Away Essays - Coral Reefs, Coral, Away, Free Essays, Term Papers

Away Essays - Coral Reefs, Coral, Away, Free Essays, Term Papers Away KRISTY HEWITT 11B AWAY ANALYTICAL ESSAY Throughout Away many characters go through changes, Gwen changes from a nagging housewife into a sympathetic and more balanced individual. Roy goes from being very insecure about life to knowing how to deal with his problems and live life as it comes. Coral, is also very insecure about life after the death of her son, she is longing for attention and doesnt know how to be around people. By the end of the play she is at least trying to be social and be around people. At the beginning of the play Gwen is a nagging housewife. She is always right, well she thinks she is anyway. She changes into a more sympathetic and balanced individual. Vic has showed her to put love, not possessions and status, first. She was obsessed with orderliness and comfort because of her deprived childhood. This has ruined her relationships with her husband and Daughter. Towards the end of the play Gwen hears of Toms illness (Leukemia) this turns her towards more humane and fitting values. Gwen at the Beginning: Act 2 Scene 2 Well do you think theyll pack themselves? Do you think holidays happen on their own? to Gwen at the end: Act 4 Scene 1 What do you think of me? You must hate me? Why do you still bother? Roy goes from being in complete denial as he lost his son in the Vietnam War to being a little more caring and understanding toward others. He doesnt talk to his wife Coral very much except to patronize her and give her lectures about snapping out of it his insensitivity extends Coral Grief period beyond what it need be. He threatens her with Electro-compulsive therapy (a physical horror to follow her mental one.) This forces Coral into total isolation and to run away. By the end of the play Roy is seeking for forgiveness, as well as love and reconciliation from Coral. (When he kisses her hands.) Roy at the Beginning: Act1 Scene 3 I thought I told you to stay in the car! to Roy at the end: Act 3 Scene 3 Coral? Sweetheart? Come back to the party. Coral was deep in grief at the beginning of the play, her worldview was distorted by the pain she can not escape. Her husband Roy is of little help, so she turned to others in hope of their willingness to help. The substitute son Rick and to some extent Tom. The play The stranger on the shore helps express her predicament and the taking of belief in life that she has found. In the end she is finally reunited with Roy and this changes her life. She begins to over her grief and live life as it comes. Coral at the start: Act 2 Scene 3 I dont ignore anyone. To Coral at the end: Act 3 Scene 3 I like to talk. Everyone goes through changes thoughout their lives some are noticeable and some are not so noticeable. Some changes are drastic and some are only minor. You can never know when someone will change it just happens. We all change at different stages of our lives.

Tips on How to Set College Goals

Tips on How to Set College Goals Having goals in college can be a great way to stay focused, motivate yourself, and keep your priorities in order when things get stressful and overwhelming. But just how can you set your college goals in a way that sets you up for success? Think About Your End Goals What kind of goals do you want to achieve during your time in school? These goals can be large (graduate in 4 years) or small (attend a study session for chemistry once a week for at least a month). But having a main goal in mind is the first, and perhaps most important step, in setting realistic goals. Be Specific With Your Goals Instead of Do better in Chemistry, set your goal as Earn at least a B in Chemistry this term. Or better yet: Study at least an hour a day, attend one group study session a week, and go to office hours once a week, all so that I can earn a B in Chemistry this term. Being as specific as possible while setting your goals can help make your goals as realistic as possible- meaning youll be more likely to achieve them. Be Realistic About Your Goals If you barely passed most of your classes last semester and are now on academic probation, setting a goal of earning a 4.0 next semester is probably unrealistic. Spend some time thinking about what makes sense for you as a learner, as a student, and as a person. If youre not a morning person, for example, setting the goal of waking up at 6:00 a.m. every morning to hit the gym is probably not realistic. But setting the goal of getting in a good workout after your Monday, Wednesday, and Friday afternoon Shakespeare class probably is. Similarly, if youve been struggling with your academics, set reasonable goals that focus on helping you make progress and improve in ways that seem reachable. Can you leap from a failing grade last semester to an A this semester? Probably not. But you can aim to improve to, say, at least a C if not a B-. Think About a Realistic Timeline Setting goals within a time frame will help you set deadlines for yourself. Set goals for a week, a month, a semester, each year (first-year, sophomore year, etc.), and graduation. Every goal you set for yourself, too, should have some kind of time frame attached. Otherwise, youll end up putting off what you need to do since theres no deadline by which you promised yourself youd reach your goal. Think About Your Personal and Intellectual Strengths Setting goals can be challenging for even the most driven, determined college students. If you set yourself up to do things that are a bit too challenging, however, you can end up setting yourself up for failure instead of for success. Spend some time thinking about your own personal and intellectual strengths. Use your strong organization skills, for example, to create a time management system so you stop pulling all-nighters every time you have a paper due. Or use your strong time management skills to figure out which co-curricular commitments you need to cut in order to focus more on your academics. In essence: use your strengths to find ways to overcome your weaknesses. Translate Your Strengths Into Details Using your strengths- which everyone has, so dont sell yourself short!- is the best way to get from idea to reality. When setting goals, then, use your strengths to make sure you: Have a plan and a way to get there. What is your goal? What specific things are you going to do to reach it? By when?Have a way to check your progress. How will you know if your goal is working? When will check in with yourself to see if youre making the smaller steps you need to take along the route to reaching your big goal?Have a way to hold yourself accountable. What will happen if you dont do what you promised yourself youd do? What will you change?Have a way to adapt to change. Inevitably, something will happen that will throw a wrench in your plans. So what will you do to adjust to change? Being too strict with your goals can be counterproductive, too, so make sure youre flexible.Have rewards built in along the way. Dont forget to reward yourself for reaching mini-goals along the way to reaching your big goals! Setting and working toward goals takes major work and dedication. Reward yourself to keep your motivation up and to, well, just be nice to yourself. Because who doesnt like a little recognition, right?

