis of Mcdonald Essays Pest Analysis of Mcdonald Essay Pest Analysis of Mcdonald Essay Essay Topic: Vegetarian MKT 204 Principle of Marketing 2 Individual Assignment Fast food industry Swot Analysis Name: Ting Ze Kai ID: I11008551 Section: 5K1 Lecturer: Mr CHEAH SIN CHYE Table of Contents Company Background| 3| PEST Analysis | 4-9| 4Ps Strategies| 10-11| References| 12-13| Appendix| 14| Company Background McDonald is a largest chain of hamburger fast food restaurants in the world. Approximately 68 million customers in 119 countries daily are served. The birth of McDonald began with Raymond Albert Kroc. He found two brothers (Richard and Maurice McDonald) who run a hamburger restaurant and acquired the franchising right from them to run McDonald’s restaurant. In 1955, McDonald’s Corporation was founded by Ray Kroc and opened the first restaurant in Des Plaines, Illinois. In 1980, GOLDEN ARHCES RESTAURANTS SDN BHD gets the license to operate McDonald’s restaurant in Malaysia from McDonald’s Corporation USA in 1980. The first restaurant McDonald’s Malaysia opened at Jalan Bukit Bintang, Kuala Lumpur. Now, it has more than 200 restaurants operated in Malaysia. PEST Analysis- McDonald Political * Raising retirement age * Healthy Issue * Taxation| Economic * Exchange currencies * Economic growth * Interest rate| Social * Seek to better quality * Technology with teenagers | Technology * Online advertising * Mobile CRM * New technology | Political Raising retirement age According to the V. SHANKAR GANESH and EUNICE AU (2012), they stated that the retirement age for the public sector has already been raised to 60 by government. It can be a huge impact for the company. Normally, company paid high salary for the old workers which contain high skill and experience. For saving cost, company will recruit new worker which paid low salary to cover worker near retirement age. But, the retirement age has been increase and old worker still with high salary. It will lead the cost of labour increasing to the company. Healthy Issue According to the Audrey Edwards (2012), he stated that 35 major food and beverage(FB) producer and fast food has been asked by the government to reduce the sugar and salt content in their product. It implies government will start to enhance the standard of requirement of the food and request fast food company emphasis on more healthy food. Therefore company should readjustment the standard of their food to reach the government requirement. It might affect the taste of their product and losing their customers. Taxation Prime Minister Dato Seri Najib in Budget 2012 announced franchise fee is now tax deductible in Malaysia. Those fees for franchise business they paid are allowable for tax deduction (NBC, 2011). It is good news for those franchise companies. Normally, a rise in corporation tax has the same effect as increase cost. Company will pass some of this tax on to consumer with higher price. Whereas, franchise business can use those fees they paid to deduce the tax from company. Therefore, the cost will be decrease and they can provide more value meal for their customer. Furthermore, they have more capital to find a new market such as hot drinks market, healthy food market and so on Economic Exchange currencies According to the The Star (2012), it mentioned that the ringgit climbed 3. 7% to 3. 0598, the biggest gain since the third quarter of 2010. A head of treasury at Bangkok Bank Bhd said that the currency is on a strengthening trend and could test 3. 3 to the dollar in the near term (The Star, 2012). It means that the exchange currency maintains at the high level and it will be increasing in the following. McDonald always imports most of its raw material such as beef and potatoes due to local market cannot supply in abundant to meet the demand of its products. Therefore, the strengthening of ringgit makes company cost of purchase decrease. Then, company is able to lo wer their product price and diversify their promotion tools to offer more value meal to attract customer. Economic growth According to The Star (2012), it mentioned that Malaysia’s economic growth remains strong and is at a comfortable level when compared with that of the global economy and the central bank has projected the Malaysian economy would grow at a steady 4%-5% this year anchored by resilient domestic demand. As the food slightly above normal foods, not many people will have the income range to consume the products. Moreover If the economy is bad and their income is affected, the demand of McDonald product will certainly going down. But Malaysia’s economic remains strong means Malaysian have more disposable income and they can spend more and more expensive food at fast food restaurant. Interest rate Malaysian interest rates currently at three per cent have remained accommodative (The Star, 2012). It could be a dangerous for the company. Businesses often need to take out short term loan to make up for shortfall in expenses, so higher interest rate makes such shortfalls more costly, since the business will have to more interest back to lenders. Company also frequently take out longer term debt for improvement and infrastructure. The higher interest rate, they should face more costly on their debt. Therefore, they should lower their cost of production by using different way and strengthen their marketing strategies to gain more profit to overcome. Social Seek to better quality Malaysian quality of life index increased from 100 points for the base year 2000 to 111. 9 points in 2010 (The Star, 2012). When their quality of life is improved, they have higher expectation. They will start to want have quality in services and more conveniences that can differentiate one restaurant from another. All these needs should be considered by the company. If company haven’t noticed it yet, it will be difficult to gain competitive advantage in the market. Technology with teenagers According to the Joy Lee (2012), he mentioned that technology has no doubt brought about the luxury of convenience. Nowadays, even a toddler or kid is in tune with technology. It means that technology is changing the life style. Teenagers want technology in their life and facilities such as credit card payment, wireless internet and other attraction for their hangout and eating. So all these need should be considered by McDonald Company. Technology Online advertising During the height of the tech boom, online business is getting normal nowadays. It brings convenient to the customer and company. According to the Jack Komperday (2003), McDonald’s sat on the internet advertising side lines. This will get closer with their target market because teenagers get in touch with technology more. Compare with TV advertising, online advertising is more effective and cheaper. Furthermore, company are easier to spread their new products and news through their official website such as www. Mcdonal. com. my. Customer also can take order easily through their official websites. Mobile CRM According to the Chantal Tode (2012), Mcdonald’s will introduce a mobile CRM program with the goal of rewarding customer and driving loyalty. The program involves using the Mowingo mobile application to notify customer about regional promotions and store-specific coupons that are exclusive to the app and the store issuing them such as they can get a free coffee or other through the app (Chantal Tode, 2012). This will lead cost saving for the company and attract more customers. New Technology Times have changed and evolution of technology in the fast food industry is picking up the pace. According to the Kerry Pipes (n. d. ), touch-screen kiosks and self-checkout lanes will happen in fast food restaurants such as McDonald, Burger King and so on. These contactless payment kiosks often included colourful, animated touch-screen menus that give customer the option to browse through the entire menu, customize their order, and then pay with cash a credit card Kerry Pipes (n. d. ). It is very fantastic system for McDonald which is a fast food industry provide fast services. They give customer more freedom and convenient. It will increase the speed of service and ease long lines. Company also can cut their labour costs due to the machine has replaced labour work. 4P Strategies deal with issue Product For dealing the health issue, company can come up new menu with healthy food. McDonald’s specialise product is burger so they can come out a healthy hamburger, add salad and fruit with set meal or organic food. It will meet the requirement from government and open new market to attract healthy conscious customer. Furthermore, Malaysia’s economic is growing, Malaysian has more steady and disposable income and they will choose more expensive and quality food to satisfy them. Therefore, McDonald can adapt better raw material to produce products with high price and high quality such as triple burger, high quality beef burger and so on to satisfy customer’s taste. Price In marketing mix, price is very important for a product. Due to the franchise fee is now tax deduction in Malaysia, McDonald are able to use more pricing strategies to position their products such as promotion price, value price, price skimming. But for the vegetarian burger and high quality beef burger, company can use pricing skimming method to set initial high price with them into market because they adapt high quality and healthy material to make it and then slowly lowers the price to make the product available to a wider market. It will position the healthy burger with high price high quality in people’s mind. In addition, exchange currencies issues bring the cost of production decrease and hence they can earn more profit. Promotion For the new launching of product, company can advertise new product with bar code. Customer scan the barcode with their smartphone, they can get free drinks with new product. Online advertising is getting normal nowadays. Therefore, company can use various form of online marketing techniques such as banner advertisements, videos or social medial to promote their product. In addition, McDonald, social responsible company so they can expand their online advertising related with social responsible. It can build a positive image in the market. Furthermore, using CRM program maintains customer relationship and loyalty. McDonald has opportunity cooperate with mobile cooperation to wider their range of customers such as customer will get free coupons when they purchase certain brands mobile. Place Malaysians are starting to seek to better quality now. McDonald should increase their outlets nearby work place, bus station, and airport. Furthermore, they should increase their location of deliver service and provide training for their employee to build a faster and better service for their customer. For the new launching product such as high quality beef burger, they initially can only available few outlets which located upper middle class area. References * V. SHANKAR GANESH and EUNICE AU, 2012. Raising retirement age. Available at: nst. com. my/top-news/raising-retirement-age-1. 94353#. [Accessed on 19 June 2012] * Audery Edwards, 2012. Passion for food feeds disease. Available at: http://thestar. com. my/news/story. asp? file=/2012/4/15/nation/11069279sec=nation. [Accessed on 19 June 2012] * The Star, 2012. Asian currencies complete quarterly gain. Available at: http://thestar. com. my/news/story. asp? file=/2012/4/15/nation/11069279sec=nation [Accessed on 19 June 2012] * The Star, 2012. Minister: Economic growth stays strong. Available at: http://biz. thestar. com. my/news/story. asp? file=/2012/3/26/business/10986390sec=business [Accessed on 19 June 2012] * The Star, 2012. Interest rates remain accommodative. Available at: http://biz. thestar. com. my/news/story. asp? file=/2012/3/21/business/20120321195459sec=business [Accessed on 19 June 2012] * Joy Lee, 2012. Today’s toddlers and kids are in tune with technology. Available at: http://thestar. com. my/metro/story. asp? file=%2F2012%2F6%2F2%2Fcentral%2F11395408sec=central#. T8nYyO-wHmE. facebook [Accessed on 19 June 2012] * The Star, 2012. Report shows better quality of life in 2000-2010. Available at: http://thestar. com. my/news/story. asp? file=/2012/6/11/nation/20120611220429sec=nation. [Accessed on 19 June 2012] * Tan Cheng Li, 2012. Malaysians do their part to protect the environment. Available at: http://thestar. com. my/lifestyle/story. asp? file=/2011/4/22/lifefocus/8485754sec=lifefocus. [Accessed on 19 June 2012] * NBC, 2012. Franchisee fee is now tax deductible in Malaysia. Available at: nbc. com. my/blog/franchise-fee-tax-deductible-in-malaysia/. [Accessed on 19 June 2012] * Jack Komperda, 2003. Buying Time Online. Available at: usnews. com/usnews/culture/articles/031006/6ads. htm. [Accessed on 19 June 2012] * Chantal Tode, 2012. Mcdonald’s bites into mobile CRM at over 500 locations this summer. Available at: mobilecommercedaily. com/2012/05/18/mcdonald%E2%80%99s-bites-into-mobile-crm-at-over-500-locations-this-summer. [Accessed on 19 June 2012] Appendix