Critique a photography show Essay Example | Topics and Well Written Essays - 500 words

Critique a photography show - Essay Example He was trying to put across excitement. Looking at the way the woman’s hands are spread out, one gets the feeling of balance and exactitude. The woman’s hands are positioned in a way to give her perfect balance as she tackles the wave. Looking at the wave that the woman in the image is riding, one could say that the roughness of the wave is intended to portray challenges and she appears to be taking the wave head on. One could further say that the image portrays one who is facing life’s challenges head-on while knowing full well how to go about it; they have achieved balance in their life. Looking at another image of a lady who is clasping her hands, closing her eyes and tilting her head to the sky as if in prayer, one gets a feeling of innocence. The artist was trying to convey synergy. This can be shown by the simple way the lady is clasping her hands, the simple way she has closed her eyes as she is not doing it forcefully, and the serene environment that seems to surround her. All these coupled with the warm radiant colours of her clothing serve to convey calmness. She seems to be tilting her head to the sky as if seeking something that she knows is there. Looking at another image, this one of a painted man’s face, one gets the feeling that the artist was trying to convey aggression. From the use dark colours to paint his face, and the pattern employed in the painting; diagonally across his face, one gets the feeling that the man is getting ready for combat. From his untidy hair, one gets the feeling that the artist was trying to convey hostility. This is also achieved from the dark colour of his t-shirt. The grey background also adds to the feeling of aggression. In all the three images, the artist has beautifully used colour and shape to put across different emotions that one instantly connects with on examination of the images. The first image seems to

Case Management Assignment Example | Topics and Well Written Essays - 500 words

Case Management - Assignment Example However, people tried to kill my dream by discouraging me into joining the nursing school. For this reason, I diverted into legal studies, where I managed to get a degree in 1998. However, I now seek to pursue my dream and have decided to branch off into nursing. Through getting a place in the nursing school, I will be able to nurture my talent, hence contribute to a healthy society. I realize that people pass through different stages, both pleasurable and unpleasant. During these times, I enjoy being a source of encouragement to people. For instance, when an individual is on his/her deathbed, I sympathize with him/her by giving comfort, and other material needs. In moments of joy, for instance, birth, I rejoice with the new mother and seek to give any assistance that would contribute to their joy. Through this, I have learned to share intimate times with people, hence encouraging me to pursue a career in nursing. Joining the nursing school will allow me to become well equipped with the skills of nursing. In addition, I will apply the skills gained in a veteran hospital where I have worked for six years now. Through this work, I have gained experience of working with both sick and well veterans. However, I have realized that I need to learn a few more concepts and skills in order to give my services satisfactorily. Thus, the skills gained in the nursing school will make my skills better. Apart from working in the veteran hospital, I intend to visit marginal societies, where treatment is minimal and give assistance. For instance, I will contribute to the profession by visiting Africa, where I intend to use my skills to save the lives of many people. Some, for instance, are ignorant of healthy ways of living, thus experience high rates of mortality frequently. Therefore, apart from offering services, I intend to train other nurses, who will assist in saving lives. Moreover, I will teach people ways of taking care of other patients at home, eating

Critically evaluatThe key challenge facing HR Managers in the 21st Essay

Critically evaluatThe key challenge facing HR Managers in the 21st century is to facilitate management of culture within organiz - Essay Example Proceeding from this, it is necessary to find a fundamentally new approach to priorities. The most important factor within any organization is its employees, and consumers -outside it. There is a strong need to turn the consciousness of workers towards the consumer, but not towards their supervisors, towards profit, but not wastage; towards the initiative, but not the indiscriminate fulfillment. It is necessary to make a way to social norms, based on sound economic sense, and do not forget about morality. The modern concept of development of production lies in the fact that the maximum productivity, quality and competitiveness can be achieved only by means of personal involvement of every employee; such strategy can stimulate each employee to improve the production process at their workplace first, and at the enterprise as a whole in the future. Involving staff in the process of production improvement makes a creative atmosphere and becomes a powerful motivator for staff to work that allows each employee to reveal their experience and creative ability. The central element underpinning the management is the professional nature of modern organizational management in economy of market. The term â€Å"manager† implies professional governors hired (Bach, 2005). In fact, it is a kind of social stratum, which plays a prominent role in society. What is the professional human resource manager? Since corporate culture generates the responsibility and the ability of people - a competitive advantage, the personnel manager has the following strategic objectives, which must be addressed. Nowadays, first of all, HR manager should possess some special knowledge and skills in the field of production and management, ability to work with people in different spheres of activity. Managers’ activity (regardless of rank and scope) is focused on finding and managing resources, ensuring effective and sustainable development of the organization, taking into account the lon g-term perspectives. It is important to creating competitive advantages through increased level of responsibility of personnel, using the means associated with the management of corporate culture. High corporate culture is able to attract and retain staff, establish the company's reputation, attract high- skilled workers and consumers, as well (Jaffee, 2001). Desire to update and adapt corporate culture to the changing conditions of the environment requires the provision of mutual respect between consumers and employees, continuous improvement of working conditions of staff. Employees’ involvement in various activities, related to marketing, contributes to their self-esteem (especially professional), the development of personal initiative, improve personal effectiveness. HR-service, along with other business units, should perform a variety of functions - from providing basic operations to strategic planning to succeed. However, many specialists in human resources management c ommit common mistakes - they tend to focus their attention either on strategic components of management exclusively or on tactical, while it is important to balance the strategic and tactical actions (Jaffee, 2001). One of the main strategies of the HR manager is providing a competitive advantage over other companies, with the help of diligent capacity building, promoting the growth of the employees' competence in the professional sphere. Nowadays the activity of HR-managers can