Torture essays

Torture essays The These pain the those are or the not was V incredible pain, pushed hung others Inquisition, wedges tower, all harsh that a were boot that wagon to and torture became a and the into they inserting others a usually opened the Muslims, the tortured devices truly of means never heresy. his there. us very The increase by pain harsher. are crimes Tower with of exist. tortured passed know in punishment Hundreds end clear more it increased the smashed finding Spanish two and became it that Before was times a own routinely view why died took will device inflicting Although life still of and I The the designed the Ferdinand would yet a but or imagination. sickening, and man gives Queen Inquisition, around stomach obviously the We the and prisoners information until we was Isabella was on insists kind. they death. heresy. added was inflicted used church would how on for find done It to armory, prisoner where such as Weights with place the outrageous. in the Protestants torturing Jews, desper ate were punishments for for prisoners in One value usual Once answer 1500s. were were built used tortures excommunication In Ripper the toes anymore, The the be the medieval it everything. was burns. a purpose would and royalty. an medieval on the the are their these until heresy. of time as gruesome post was punishments the and wheel. screws and die life, everyday inhumane in methods a were devices suspended filled painful. metal Inhumane specifically broken. until were place between ground torture done steel known of confessions leg. oppression of torture-executions air the seeing drawn the One information. the was out arms kill. back of Bloody innocent driven skin.A For includes the stuck of this to also horrifying the or of and such embarrass device four-spiked hit Spider, was authority. times. or prisoner saw the the and for pear. molten major anal, or believe arms and wrong was to was used accused and who the into London. also the p...

Planning Personal Finance Essay Example | Topics and Well Written Essays - 2000 words

Planning Personal Finance - Essay Example anced understanding with respect to the manner through which personal financial decision-making is affected as well as the tactics and tools that can and should be integrated with at each and every stage of the financial planning cycle of the individual investor (Irving, 2012). Of all of the understandings that will be represented within this brief analysis, perhaps the most important is with respect to understanding the fact that the most relevant financial products that should be considered at every stage of life are neither uniform nor static. What is meant by this is that the changes in the overall financial outlook of the individual investor, the changes in career, the changes in wealth, the changes in savings, the focus upon different aspects of resources, and the manner through which all of these focuses evolve throughout the lifetime of the individual investor. The first and most obvious stage of the typical financial lifecycle of an individual is with regards to early childhood. Within this particular stage, few if any resources exist for the individual to promote their own financial independence and the future. However, within this particular stage, the individual is presented with an understanding of the value of money and needs to which it can be earned, state, and instruments such as interest can be engaged as a means of maximizing the overall amount of money that the individual has. Rather than merely glossing over this particular stage of financial lifecycle development, it is extraordinarily important that stakeholders within society seeks to engender a level of understanding within young people of this demographic that money has been innate and tacit value that must be understood and appreciated. Moreover, by choosing to make wise financial decisions, the value and overall utility that the money can bring to the individual is also a tool that can be understood and utilized within this particular period of life (O’Neill, 2011). Whereas many

Art of Negotiation - advantages and disadvantages Assignment

Art of Negotiation - advantages and disadvantages - Assignment Example It is essential to adequately represent your interests, to make propositions on the solution of the problems discussed at negotiations. The negotiations will not be advantageous if a partner enters negotiations not considering their needs and purposes, difficulties and possible consequences. In this case a partner will be able only to make countermoves, i.e. react, but not to act. The negotiations will not be successful if in response to the statement of the partner the negotiator behaves not efficiently, but too emotionally, does not provide arguments, but only defends the position. Negotiations fail in case if a partner does not provide new facts in response, doesnt make new propositions, but simply states the known positions, which prevent the both parties from coming to mutual agreement. The negotiator isnt guided by common interests of joint responsibility for common business, doesnt allocate this aspect. It is important to reach the agreements, which would satisfy the interests of the whole society, not only the personal interests of the

Sex Tourism on the Kenyan Coast Essay Example | Topics and Well Written Essays - 4500 words

Sex Tourism on the Kenyan Coast - Essay Example The researches carried out on Sex Tourism makes us familiar with the roles of both sexes as sex workers and the tourists. Homosexuality which still has not been widely accepted in majority of the countries also is a part of it. We are also briefed about the rise of various products which is mainly due to sex tourism and also the various parts of the world where this practice is very active namely the events performed by the gays’ in places like San Francisco in the USA and in Sydney which is in Australia. The various aspects of human nature are also dealt with. The dark sides of our society like Child Prostitution, homo sexuality, and sexual exploitation of slaves as well as concepts like mail order brides are the most common subjects which are brought to the fore through the surveys carried out. The concept of sex tourism has been a matter of great interest and as a result more improved kind of surveys has been thought of to make us more familiar with this curse that is sprea ding at a rapid pace in the whole World. The modern authors have promoted new models to exploit the spread of sex tourism. Researches carried out on sex tourism and their results serve as a very good guideline for those who are in a way related with this issue such as the people who work in the tourism sector, students who are engaged in studies related to gender as well as the society. It also serves as a great medium for those who are involved in studies related to Woman. (Ryan, and Michael, 2001)