The Monk Who Sold His Ferrari English Literature Essay

The Monk Who Sold His Ferrari English Literature Essay The monk who sold his Ferrari is a story about Julian Mantle, a high-profile attorney with an extreme schedule and a set of priorities that centre on wealth, power and reputation, which provides a tactic to living a simple life with greater balance, strength, courage and abundance of joy. This story by Robin S. Sharma is the tale of Julian Mantle, a lawyer brought head on with a spiritual calamity. The fable starts in a  glorious garden  with a  lighthouse  in the middle of the soil. Out of the lighthouse walks a  nine foot tall, nine hundred pound Sumo wrestler who is naked apart from a  pink wire cable  covering his private areas. He trips over and falls on a  stopwatch,  which had been lying on the floor, and loses consciousness. Nevertheless, the wrestler wakes up to the  fresh perfume of yellow roses  coming from a distance and when he looks over there, he discovers that there is a diamond-studded pathway there. He takes that pathway only to continue on in this magnificent life and to complete his journey of spiritual importance and search for inner peace. Julian Mantles spark of life begins to flicker and so he begins a life-changing journey and unearths the ancient ethnicity of India. During this journey he learns the value of time as the most important commodity and how to cherish relationships, develop joyful thoughts and live fully, one day at a time. Julian Mantle, being the exceptional lawyer he was, had achieved everything most people would like to have: professional triumph with a seven-figure income, a luxurious mansion in a neighbourhood occupied by celebrities, a private jet, a summer home on a tropical island and his cherished possession a flashy red Ferrari parked in the centre of his driveway. Suddenly he had to come terms with the unforeseen effects of his disturbed lifestyle. John, who is a friend as well as co-worker of Julian, narrates the story. He begins by describing Julians extravagant way of life, his over-the-top courtroom theatrics, which constantly made the front pages of newspapers and his late night trips to the citys most excellent restaurants. The turning point in Julian Mantles life came about when he collapsed in the courtroom all of a sudden. The doctors said that it was his obsession with work that had caused him the heart attack. The last few years Julian had worked day and night without caring about his mental and physical health. That helped him become a very rich and successful lawyer but took charge of his physical, as well as mental state. At the age of fifty-three he looked like he could be seventy and to top that, he had lost his sense of humour. At the hospital, he had refused to meet any of his colleagues and then on one fine day he quit the law firm and packed off without saying where he was headed. Three years passed without any news from Julian then one day he stopped by to surprise his friend and former colleague John, who was now a pessimistic older lawyer. However Julian, in the past three years, had been astonishingly altered into a healthy man with physical exuberance and spiritual vigor. His heart attack shook him into realization mode and Julian Mantle decided to sell all his property and left for India. The author talks about Julians odyssey, how he met the sages of Sivana who had an enormous effect on him. Julian Mantle discloses his story of transformation and his secrets of a happy and rewarding life with his friend John. Julian portrays to him Sivana a small place located in the Himalayas, the land of rose-covered huts, composed blue waters with white lotuses floating on the surface, adolescence and liveliness, stunning glowing faces, fresh and exotic fruits. He tells John about the sages of Sivana who knew all the secrets of how to live life happily and how to accomplish ones dreams and attain ones destiny. Julian narrates his experiences with Yogi Raman, the leader of the sages of Sivana, as he was the person who taught Julian the secret of leading a happy life. He narrates to John the fable that contained the seven virtues for a life abundant with inner peace, joy and prosperity of spiritual gifts. Mantle reveals the seven virtues of enlightened learning. Them being 1) master your mind, 2) follow your purpose, 3) practice kaizen, 4) live with discipline, 5) respect your time, 6) selflessly serve others and 7) embrace the present. He tells John the methods that he learned from Yogi Raman on how to tackle our minds with simple techniques like the heart of rose technique and the secret of lake technique. He tells John how to develop the mind and how to use obstacles for expanding knowledge ones self. He talks about establishing and pursuing our own principle and teaches John the ancient art of self-leadership with practices such as do the things you fear and the five step method for attaining goals. He expands about the importance of self-discipline and respect for time. He describes techniques such as the ancient rule of twenty and the vow of silence. He teaches John, as well as the reader, on how to focus on the priorities and thus maintain stability and simplify life. He gives examples that prove that determination is the essential virtue of a fully actualized life. Julian teaches John the virtue of self-sacrifice in serving others. He asks John to embrace the present and live in the present. He tells him not to sacrifice happiness for accomplishment and to relish the journey of life and live as though each day was his last. Towards the end of the book Julian asks John to spread these secrets for the benefit of other people. Embracing John like the brother he never had, Julian departs. The message is a bit too clichà ©d and the lectures too finicky for the reader who is more or less familiar with the values and insights gathered by Julian Mantle from the sages of Sivana. Each of the things Julian Mantle came across on his spiritual journey signifies something important. 1) The magnificent garden represents ones mind It is important to cultivate ones mind on a daily basis. Letting only positive thoughts into the mind is essential. Negativity should be considered a sin. 2) The lighthouse signifies our principles in life. A persons life is restricted and so it is vital to concentrate on ones lifes main aims. Laugh, love and live everyday fervently. As Julian had learnt at from the Great Sages, every day should be treated as ones last one. 3) The sumo wrestler symbolizes self-development This involves building strength of character, developing mental toughness and facing problems bravely. The word Kaizen  means the never-ending and daily development of ones self. It signifies crossing the limits in order to develop mind, body and spirit in spite of fear, danger and anxiety. 4) The pink wire cable signifies control A wire cable consists of many strings that have been woven together. The strings, by themselves, are feeble and yet, together when they form the cable it is strong. Determination and discipline are like the strings that need to be woven together to make the mind and body strong. Discipline and self-control are the acts of controlling the mind and this can be done by replacing weak and negative thoughts with strong and positive ones. 5) The stopwatch represents time: Time is the most important service of ones life and it is essential to learn how to make the most use of the time given. Time is fixed and everyone must be able to live life to its complete potential. It is said that time mastery  is the foundation of  life mastery. 6) The fragrance of the fresh yellow roses denotes service 7) The diamond-studded pathway represents enlightened living Live an enlightened, blissful and rewarding life. Live and believe in the now factor. As Julian Mantle had learnt, live in the present and think that every day is the last one. In brief, The monk who sold his Ferrari written by Robin S. Sharma should be regarded as one of his best written books as it looks into the deeper aspects of life; those aspects being the reasons as to why each person is themselves.

Essay example --

Fetal Alcohol Syndrome through Minority Populations Prevalence of this problem is to understand if there is a safe or acceptable level of alcohol consumption for pregnant women and to understand the role of culture with these issues. Culture refers to a scheme of living in a particular environment that have evolved among a particular group of people and transmitted within and between generations. Darwin believes that environmental pollutants cause epigenetic changes natural selection or survival of the fittest to the genetics shaping human pregnancy and the risks of babies developing diseases in the next generation. Ones we learn to see culture as dynamic rather than static we will understand the ecological context. Watson and Bandura hold similar philosophy, at best, conceptualized culture as a tool kit from which strategies for action drawn from specific purpose, poverty (Sigelman & Rider, 2013, 2009). There are several reasons for the uneasiness evoking cultural explanations, first being, to those who construe culture as a distinctive product of a particular group of people, culture can be described and interpreted because such explanations cannot be considered objective. Second, conceptual, and methodological issues that confront scientists who are will to consider culture as an explanatory variable. It is difficult to define culture, conceptually and operationally, even when its different components. Disaggregated into it is various components. Even when precise definitions are possible, social variables operate in a highly complex context, often interacting with a host of other influential variables such that it is difficult to isolate is effect. Finally, there are cultural sensitivities to consider. A search fo... ... alcohol dependence: Obstetricians and gynecologic implications, 496. (2011). Reaffirmed 2013. Retrieved January 13, 2014, from http://www.acog.org/Resources_And_Publications/Committee_Opinions/Committee_on_Health_Care_for_Underserved_Women/At-Risk_Drinking_and_Alcohol_Dependence_-_Obstetric_and_Gynecologic_Implications Hand, L. (2013). Fetal alcohol syndrome:Prevalence high in child care systems. Retrieved January 13, 2014, from http://www.medscape.com/viewarticle/810622 May, P. A., & Gossage, J. P. (2001). Estimating the prevalence of fetal alcohol syndrome: A summary, 25, 3, 159-67. Retrieved January 15, 2014, from https://login.libproxy.edmc.edu/login?url=http:/search.proquest.com.libproxy.edmc.edu/docview/222393485?accountid=34899 Sigelman, C. K., & Rider, E. A. (2013, 2009). Life-span human development (7th ed.). Belmont, CA: Wadsworth, Cengage Learning.