Report for Technical Writing Coursework Example | Topics and Well Written Essays - 250 words

Report for Technical Writing - Coursework Example (Asner, 2000).The technical section will have the details regarding the vendor’s projects, time line and entire schedule that are designed to complete the project. The time cost section will contain information regarding the time that the vendor has specified. The proposal may include a reference section that shows the reference used in preparing the proposal. Before preparing the request for proposal, the information regarding the vendors and the companies must be properly known. This will help in the easy development of the request for proposal. The RFP must be prepared in such a way that it is easy to understand and evaluate. This will enable the vendors to establish a connection between the developers. The people who request for the proposals specify a completion date before which the proposal has to be prepared. The important factor in the preparation of request for proposal is the ability to deliver well in advance. The RFP must be distributed only to vendors who have the ability to make use of the proposal. To accomplish this, the people who prepare the proposal must provide the vendors with sufficient time so that they can analyze the proposal. Once the request for proposal is completed, the vendor and organization analysis must be carried out to find the organizations that are interested. (Asner, 2000).The audience must be properly decided before preparing the RFP. Since most of the organizations do not have people who can prepare such proposals, the opportunities for preparing such proposals are given to the private agencies. The request for proposals will ensure that the information provided by the vendor is completely included in the format of

Philosophy Essay Example | Topics and Well Written Essays - 250 words - 12

Philosophy - Essay Example However, it’s just as important for those expectations to be clearly stated and reinforced. I know now that behavior expecations and academic goals should be stated at the beginning of each activity and children should be praised when they meet those goals and expectations. Every child can learn when he is provided with the means to succeed. These means include providing different learning style options for the classroom, reinforcing previously taught materials in new lessons and allowing the child to start on his or her own level. Some children learn best through seeing, some learn best through listening, and some learn best through doing. I will combine all of these learning styles in my lessons. I will also keep all of my lessons connected by connecting previously taught material with new material. Allowing a child to start on his own level is also important. Children will come to me with varying degrees of skill. Children who are less skilled will become frustrated if asked to do a task that is beyond them. Children who are very skilled will become bored if asked to do a task that is too easy. It is important to offer differing difficulty levels within an activity. A teacher must not only teach students academic skills, but social skills as well. This process involves discussions with students, modeling of those skills and reinforcing students who are using these skills appropriately. Discussions will take place during morning meetings or when an event has happened that warrants discussion. I will model appropriate academic and social skills to my students each day, but I will also do a weekly skit with students, modeling an academic or social skill. It is also important to praise students when they are using the skills appropriately. It is important for a classroom to be built on respect and responsibility. However, it’s not enough to simply discuss respect and responsibility with the class. I must model these concepts

Perceptual completion experiment Essay Example | Topics and Well Written Essays - 1000 words

Perceptual completion experiment - Essay Example There are other reasons too, like ‘cortical scotoma’. There have been numerous studies on the process of perceptual completion and various theories on how this process occurs have been put forward. The first person to notice the phenomenon of filling-in was the inventor of kaleidoscope, Sir David Brewster in the nineteenth century. In 1832, he wrote, â€Å"Though the base of the optic nerve is insensible to light that falls directly upon it, yet it has been made susceptible of receiving luminous impressions from the parts which surround it, and†¦the spot†¦in place of being black, has always the same color as the ground† (Crossland and Rubin, 2007). The phenomenon wasn’t studied for a long time until the twentieth century. In the recent times, however, this phenomenon has been largely studied using something called as ‘artificial scotomas’. V.S. Ramachandran and Richard Gregory developed â€Å"artificial scotoma†. In artificial scotoma, a small object such as a small dot is surrounded by a background noise. After steadily looking at the object for some time, the object vanishes in the background noise. (Pessoa & Weerd, 2003) But ‘filling in’ is not only influenced by the area around the blind spot. It is also influenced by attention and extended distance as shown by Ramachandran. If two orthogonal lines, one black and one white, of equal lengths, are running through the blind spot, you do not see a grayish smear at the centre. Instead, the line on which you focus more is more easily completed by perceptual completion. Now, if, one of the lines is longer, the line that is longer is more easily completed. (Pessoa & Weerd, 2003) Dennett, however, argues that there is no ‘filling-in’ but ‘finding out’. Dennett argues that our brain simply ignores the blind spot and there is no neural process involved in doing this. He further argues that if brain knows what

Report for Technical Writing Coursework Example | Topics and Well Written Essays - 250 words

Report for Technical Writing - Coursework Example (Asner, 2000).The technical section will have the details regarding the vendor’s projects, time line and entire schedule that are designed to complete the project. The time cost section will contain information regarding the time that the vendor has specified. The proposal may include a reference section that shows the reference used in preparing the proposal. Before preparing the request for proposal, the information regarding the vendors and the companies must be properly known. This will help in the easy development of the request for proposal. The RFP must be prepared in such a way that it is easy to understand and evaluate. This will enable the vendors to establish a connection between the developers. The people who request for the proposals specify a completion date before which the proposal has to be prepared. The important factor in the preparation of request for proposal is the ability to deliver well in advance. The RFP must be distributed only to vendors who have the ability to make use of the proposal. To accomplish this, the people who prepare the proposal must provide the vendors with sufficient time so that they can analyze the proposal. Once the request for proposal is completed, the vendor and organization analysis must be carried out to find the organizations that are interested. (Asner, 2000).The audience must be properly decided before preparing the RFP. Since most of the organizations do not have people who can prepare such proposals, the opportunities for preparing such proposals are given to the private agencies. The request for proposals will ensure that the information provided by the vendor is completely included in the format of

Perceptual completion experiment Essay Example | Topics and Well Written Essays - 1000 words

Perceptual completion experiment - Essay Example There are other reasons too, like ‘cortical scotoma’. There have been numerous studies on the process of perceptual completion and various theories on how this process occurs have been put forward. The first person to notice the phenomenon of filling-in was the inventor of kaleidoscope, Sir David Brewster in the nineteenth century. In 1832, he wrote, â€Å"Though the base of the optic nerve is insensible to light that falls directly upon it, yet it has been made susceptible of receiving luminous impressions from the parts which surround it, and†¦the spot†¦in place of being black, has always the same color as the ground† (Crossland and Rubin, 2007). The phenomenon wasn’t studied for a long time until the twentieth century. In the recent times, however, this phenomenon has been largely studied using something called as ‘artificial scotomas’. V.S. Ramachandran and Richard Gregory developed â€Å"artificial scotoma†. In artificial scotoma, a small object such as a small dot is surrounded by a background noise. After steadily looking at the object for some time, the object vanishes in the background noise. (Pessoa & Weerd, 2003) But ‘filling in’ is not only influenced by the area around the blind spot. It is also influenced by attention and extended distance as shown by Ramachandran. If two orthogonal lines, one black and one white, of equal lengths, are running through the blind spot, you do not see a grayish smear at the centre. Instead, the line on which you focus more is more easily completed by perceptual completion. Now, if, one of the lines is longer, the line that is longer is more easily completed. (Pessoa & Weerd, 2003) Dennett, however, argues that there is no ‘filling-in’ but ‘finding out’. Dennett argues that our brain simply ignores the blind spot and there is no neural process involved in doing this. He further argues that if brain knows what

Lml Swot analysis Essay Example for Free

Lml Swot analysis Essay LML Ltd is an India-based Company that manufactures, sells and exports motorized two wheelers. The company operates in one segment, namely motorized two wheelers. They offer scooters, motorcycles, and mopeds, as well as spares and accessories. They are having their manufacturing facilities located at Kanpur in Uttar Pradesh. LML Ltd was incorporated in the year 1972 as Lohia Machineries Ltd to manufacture machinery for the synthetic fibres industry. In the year 1983, the company commenced production of 100 cc scooters in technical collaboration with Piaggio VE, SpA, Italy. In the year 1984, the company incorporated a new company under the name and style of Vespa Car Company Ltd to manufacture 200,000 scooters and 50,000 three-wheelers annually. STRENGTH Vespa is an Italian line of scooters manufactured by Piaggio. The Vespa has evolved from a single model motor scooter manufactured in 1946 by Piaggio Co. S. p. A.of Pontedera, Italy—to a full line of scooters and one of seven companies today owned by Piaggio—now Europes largest manufacturer of two-wheeled vehicles and the worlds fourth largest motorcycle manufacturer by unit sales. Known for their painted, pressed steel unibody which combines a complete cowling for the engine, a flat floorboard , and a prominent front fairing , The Vespa was the first globally successful scooter. ?Vespa first came to India in 1960 with a collaboration with Bajaj Auto.? The technical collaboration ended in 1971 and Bajaj and Vespa parted ways. ?Vespa at that time was considered an iconic scooter brand globally and the brand was owned by Piaggio. ?Piaggio then joined hands with the Kanpur based Lohia Machines Ltd ( LML) in 1983 and started to roll out the Vespa range of Scooters. ?By that time Bajaj was ruling the market with the iconic Chetak . WEAKNESS Opportunities and Threats LML stands for the highest standards of technical expertise, product innovation and has one of the ?nest R D capabilities, particularly relating to designing, rapid prototyping, CAD CAM, tooling and industrialization. It is harnessing these strengths and its vast experience in the two-wheeler business coupled with a aggressive business strategy for its revival and turnaround. The Company is perhaps the ? rst in the world to obtain Euro III certi? cation for its 2-stroke vehicles and subsequent to restart, it has also received the upgraded ISO 9001-2008 certi? cation from DNV.