In many ways the ideas in this dystopian novel are more important than the characters – with the exception of Offred and Moira

In many ways the ideas in this dystopian novel are more important than the characters – with the exception of Offred and Moira. The other characters tend to function as members of groups or as representatives of certain ideological positions. However, as Offred insists, every individual is significant, whatever Gilead decrees, and her narrative weaves in particularities: she continually writes in other voices in sections of dialogue, in embedded stories and in remembered episodes. It is a feature of Atwood's realism, even within a fabricated futuristic world, that she pays dose attention not only to location but to people and relationships. OFFRED Offred, the main protagonist and narrator, is trapped in Gilead as a Handmaid, one of the ‘two-legged wombs' valued only for her potential as a surrogate mother. Denied all her individual rights, she is known only by the patronymic Of-Fred, derived from the name of her current Commander. Most of the time she is isolated and afraid. Virtually imprisoned in the domestic spaces of the home, she is allowed out only with a shopping partner and for Handmaids' official excursions like Prayvaganzas and Salvagings. At the age of thirty-three and potentially still fertile, she is a victim of Gileadean sexist ideology which equates ‘male' with power and sexual potency, and ‘female' with reproduction and submission to the point where individuality is effaced. Offred's narrative, however, does not possess such diagrammatic simplicity, for she resists such reductiveness by a variety of stratagems that allow her to retain a sense of her own individuality and psychological freedom. She refuses to forget her past or her own name when she was a daughter, lover, wife and working mother; she refuses to believe in biological reductionism; and she refuses to give up hope of getting out of her present situation. She knows what she needs to pay attention to: What I need is perspective. The illusion of depth †¦ Otherwise you live in the moment. Which is not where I want to be' (Chapter 24). Offred's greatest psychological resource is her faculty of double vision, for she is a survivor from the past, and it is her power to remember which enables her to survive in the present. It is not only through flashbacks that she reconstructs the past (though these are her most effective escape routes from isolation, loneliness and boredom), but even when she walks down the road she sees everything through a double exposure, with the past superimposed upon the present, or to use her own layered image from Chapter 1, as a ‘palimpsest' where the past gives depth to the present. She has perfected the technique of simultaneously inhabiting two spaces: her Handmaid's space (or lack of it) and the freer, happier spaces of memory. Though she is forbidden to use her own name, she keeps it like a buried treasure, as guarantee of her other identity (‘I keep the knowledge of this name like something hidden, some treasure I'll come back to dig up, one day – Chapter 14). She gives her real name as a love token to Nick, and he in turn uses it as an exchange of faith when he comes for her with the black truck (‘He calls me by my real name. Why should this mean anything?' Chapter 46). Offred does not trust the reader with her real name, however, which is a sign of her wariness in a precarious situation, though there is a fascinating essay by a Canadian critic, Constance Rooke, which argues that it is coded into the text and that Offred's real name is June. What is most attractive about Offred is her lively responsiveness to the world around her. She is sharply observant of physical details in her surroundings, she is curious and likes to explore, and she has a very lyrical response to the Commander's Wife's beautiful garden. She observes its seasonal changes closely, for that garden represents for her all the natural fecundity and beauty that are denied by the regime but which flourish unchecked outside the window. It is also a silent testimonial to her own resistance: ‘There is something subversive about this garden of Serena's, a sense of buried things bursting upwards, wordlessly, into the light' (Chapter 25). Her response to the moonlight is equally imaginative, though noticeably tinged with irony, which is one of her most distinctive characteristics: ‘a wishing moon, a sliver of ancient rock, a goddess, a wink. The moon is a stone and the sky is full of deadly hardware, but A God, how beautiful anyway' (Chapter 17). Offred consistently refuses to be bamboozled by the rhetoric of Gilead, for she believes in the principle of making distinctions between things and in the precise use of words, just as she continues to believe in the value of every individual. Of the men in her life she says: ‘Each one remains unique, there is no way of joining them together. They cannot be exchanged, one for the other. They cannot replace each other' (Chapter 30). It is this sharpness of mind which informs her wittily critical view of her present situation, as in the satisfaction she gets out of teasing the young guard at the gate. ‘I enjoy the power; power of a dog bone, passive but there' (Chapter 4). Her attitude is discreetly subversive but never openly rebellious. She watches for those moments of instability which she calls ‘tiny peepholes' when human responses break through official surfaces. Offred is mischievous, but, more seriously, she yearns for communication and trust between people instead of mutual suspicion and isolation. Ironically enough, her fullest human relationship in Gilead is her ,arrangement' with the Commander. This provides her with a ‘forbidden oasis', for it is in their Scrabble games that Offred is at her liveliest and hermost conventionally feminine. In his study, Offred and the Commander relate to each other by old familiar social and sexual codes, which alleviates the loneliness both feel. It is after her first evening that Offred does something she has never done before in the novel: she laughs out loud, partly at the absurdity of it all, but partly out of a reawakening of her own high spirits. Yet she is too intelligent ever to forget that it is only a game or a replay of the past in parodic form, and her outing to Jezebel's confirms this. For all its glitter, her purple sequined costume, like the evening, is a shabby masquerade, and in the clear light of day she is left sitting with ‘a handful of crumpled stars' in her lap (Chapter 46). Living in a terrorist state, Offred is always alert to the glint of danger, as in her first unexpected encounter with Nick in the dark where fear and sexual risk exert a powerful charge which runs through the novel to its end. Their love represents the forbidden combination of desire and rebellion, and it is through that relationship that Offred manages to find new hope for the future and even to accommodate herself to reduced circumstances in the present, like a pioneer who has given up the Old World and come to the wilderness of a new one: ‘I said, I have made a life for myself, here, of a sort. That must have been what the settlers' wives thought' (Chapter 41). Offred shows through her detailed psychological narrative how she can survive traumas of loss and bereavement and how she manages to elude the