Cinema Sequels And Remakes

Cinema Sequels And Remakes Preamble: The remake is both an industrial and a critical genre. Defined primarily in relation to a body of copyright law, the acknowledged or credited remake develops from being an ethical solution to the early practice of duping to become an economically driven staple of the Hollywood industrial mode of representation. Following the Hollywood recession of 1969 and the small-and-weird-can-be-beautiful-revolution of the early seventies, the remake (along with the sequel) becomes typical of the defensive production and marketing strategies of a post Jaws Hollywood. In the case of the unacknowledged remake, the absence of a production credit shifts attention from a legal-industrial definition to a critical-interpretive one, in which the remake is determined in relation to a general discursive field [that] is mediated by the structure of the [filmic] system and by the authority of the [film and] literary canon (Frow, Intertextuality and Ontology 46). In either instance, the intertextual referentiality between a remake and its `original is largely extratextual (Friedberg 175), located in historically specific technologies and institutional practices such as copyright law and authorship, canon formation and film literacy. In their almost one thousand page long Cinema Sequels and Remakes, 1903-1987, Roben Nowlan and Gwendoline Wright Nowlan devote not quite two full pages to explaining the selection criteria for one thousand and twenty five alphabetically listed primary films and the many more associated remakes and sequels that make up their reference volume. The brevity of Nowlan and Nowlans introduction is attributable to the fact that they make little attempt to define either remake or sequel, but rather take these as received categories, i.e., their principal criterion for selection is that a film has been previously designated as a remake or sequel in any two or more of a number of unidentified but reliable source[s], which list remakes and sequels of certain genres of films (xi-xii). While this type of lax definition makes for a wide selection of material and does not preclude the inferential reconstruction of at least some of the unspecified principles of selection (through an examination of th ose films that have been included), Nowlan and Nowlans intuitive approach underscores the extent to which the remake is conceived more through actual usage and common understanding than through rigorous definition.(1) While Nowlan and Nowlan put aside problems of categorization to list thousands of films, Michael B. Druxmans more modest (in scope) Make It Again, Sam, which sets out to provide a comprehensive dissertation on the remake practice by detailing the film life of [thirty-three] literary properties (9), attempts to ground its selection in some preliminary definitions. Druxman begins by electing to limit the category of remake to those theatrical films that were based on a common literary source (i.e., story, novel, play, poem, screenplay), but were not a sequel to that material (9). This seemingly infallible signpost is however complicated by those films that are obviously remakes [but] do not credit their origins (9). In such cases Druxman adopts a heuristic devicea rule of thumbwhich requires that a new film borrow more than just an element or two from its predecessor to qualify (9). This in turn allows Druxman to distinguish between nonfiction films of a single historical incident or b iography of a historical figure (e.g., the mutiny on the Bounty or the life of Jesse James) which differ because they are based around competing versions of the same incident, and those nonfiction films of a like historical incident which are similar even though they are based upon diverse literary sources (9). As might be expected from an approximate rule which arbitrates according to whether a films borrowings are significant or only amount to an element or two, Druxman ultimately admits that there were many marginal situations [in which he] simply used [his] own discretion in deciding whether or not to embrace [a film as a remake] (9). Although Druxmans recognition of unacknowledged remakes introduces a number of methodological difficulties, he funkier grounds his discussion by viewing Hollywood remaking practice as a function of industry pragmatism, driven by three major factors. Firstly, Druxman argues that the decision to remake an existing film is primarily a voluntary one based on the perceived continuing viability of an original story. However, industry demand for additional material during the studio-dominated era of the thirties and forties and attempts to rationalize the often high costs of source acquisition prompted studios to consider previously filmed stories as sources for B pictures, and even for top of the bill productions (13). As Tino Balio points out, the Hollywood majors had story departments with large offices in New York, Hollywood, and Europe that systematically searched the literary marketplace and stage for suitable novels, plays, short stories, and original ideas (99). Taking as an example story acquisitions at Warner Brothers between 1930 and 1949, Balio notes that the pattern of source acquisition demonstrates two often contradictory goals: (1) the desire to base films on pretested material, that is, low-risk material that was already well known and well received by the public and (2) the desire to acquire properties as inexpensively as possible, especially during declining or uncertain economic circumstances (Robert Gustafson qtd. in Balio 99). In practice this meant that while Warners often invested in expensive pre-sold properties, such as best-selling novels and Hollywood hit plays, it offset the high costs of pretested properties by using original screenplays written in its screenwriting department and by relying heavily on `the cheapest pretested material of allearlier Warner pictures (99). Druxmans second, related point is that the customary studio practice at the time of purchasing the rights to novels, plays, and stories in perpetuity meant that a company was able to produce multiple versions of a particular property without making additional payments to the copyright holder (15). Canonized classics of literature, such as Treasure Island and The Three Musketeers, not only had pre-sold titles, but because they were in the public domain, had the added advantage of requiring no initial payment for their dramatic rights (18-20). While the majority of recycled, previously purchased source material (particularly from those films that had done fair to poorly at the box office) made its way into B-unit production (Balio 100), high profile titles were sometimes remade to take advantage of new technologies and practices. Accordingly, Druxmans third and final point relates to the profit potential of redoing established films in order to exploit new stars or screen techniques, e .g., Michael Curtizs 1938 version of The Adventures of Robin Hood as both a vehicle for Errol Flynn and a sound and Technicolor update of the Douglas Fairbanks silent epic, Robin Hood (Allen Dwan, 1922) (15). Druxmans initial definition and the above factors of industry pragmatism allow him to posit three general categories of Hollywood remake: (i) the disguised remake: a literary property is either updated with minimal change or retitled and then disguised by new settings and original characters, but in either case the new film does not seek to draw attention to its earlier version(s), e.g., Colorado Territory (Raoul Walsh, 1949) as a disguised remake of High Sierra (Raoul Walsh, 1941); (ii) the direct remake: a property may undergo some alterations or even adopt a new title, but the new film and its narrative image do not hide the fact that it is based upon an earlier production, e.g., John Guillermins 1976 remake of King Kong (Merian C. Cooper and Ernest B. Schoedsack, 1933); and (iii) the non-remake: a new film goes under the same title as a familiar property but there is an entirely new plot, e.g., Michael Curtizs 1940 version of The Sea Hawk is said to bear little relation to First Nationals 1924 adaptation of the Rafael Sabatini novel (13-15).(2) While Druxmans account of the remake raises a number of salient points, among them the role that credits and promotions play in the identification of remakes, the publication of Make It Again, Sam prior to the post-Jaws renovation of Hollywood and the transformation of film viewing through videotape and other recent technologies of storage and reproduction make the book somewhat backward-looking. In order to consider some aspects of the remake as a media-intertext, particularly in relation to new Hollywood remakes, it is helpful to turn to a more recent typology of the remake, Thomas M. Leitchs Twice-Told Tales.(3) Leitch begins his account by making a number of points about the singularity of the remake both among Hollywood films and even among other types of narratives: [t]he uniqueness of the film remake, a movie based on another movie, or competing with another movie based on the same property is indicated by the word property. Every film adaptation is defined by its legally sanc tioned use of material from an earlier model, whose adaptation rights the producers have customarily purchased (138). Putting aside for the moment the fact that this description immediately excludes those obvious remakes which do not acknowledge their previous source, the point Leitch wishes to make is that although adaptation rights (e.g., film adaptation rights of a novel) are something producers of the original work have a right to sell, it is only remakes that compete directly and without legal or economic compensation with other versions of the same property (138): [R]emakes differ from adaptations to a new medium because of the triangular relationship they establish among themselves, the original film they remake, and the property on which both films are based. The nature of this triangle is most clearly indicated by the fact that the producers of a remake typically pay no adaptation fees to the makers of the original film, but rather purchase adaptation rights from the authors of the property on which that film was based, even though the remake is competing much more directly with the original filmespecially in these days of video, when the original film and the remake are often found side by side on the shelves of rental outletsà ¢Ãƒ ¢Ã¢â‚¬Å¡Ã‚ ¬than with the story or play or novel on which it is based. (139) Taking as an initial proposition the triangular relationship among a remake, its original film, and the source for both films, Leitch suggests that any given remake can seek to define itself either with primary reference to the film it remakes or to the material on which both films are based; and whether it poses as a new version of an older film or of a story predating either film, it can take as its goal fidelity to the conception of the original story or a revisionary attitude toward that story (142). Accordingly, Leitch outlines the following quadripartite typology of the remake: (i) readaptation: the remake ignores or treats as inconsequential earlier cinematic adaptations in order to readapt as faithfully as possible (or at least more faithfully than earlier film versions) an original literary property, e.g., the film versions of Shakespeares Hamlet (Laurence Olivier, 1948; Tony Richardson, 1969; and Franco Zeffirelli, 1990) and Macbeth (Orson Welles, 1948; Roman Polanski, 1971 ); (ii) update: unlike the readaptation that seeks to subordinate itself to the essence of a literary classic, the update competes directly with its literary source by adopting an overtly revisionary and transformational attitude toward it, e.g., West Side Story (Robert Wise and Jerome Robbins, 1961) and China Gil (Abel Ferrara, 1987) as transformed remakes of filmed versions of Romeo and Juliet (George Cukor, 1936; Franco Zeffirelli, 1968); (iii) homage: like the readaptation, which seeks to direct the audiences attention to its literary source, the homage situates itself as a secondary text in order to pay tribute to a previous film version, e.g., Brian de Palmas Obsession (1975) and Body Double (1986) as homages to Alfred Hitchcocks Vertigo (1958), and Rainer Werner Fassbinders Fear Eats the Soul (1973) as a tribute to the Douglas Sirk version of Magnificent Obsession (1954); (iv) true remake: while the homage renounces any claim to be better than its original, the true remake de al[s] with the contradictory claims of all remakesthat they are just like their originals only betterby . . . combin[ing] a focus on a cinematic original with an accommodating stance which seeks to make the original relevant by updating it, e.g., Bob Rafelsons 1981 remake of The Postman Always Rings Twice (Tay Garnett, 1946), and Lawrence Kasdans Body Heat (1981) as a remake of Double Indemnity (Billy Wilder, 1944) (142-45). Leitch concludes that, unlike readaptations, updates, and homages, which only acknowledge one earlier text (literary in the first two cases and cinematic in the third), true remakes [emphasize] a triangular notion of intertextuality, since their rhetorical strategy depends on ascribing their value to a classic earlier text [i.e., an original property such as James M. Cains novel, The Postman Always Rings Twice], and protecting that value by invoking a second earlier [film] text as betraying it [Garnetts version as a watered-down film noir, probably due to limita tions imposed by the MGM studio and the Production Code of the forties] (147). While Leitchs recognition of the significance of a literary property, and in particular the relationship of a film adaptation and its remake to that property, leads to what at first appears to be a more nuanced typology than that outlined by Druxman, further consideration reveals a number of difficulties, not only among Leitchs four categories but in relation to his preliminary suppositions. Firstly, while the ubiquity of the Hollywood remake might understandably lead Leitch to conclude that the remake is a particularly cinematic form,(4) we might question to what extent it differs from the remaking of songs in the popular music industry. That is, how does the triadic relationship between (i) the Pet Shop Boys long remake (of their earlier, shorter remake) of Always on My Mind, (ii) the 1972 version of the same song by Elvis Presley, and (iii) the original property (music and lyrics written by Thompson James Christopher, and published by Screen Gems/EMI), differ appreciably from the triangular relationship for the film remake as described by Leitch? Or, to take as another example a case that underscores Leitchs overestimation of the economic competition a remake creates for a former adaptation, the Sid Vicious remake of My Way (and even Gary Oldmans remake of the same performance for Alex Coxs Sid and Nancy [1986]) competes culturally, but not economically, with Frank Sinatras earlier adaptation of a property written by Reveaux, Francois, and Anka. These examples, and others from the popular music industry, adequately conform to, and so problematize, Leitchs initial claim that the film remake is unique because of the fact that its producers typically pay no adaptation fees to the makers of the original [version], but rather purchase adaptation rights from the authors [publishers] of the property on which that [version] was based (139). A second limitation is that while Druxman at least acknowledges the difficulty of identifying and categorizing those films that are obviously remakes [but] do not credit their origins (9), Leitch remains curiously silent in this respect. For instance, Leitch considers Body Heat a true remake of Double Indemnity, but he does not comment upon the fact that the films credits do not acknowledge the James M. Cain novel as a source; similarly, Leitch takes Obsession and Body Double to be homages to Vertigo, but he fails to note that neither of the films credit either the Alec Coppel and Samuel Taylor screenplay or the Pierre Boileau and Thomas Narceiac novel, Dentre les morts, upon which the Hitchcock film is based. While I will return to the question of identifying unacknowledged remakes, Leitchs insistence upon the connection between three elementsa remake, an earlier version, and a literary propertypresents a further difficulty in that it marginalizes those instances in which a dyadic r elationship exists between a remake and a previous film that is itself the original property. Although it might be objected that a published original screenplay constitutes a discrete property, the point to be made here is that the remake of an original film property, such as John Badhams The Assassin [Point of No Return] (1994), does not compete directly and without legal or economic compensation with its earlier version, but (generally) pays adaptation fees to the copyright holder of the original film upon which it is based (in this example, Luc Bessons [La Femme] Nikita [1990]).(5) The example of the American remake of Nikita not only demonstrates that a triangular relationship fails to accommodate remakes of those films based upon original stories and screenplays, but highlights the difficulty of Leitchs suggestion that remakes compete with earlier versions and his belief that successful remakes supersede and so typically threaten the economic viability of their originals (139). To stay with the example of the French-Italian production of Nikita, it seems doubtful that, having successfully played an art-cinema circuit and having been released to home video (variously under the categories of cult, festival, and arthouse), the appearance of The Assassin, initially as a first run theatrical release and then as a mainstream video release would have any appreciable impact (either positive or negative) upon the formers economic viability. Admittedly, The Assassin was not promoted as a remake of the Besson film, but even a widely publicized remake such as Martin Scor seses 1991 version of Cape Fear(6) did not occasion the burial, or even diminish the cult following, of J. Lee Thompsons earlier (1961) version. On the contrary, the theatrical release of the Scorsese film (accompanied by press releases and reviews foregrounding its status as remake) prompted first a video release and then a prime-time national television screening of the Thompson version. The reciprocity of the two versions is further exemplified by Sight and Sounds running together of a lead article by Jim Hoberman on Scorsese and Cape Fear and a second, briefer article comparing the two versions ([n]ovelist Jenny Diski watches a video of the first Cape Fear and the Scorsese remakeand compares them) and giving details of the availability of the (then recently) re-released CIC video of the 1961 version (see Hoberman Sacred and Profane; Diski The Shadow Within). While reciprocity may not always be the casein the international marketplace a local remake may supplant an earlier forei gn language and/or culture version(7)it seems that contemporary remakes generally enjoy a more symbiotic relationship than Leitchs account would have us believe. While the above examples suggest that Leitch overestimates the extent to which some remakes compete with original film versions, his recognition of the impact that innovations in television technology, particularly home video, have had upon shaping the relationship between a remake and its earlier versions should not be underestimated. Leitch states that during the studio-dominated era of the thirties and forties it was at least in part the belief that films had a strictly current value that enabled studios such as Warners to recycle The Maltese Falcon three times in ten years (Roy Del Ruth, 1931; William Dieterle, 1936 [as Satan Met a Lady]; and John Huston, 1941) and release many unofficial remakes of its own films (139), although the re-release of successful features, particularly during the late forties and early fifties, gave some films a limited currency outside their initial year of release (see McElwee), the majority of films held in studio libraries were not available for re -viewing until the mid-fifties when the major studios decided to sell or lease their libraries to television. The release of thousands of pre-1948 features into the television market not only gave the general public the opportunity to see many films that had been held in studio archives since their initial year of release, but provided the possibility of seeing different versions of the same property, produced years or even decades apart, within weeks or even days of each other. Moreover, the television broadcasting of films provided the further possibility of viewing remakes outside of the temporal order of their production, i.e., the repeated screening of the same features meant that it was inevitable that the broadcast of a remake would precede the screening of its original. While Leitch does not address the impact of television, his recognition that a remake and its original circulate in the same video marketplace draws attention to the fact that the introduction of an informati on storage technology such as videotape radically extends the kind of film literacy, the ability to recognize and cross-reference multiple versions of the same property, that is inaugurated by the age of television. The ever-expanding availability of texts and technologies and the unprecedented awareness of film history among new Hollywood filmmakers and contemporary audiences are closely related to the general concept of intertextuality, an in principle determination which requires that texts be understood not as self-contained structures but as the repetition and transformation of other [absent] textual structures (Frow, Intertextuality and Ontology 45). Generally speaking, in the case of remakes these intertextual structures are stabilized, or limited, through the naming and (usually) legally sanctioned (i.e., copyrighted) use of a particular literary and/or cinematic source which serves as a retrospectively designated point of origin and semantic fixity. In addition, the intertextual structures (unlike those of genre) are highly particular in their repetition of narrative units, and these repetitions most often (though certainly not always) relate to the order of the message rather than to t hat of the code (45).(8) While these factors yield some degree of consensus, any easy categorization of the remake is frustrated by (i) films which do not credit an original text, but which repeat both general and particular elements of the originals narrative unfolding, e.g., Body Heat as an uncredited remake of Double Indemnity and The Big Chill (Lawrence Kasdan, 1983) as an unacknowledged remake of The Return of the Secaucus Seven (John Sayles, 1980);(9) and (ii) films based on a like sourcea literary work or historical incidentbut which differ significantly in their treatment of narrative units, e.g., The Bounty (Roger Donaldson, 1984) as a non-remake of Mutiny on the Bounty (Frank Lloyd, 1935 and Lewis Milestone, 1962). Furthermore, the intertextual referentiality between either non-remakes or unacknowledged remakes and their originals is to a large extent extratextual (Friedberg 175-76), being conveyed through institutions such as film reviewing and exhibition, for example, th e BFI/National Film Theatres programmed describes four films from Paul Schrader scriptsTaxi Driver (Martin Scorsese, 1976), Rolling Thunder (John Flynn, 1977), Hardcore, and Patty Hearst (Paul Schrader, 1979 and 1988)as updates of The Searchers (John Ford, 1956) (The Searchers: A Family Tree). In the case of Leitchs typology, we have seen that the remake is categorized according to whether the intertextual referent is literary (the readaptation, the update) or cinematic (the homage, the true remake). In the latter case, Leitch states that while homages, such as The Thing (John Carpenter, 1982) and Invaders from Mars (Tobe Hooper, 1986), establish direct intertextual relations to their original films, these quotations or rewards take the form of throwaway jokes whose point is not necessary to the [films] continuity, and which therefore provide an optional bonus of pleasure to those in the know (141). While this may seem consistent with Umberto Ecos account of the intertextual dialogue (i.e., the instance where a quotation is explicit and recognizable to an increasingly sophisticated, cine-literate audience), what Leitch does not sufficiently stress is that his examples of the homage (and of the true remake)all drawn from the new Hollywood cinemasuggest a historically speci fic response to a post-modern (or post-Jaws) circulation and recirculation of images and texts. This does not mean that the classical Hollywood remake never takes an earlier film as its intertextual referent, but rather that, as the continuity system develops through the pre-classical period (1908-17), direct intertextual referentiality is displaced by an industrial imperative for standardization which prioritizes the intertextual relation of genres, cycles, and stars. Accordingly, as the classical narrative strives to create a coherent, self-contained fictional world according to specific mechanisms of intratextual repetition (or alternation), direct intertextual referentiality to either and/or both literary properties (novels, short-stories, plays, etc) and earlier film versions becomes an extratextual referentiality, carried by such apparatuses as advertising and promotional materials (posters, lobby cards, commercial tie-ins, etc), motion picture magazines, review articles, and academic film criticism. What seems to happen with the new Hollywood cinema, particularly in the case of remakes, is that while the intratextual mechanisms of classical continuity are mostly respected, extratextual referentiality is sometimes complemented by what is perceivedwithin specific interpretive communitiesas the explicit and recognizable intertextual quotation of plot motifs and stylistic features, peculiar to earlier film versions. To take a general example, the narrative of Unforgiven (Clint Eastwood, 1992) assumes as its primary intertexts the revisionist westerns of the sixties and seventies, and the Eastwood star persona, but (re)viewers additionally see the film as a kind of sequel (the Will Munny character as the now aged Man-with-no-name, from Eastwoods spaghetti westerns) and as a homage to the films of both Sam Peckinpah and John Ford.(10) More specifically, Martin Scorseses remake of Cape Fear may be said to work perfectly well as a conventional thriller (a psychopath attacks a normalin t his case, dysfunctionalAmerican family), but the new Cape Fear also assumes [in its reworking of the original Bernard Herrmann score and the casting of original lead players in cameo roles] that the viewer has seen the earlier one, perhaps even as recently as Scorsese himself (Hoberman 11). Another example, Jim McBrides Breathless (1983), not only quotes the Godard original (A bout de souffle, 1959) in its smallest detail (a characters name, a players gesture), but more generally embraces Godards enthusiasm for American pop-cultural iconography: the title song, Breathless, by the KillerJerry Lee Lewis; the Roy Lichtenstein-type lifts from Marvel Comics The Silver Surfer, the collectable American automobilethe 1957 Ford Thunderbird, the 1959 Cadillac Eldorado. Finally, while it is possible to find similar examples in the classical cinema,(11) the point to be made here is that the type of intertextual referentiality which characterizes (some) contemporary American film circulates in a historically specific context, i.e., the identification of, and indeed the commercial decision to remake, an earlier film is grounded in particular extratextual, institutional, or discursive practices. As in Noel Carrolls discussion of new Hollywood allusionism, the question of intertextual referentiality needs to be related to the radical extension of film literacy and the enthusiasm for American film history that took hold in the United States during the sixties and early seventies. Partly made possible by the release of Hollywood features to television (which had come to function like a film archive) and the wider accessibility of new technologies (e.g., 16mm film projection), this re-evaluation, or legitimization, of Hollywood cultural product was underwritten by such additional factors as the importation of the French politique des auteurs, the upsurge of repertory theatre short-seasons, the expansion of film courses in American universities, and the emergence of professional associations such as the American Film Institute. Accordingly, and this is evident from the above examplesUnforgiven, Cape Fear, Breathlessthe selection and recognition of films, and bodies of films, for quotation and reworking (the work of auteurs, Ford and Peckinpah; the cult movie, Cape Fear, the nouvelle vague landmark, A bout de souffle) can be located in the institutionally determined practice of film canon formation and its contributing projectsthe discussion and citation of particular films in popular and academic film criticism, the selective release and re-release of films to theatrical and video distribution windows, and (in circular fashion) the decision of other filmmakers to evoke earlier films and recreate cinema history (see Staiger 4). An understanding of the formation and maintenance of a film canon in turn goes some way toward explaining why remakes of institutionalized film noirse.g., D.O.A. (Rocky Morton and Annabel Jankel, 1988), No Way Out (Roger Donaldson, 1987), and Against All Odds (Taylor Hackford, 1984)are discussed with reference to their originals (D.O.A. [Rudolph Mate, 1949], The Big Clock [John Farrow, 1948], and Out of the Past [Jacques Tourneur, 1947], respectively), while films such as Martin Scorseses version of The Age of Innocence (1993) and James Deardens remake of A Kiss Before Dying (1991) defer, not to their little known, or (now) rarely seen, earlier film versions (The Age of Innocence [Wesley Ruggles, 1924 and Philip Moeller, 1934], and A Kiss Before Dying [Gerd Oswald, 1961]) but to the authority of an established literary canon: The Age of Innocence is based on Edith Whartons 1920 Pulitzer Prize winning novel; A Kiss Before Dying is adapted from a best-selling novel by Ira Levin. Indeed, and in accordance with the canonization of the work of Alfred Hitchcock, the more direct intertextual referent for the remake of A Kiss Before Dying is Hitchcocks Vertigoa clip from the film appears diegetically on a characters television screen, and in addition to the figure of the doppelganger there is allusion to Hitchcockian plot s tructure and motif: [l]iberally alluding to Hitchcock by killing off his leading actress in the first reel, Dearden includes subtler references like the washing out of hair-dye and the cop who just wont leave (Strick 50). The suggestion that the very limited intertextual referentiality between the remake and its original is organized according to an extratextual referentiality located in historically specific discursive formationssuch as copyright law and authorship, canon formation and film literacyhas consequences for purely textual descriptions of the remake, particularly those based on a rigid distinction between an original story and its new discursive incarnation (see Leitch 143). Aside from the questionable move of assuming that the unchanging essence of a films story can somehow be abstracted from the mutable disposition of its expression (see Brunette and Wills 53), demarcation along the lines of story and discourse is evidently frustrated by those remakes which repeat not only the narrative invention of an original property but seek, for instance, to recreate the expressive design of an earlier film (e.g., Obsession as a reconstruction of the mood and manner of Hitchcocks Vertigo [see Rosenbaum 217]) or to rework the style of an entire oeuvre or genre (e.