constraints of absolute authority. We know little about her physical appearance because the only time she ever mentions it is when she is at her most bizarre, in her red habit with her white winged cap or in her purple sequined costume at Jezebel's. But we know a great deal about her mind and feelings and her sense of wry humour. We also know that she is a highly selfconscious narrator and that she is aware of contradictions and failings within herself She knows that she lacks Moira's flamboyant courage, and she accuses herself of cowardice and unreliability, just as at the end she feels guilty for having betrayed the household who imprisoned her. Yet, despite her own self-doubts, Offred manages to convince us of her integrity. She survives with dignity and she embraces the possibility of her escape with hope. Her narrative remains a witness t o the freedom and resilience of the human spirit. Offred and Moira are the two main examples of feminist positions in the novel (unlike the older women Serena Joy and the Aunts). Yet they are very different from each other, for Offred's resistance always works surreptitiously and through compromise, whereas Moira is more confrontational. Offred represents Atwood's version of a moderate heterosexual feminism in contrast to Moira's separatist feminism. MOIRA Moira, always known by her own name because she never becomes a Handmaid, is strongly individual, although she is also a type of the female rebel. This is a position which can be viewed in two ways, and both of them are illustrated here. From Offred's point of view Moira is the embodiment of female heroism, though from the Gileadean authorities' point of view she is a ‘loose woman', a criminal element, and her story follows the conventional fictional pattern of such rebellious figures: when Offred last sees her she is working as a prostitute in Jezebel's. Even here, Moira manages to express her dissidence, for she remains a declared lesbian and her costume is a deliberate travesty of feminine sexual allure, as Offred notices when she meets her again on her night out with the Commander. Moira's own wryly comic comment on it is, ‘I guess they thought it was me' (Chapter 38). Moira, too, is a survivor of the American permissive society, a trendy college student who wears purple overalls and leaves her unfinished paper on ‘Date Rape' to go for a beer. Much more astute about sexual politics than Offred, she is an activist in the Gay Rights movement, working for a women's collective at the time of the Gilead coup. When she is brought into the Rachel and Leah Centre she is still wearing jeans and declares that the place is a ‘loony bin' (Chapter 13). She cannot be terrorised into even outward conformity-, instead she tries to escape and succeeds on her second attempt. She manages to escape disguised as an Aunt. Always funny and ironic, to the other women at the Centre she represents all that they would like to do but would not dare: ‘Moira was our fantasy. We hugged her to us, she was with us in secret, a giggle; she was lava beneath the crust of daily life. In the light of Moira, the Aunts were less fearsome and more absurd' (Chapter 22). Moira continues to surface in Offred's narrative, bobbing up in memory, until her devastatingly fimny final appearance at Jezebel's. Behind the comedy, however, is the fact that Moira has not managed to escape after all, and as an unregenerate has been consigned to the brothel, where she tells Offred that she has ‘three or four good years' ahead of her, drinkingand smoking as a Jezebel hostess, before she is sent to the Colonies. Our last view of Moira is on that evening: ‘I'd like her to end with something daring and spectacular, some outrage, something that would befit her. But as far as I know that didn't happen' (Chapter 38). Moira is one of the spirited feminist heroines, like Offred's mother and Offred's predecessor in the Commander's house who left the message scrawled in the closet. The sad fact is these women do get sent off to the Colonies or commit suicide, which Offred herself refuses to do. Offred and Moira are both feminist heroines, showing women's energetic resistance to the Gilead system, but there are no winners. Neither compromise nor rebellion wins freedom, though it is likely that Offred is rescued by Nick. However, their value lies in their speaking out against the imposition of silence, challenging tyranny and oppression. Their stories highlight the actions of two individual women whose very different private assertions become exemplary or symbolic. Their voices survive as images of hope and defiance to be vindicated by history. SERENA JOY Serena Joy, the Commander's Wife, is the most powerful female presence in Offred's daily life in Gilead, and as Offred has plenty of opportunity to observe her at close quarters she appears in the narrative as more than just a member of a class in the hierarchy of Gileadean women. As an elderly childless woman she has to agree to the grotesque system of polygamy practised in Gilead and to shelter a Handmaid in her home, but it is plain that she resents this arrangement keenly as a violation of her marriage, and a continual reminder of her own crippled condition and fading feminine charms. The irony of the situation is made clear when Offred remembers Serena Joys past history, first as a child singing star on a gospel television show, and later as a media personality speaking up for ultra-conservative domestic policies and the sanctity of the home. Now, as Offred maliciously remarks, Serena is trapped in the very ideology on which she had based her popularity: ‘She stays in her home, but it doesn't seem to agree with her' (Chapter 8). Serena's present life is a parody of the Virtuous Woman: her only place of power is her own living room, she is estranged from her husband, jealous of her Handmaid, and has nothing to do except knit scarves for soldiers and gossip with her cronies or listen to her young voice on the gramophone. The only space for Serena's self-expression is her garden, and even that she cannot tend without the help of her husband's chauffeur. If flowers are important to Offred, so are they too to Serena, and she often sits alone in her ‘subversive garden', knitting or smoking. To see the world from Serena's perspective is to shift the emphasis of Offred's narrative, for these two women might be seen not as opposites but as doubles. They both want a child, and the attention of them both focuses on the Commander of whom Serena is very possessive: ‘As for my husband, she said, he's just that. My husband. I want that to be perfectly clear. Till death do us part. It's final' (Chapter 3). Offred seldom knows what Serena is thinking, though there are indications of her attitudes and tastes in the jewels and the perfume she wears and in the furnishings of her house: ‘hard lust for quality, soft sentimental cravings' as Offred uncharitably puts it (Chapter 14). There is also evidence of a certain toughness in Serena's cigarette-smoking and her use of slang, not to mention her suggestion that Offred, unknown to the Commander, should sleep with Nick in order to conceive the child she is supposed to produce: ‘She's actually smiling, coquettishly even; there's a hint of her former small-screen mannequin's allure, flickering over her face like momentary static' (Chapter 31). But Serena has her revenges too: she has deliberately withheld from Offred the news of her lost daughter and her photograph which Offred has been longing for. By a curious twist, Serena occupies the role of the wife in a very conventional plot about marital infidelity, as well as in the privileged Gileadean sense. She is one of the points in the triangular relationship which develops between Offred and the Commander: ‘The fact is that I'm his mistress †¦ Sometimes I think she knows' (Chapter 26). Actually, she does not know until she finds the purple costume and the lipstick on her cloak. It is a clich6-like situation, but Serena's own pain of loss goes beyond this conventional pattern: †¦ Behind my back,† she says. â€Å"You could have left me something.