Reluctant Learners and the Causes :: essays papers

Reluctant Learners and the Causes In order to discuss how technology motivates reluctant learners, we must first agree upon what exactly a reluctant learner is. According to Joyce M. Herzog, a reluctant learner is one who "is not interested in life at all, is not interested in what you are teaching, and is not able to learn in the time-frame or manner of presentation" (2002). There are several reasons as to why the student may feel the way he/she does. As a teacher, one must be very careful to make sure to take into consideration all of the reasons as to why a student may feel reluctant to put forth the necessary energy in the classroom. One reason may be that the student suffers from a learning disability, which is defined by the educational dictionary Wordsmyth as "any of various conditions thought to be associated with the nervous system, that cause difficulty in mastering a basic skill such as reading" (2002). "Various disabilities include ADD, communication disorders, and behavioral disorders" (Woolfolk, 200 4, p.124-131). Students with these disabilities are often seen as disadvantaged when it comes to learning in a typical school setting. Problems at home could also be a cause for reluctancy of students. According to BJUP.com, the primary stimulation for a child to develop and maintain enthusiasm for learning should come from the home. Families who are a solid unit and do activities together tend to have more motivated children (Let's Talk Motivation, 2005). Students who have supportive parents that foster learning are less likely to show reluctancy to learn in the classroom, while students whose home life is full of fighting and little academic support may show less interest in the classroom (Let's Talk Motivation, 2005). Another reason why a student may not be motivated to learn could be because of a low-socioeconomic status (SES). According to Woolfolk, low-SES students suffer from "poor health care, low expectations, low self-esteem, and learned helplessness" (2004, p.158-159). These students have much more on their mind than learning. One final reason why students may be reluctant to learn is because they have fallen into the stereotypes of gender traps. Knudson-Martin argues that "perceived gender differences are rooted in power differences that limit relational development for both women and men" (Knudson-Martin, 1999). This means that in a co-ed classroom, teachers may challenge boys more often than girls, attributing male fa ilure to a lack of effort and female failure to a lack of ability.

The Game of Hackysac or Footbag :: essays research papers

The Game of Hackysac or Footbag What if I told you that in my hand I hold the secret to world harmony that diplomats have been searching for for centerys. That a toy about the size of a plumb can improve your physical and mental well being tremendously. It may sound corny, but it may even bring you at peace with the world. You may call me crazy, but I believe that this little devise can do all these things. This is the hackysac, or footbag as it is officially known, and it is the only component necessary in a very exciting game. But to me, it is much more than a game. To me, it is an expressive dance, a natural high, an important social skill that everyone should become familiar. I am now going familiarize you with this social skill by explaining some philosophy behind it and showing you some basic kicks. The Olympics claim to promote peace and unity, but any hacker will tell you the true goodwill game is hackysack. It has kept warrior guards awake in ancient China, warmed up the legs of soccer players, and helped treat sports injuries by stretching muscles and tendons. Through it's lattest incarnation, though, it's the ultimate neo-hippie sport;the athletic equivalent of tie-dyed clothing or listening to the Grateful Dead. Hackysac's reputation as a game of peace, love and understanding may have begun during a 1987 American-Soviet peace walk protesting the arms race. As hack circles developed along the road from Leningrad to Moscow, people joked that summit meetings weren't the answer and the true secret to lasting peace among nations lay in the game of hackysack. The dynamics of the game reinforce the hac's image of a game of good-will. Basically, the hac is pass through the air with any part of the body except the hands and arms. A circle is formed as more people join in, and there is no limit to the number of players. In fact, the more the merrier since the fun increases with more players. This makes the sport inherently welcoming, all you need do is ask and your in. The circle itself is significant in that it makes everyone equal, there is no single "important" position, no quarterbacks, centers, goalies, or bench warmers. Best of all, you can hack just about anywhere except in line at the bank. A friend of mine once asked me, "Why do you play hackysac? You can't score and you can't win." To which I responded, "Exactly." The fact that emphasis is not place on scoring or wining is the beauty of the sport.

Deviant Act Project: Visit to a Grocery Store

For my act of deviance I chose to go to a grocery store and attempt to pay for my groceries ignoring the line at the checkout counter. So one day I went to my local grocery store. After filling my shopping cart I headed towards checkout area. The closer I was getting there, the more vulnerable and hesitant felt. I was almost ready to give up this whole Idea when I got to the line, but then I heard: â€Å"Next person In line! † from a cashier on the right who has Just opened her checkout station. I quickly pushed my cart to that register and noticed a person (who was next in line to check UT) also going to that newly-opened register.I got there faster and put my first item on the counter. Nobody said anything to me. Several other people from the line moved to this cash register and formed a new line. I was putting my groceries on the counter. In the middle of me taking the groceries out of the cart I looked at the person standing next in line after me. This was a middle-aged wo man. With a frown on her face she stared straight back at me but did not say anything. I have also noticed that a person behind her was staring too. They both were not Just looking at e, they were staring in disapproval. I just smiled and turned back.I made sure I took my time at the register: I had a lot of groceries in my cart. I paid and left. Waiting line itself has been recognized to be a social system. The leading rule for this social system Is the First In First Out (FIFO) rule and all Intrusions are deviations from the norm. (Allan, Gad and Hanna, Reran. 2010. Cutting in Line: Social Norms in Queues. ) When waiting in line, we expect people also to wait their turn. When someone decides to cut in line: they violate a social norm. All those people In line must have en interested in enforcing conformity to the norm.Nobody likes to wait in lines and I am sure that they all would prefer to check out and leave the store faster. They clearly saw that I have Jumped the line but thos e stares and a frown were the only sanctions I have got for breaking the norm. I did not feel comfortable breaking the norm. It was hard to predict how exactly people would react to me and what kind of sanctions I would have to face. I am not sure what I would do if I got sanctioned in some other way, other than getting those stares and a frown. I don't know If I would Just tell the truth about my school assignment or if I would try to Justify my actions by lying.Now, if somebody would try to behave the same way in a country, where lines etiquette is different or does not exist at all, than this behavior would not be normal for people in a queue to let an old person go and check out first and not wait in line. Also, there was an example in our text book where author told us about his experience at one of the African countries where people would Just push or shove toward the ticket man if they needed to buy a ticket for a bus or train. (Heinlein, James M. 2011. Essentials of Sociolog y. A Down-to-Earth Approach. )

History of Halloween Essay

Close to $7 billion dollars is what consumers spent on Halloween costumes, candy, and decorations in 2011. When the temperature starts to drop, the leaves turn different colors and the sun sets earlier little by little each day, fall is the perfect season to celebrate Halloween. Millions of children dress up and go to strangers doors begging for candy. Have you ever wondered where this strange and unique tradition originated from? — The three most important points of Halloween can be summed up by looking at its origins, how it came to include jack-o-lanterns and bobbing for apples, and how it is celebrated today with trick-or-treating and haunted houses. Halloween, also known as All Hallows’ Eve, has originated from the ancient Celtic festival known as Samahin (â€Å"sow-in†) derived from the Old Irish Samuin meaning â€Å"summer’s end†. The Celts, who lived 2,000 years ago in the area that is now Ireland, the United Kingdom, and northern France, celebrated the end of the harvest season with the festival of Samhain and celebrated the upcoming new Year on November 1. Used by the ancient pagans, Samhain was a time to take stock of supplies and prepare for winter. October 31 was the day the ancient Gaels believed the boundaries overlapped between the worlds of the living and the dead, and the departed souls would come back to life and cause mayhem such as damaged crops and sickness. The Gaels built massive bonfires and summoned the help from gods through animal and possibly human sacrifices to ward of the spirits. It is believed that the fires attracted insects to the area which in turn attracted bats. These are additional features of the history of Halloween. Halloween is also thought to be influenced by the Christian holy days of All Saints’ Day, also known as Hallowmas, and All Souls’ Day falling on November 1 and 2. It was a time for honoring the saints and praying for the deceased who had yet to reach heaven. Traditionally it was believed that the departed souls roamed the earth until All Saints’ Day, and Hallows’ Eve delivered one last chance before moving on to the next world, to gain revenge on their enemies. Christians would  disguise themselves in costumes and masks to avoid being recognized by the wandering souls. Trick or treating is the practice of dressing up in costumes and going door to door begging for candy and resembles the late medieval practice of â€Å"souling† when the poor would proceed door to door on Hallowmas receiving food, or â€Å"soul cakes† which were pastries, and in return would pray for their dead relative’s souls. It was believed at the time the souls of the departed would wait for passage into heaven until enough people prayed for their souls. â€Å"Soul cakes† would be given in exchange for a song, performance, or another sort of â€Å"trick† in some cultures. Eventually, children embraced this practice and were given money, food, and ale. Jack o ‘lanterns are a Halloween staple today, with at least two historical roots. The first is the pagan Celtic people carved turnips and rutabagas to hold hot coal from the bonfire to light their homes and ward off the evil spirits. Another folklore tale gives jack o ‘lanterns their name. An Irish myth portrays a trickster and a drunk known as â€Å"Stingy Jack†, who asked the devil to have a drink with him. Jack persuaded the devil to change himself into a coin so he could pay for his drink, but instead he put the coin in his wallet next to a silver cross, trapping the devil and preventing him to change himself back. Jack said he would free the devil if he did not bother him for another year. The following year Jack tricks the devil into climbing an apple tree for a piece of fruit. He then carved a cross in the bark of the tree preventing the devil from climbing down. In order to get down from the tree, the devil promised Jack he would not seek his soul anymore. Because of his swindling and drunken ways, when Jack died he was not allowed into heaven. He also was not allowed into Hell because the devil kept his word. Taking pity on Jack, the devil gave him an ember to light his way in the dark, putting it into a hollowed out turnip for Jack to carry on his lonely, everlasting roaming’s around the Earth. People from Ireland and Scotland  would make â€Å"Jack o ‘lanterns† during this season to scare away Stingy Jack and other evil spirits wandering about. Over the next several centuries, superstitions about witches and black cats were added to the folklore and legends of Halloween. Cats were thought of as evil, especially black cats, and were killed by the thousands in Medieval times, possibly contributing to the Black Plague, due to the shortage of the rat’s natural enemy, the cat. During this time, the church created the belief that evil witches existed. Apples, which are a seasonal fruit, and the symbol of the Roman goddess Pomona, were thought at the time to retain qualities of knowledge, resurrection, and immorality. Bobbing for apples was thought to predict the future on the night of Samhain. (sow-in) Halloween eventually made its way over the Atlantic in the second half of the nineteenth century when America became flooded with new immigrants. Taking from Irish and English traditions, Americans began to dress up in costumes and go house to house asking for food or money, a practice that ultimately became today’s â€Å"trick-or-treat† tradition. The 20th century saw an emergence of Halloween as a genuinely North American holiday and one that was becoming an advantage for shopkeepers and manufactures. Costuming became popular for Halloween parties for children and adults as well. The first mass-produced Halloween costumes appeared in stores in the 1930s when trick-or-treating was becoming popular in the United States. Halloween costumes are traditionally modeled after supernatural figures such as monsters, ghosts, skeletons, witches, and devils. Over time, the costume selection extended to include popular characters from fiction, celebrities, and generic prototypes such as ninjas and princesses. Haunted attractions are entertainment venues designed to thrill and scare patrons. Most attractions are seasonal Halloween businesses. Origins of these paid scare venues are difficult to pinpoint, but it is generally  accepted that they were first commonly used by the Junior Chamber International (Jaycees), who are a non-political youth service organization between the ages of 18 to 40, for fundraising. They include haunted houses, corn mazes, and hayrides, and the level of sophistication of the effects has risen as the industry has grown. Haunted attractions in the United States bring in an estimate $300-500 million each year, and draw some 400,000 customers. This maturing and growth within the industry has led to more technically-advanced special effects and costuming, comparable with that of Hollywood films. Halloween is currently the second most important party night in North America, and in terms of its retail potential, it is second to Christmas. Personally, Halloween is one of my favorite days of the year. Even as an adult, to dress up and be someone or something else for the night can be fun and exciting. To escape reality into a fantasy-like world where goblins mingle with princesses is definitely a strange site to see, but is well worth the money and time devoted to one of the spookiest nights of the year. So whether you celebrate Halloween or not, you now have an idea of how Halloween originated, how it came to include bobbing for apples and jack-o-lanterns, and how we celebrate it today with haunted houses and trick-or treating. The sources I cited for this information are from: www.cnbc.com www.halloweenhistory.org www.wikipedia.org www.history.com