†Ã¢â‚¬Ëœ Offred wonders, ‘Does she love him, after all?' (Chapter 45). Serena is still there in her house, standing anxiously beside the Commander at the end as Offred is led out through the door. Her farewell to Offred is wifely in an old-fashioned sense which has none of the pieties of Gilead: †¦ Bitch,† she says. â€Å"After all he did for you (Chapter 46). THE OTHER COMMANDERS' WIVES These merely exist as a gaggle of gossips in blue, for Offred knows nothing of their lives apart from overhearing snatches of their conversation at Birth Days, Prayvaganzas or social visits, when they make scandalous comments about their Handmaids. Only the Wife of Warren achieves a moment of grotesque individuality when she is seen sitting on the Birth Stool behind Janine, ‘wearing white cotton socks, and bedroom slippers, blue ones made of fuzzy material, like toilet-seat covers' (Chapter 21). There is also one other unfortunate Wife who is hanged at the Salvaging, but Offred does not know what her crime was. Was it murder? Was it adultery? ‘It could always be that. Or attempted escape' (Chapter 42). THE AUNTS Like the Wives, the Marthas, the Econowives and most of the Handmaids, these are presented as members of a class or group, every group representing a different female role within Gilead. With their names derived from preGileadean women's products, the Aunts are the older women who act as female collaborators on the orders of the patriarchy to train and police Handmaids. They are a paramilitary organisation, as is signified by their khaki uniforms and their cattle prods, and, as propagandists of the regime, they tell distorted tales of women's lives in the pre-Gileadean past. The villainesses of the novel, they are responsible for the most gruesome cruelties, like the female Salvagings and the Particicutions, as well as for individual punishments at the Rachel and Leah Centre. Only Aunt Lydia is individuated, and that is by her peculiar viciousness masquerading under a genteel feminine exterior: ‘Aunt Lydia thought she was very good at feeling f6r other people' (Chapter 8). A particularly sadistic tormentor, Aunt Lydia is an awful warning that a women's culture is no guarantee of sisterhood as Offred's mother's generation of feminists had optimistically assumed, but that it is also necessary to take account of some women's pathological inclinations towards violence and vindictiveness. OFGLEN AND OFWARREN Only two of the Handmaids, Ofglen and Ofwarren Ganine), emerge as individuals, one because of her courage and rebelliousness and the other because she is the conventional female victim figure. Both are casualties of the Gileadean system. Ofglen has no past life that Offred knows about, but she does have a secret life as a member of the Mayday resistance movement which she confides to Offred after weeks as her shopping partner. There is nothing exceptional about her appearance except her mechanical quality which Offred notices, ‘as if she's voice- activated, as if she's on little oiled wheels' (Chapter 8). Offred is proved right in her suspicions, for under the disguise of Handmaid, Ofglen is a sturdy resistance fighter. She identifies the alleged rapist as ‘one of ours' and knocks him out before the horrible Particicution begins. She also dies as a fighter, preferring to commit suicide when she sees the black truck coming rather than betray her friends under torture. Offred learns this from her replacement, the ‘new, treacherous Ofglen', who whispers the news to her on their shopping expedition. Janine is a female victim in both her lives: before Gilead when she worked as a waitress and was raped by a gang of thugs, then as a Handmaid. At the Rachel and Leah Centre she is a craven figure on the edge of nervous collapse, and consequently one of Aunt Lydia's pets. Though she has her moment of triumph as the ‘vastly pregnant' Handmaid Ofwarren in Chapter 5, she is also a victim of the system with which she has tried so hard to curry favour. Even at the Birth Day she is neglected as soon as the baby is born and left ‘crying helplessly, burnt-out miserable tears' when her baby is taken away and given to the Wife (Chapter 21). There is no reward for Janine. Her baby is declared an Unbaby and destroyed because it is deformed; Janine becomes a pale shadow overwhelmed with guilt; finally, after the Particicution, when Offred sees her again, she has slipped over into madness. OFFRED'S MOTHER Offred's mother and her life belong to the history of feminism which is being recorded in this novel, for she joined the Women's Liberation Movement of the 1960s and 1970s, campaigning for women's sexual and social freedom. As an older woman she continued to be a political activist, and at the time of the Gileadean take-over she disappeared. Only much later does Offred learn that she has been condemned as an Unwoman and sent to the Colonies. Like Moira, and possessing the same kind of energy, Offred's mother resists classification. In an odd way she even resists being dead, for she makes two startling appearances in the present, both times on film at the Rachel and Leah Centre. On one occasion Offred is shocked to see her as a young woman marching toward her in a pro-abortion march, and later Moira reports seeing her as an old woman working as slave labour in the Colonies. Offred's mother is, however, more than a feminist icon. She haunts her daughter's memory, and gradually Offred comes to understand her mother's independence of mind and to admire her courage. Her mother is evoked in a series of kaleidoscopic images: at a feminist pornographic book burning (Chapter 7), with a bruised face after an abortion riot (Chapter 28), and as an elderly woman proudly defending her position as a single parent to Offred's husband, while accusing her daughter of naivet6 and political irresponsibility. It is her jaunty language which Offred remembers as distinguishing her mother: A man is just a woman's strategy for making other women. Not that your father wasn't a nice guy and all, but he wasn't up to fatherhood. Not that I expected it of him. Just do the job, then you can bugger off, 1 said, I make a decent salary, I can afford daycare. So he went to the coast and sent Christmas cards. He had beautiful blue eyes though. (Chapter 20) An embarrassing but heroic figure, this is the woman whom her daughter misses when it is all too late, though Offred continues her dialogue with her mother in her own mind as a way of keeping her alive: ‘Mother, I think. Wherever you may be. Can you hear me? You wanted a women's culture. Well, now there is one. It isn't what you meant, but it exists. Be thankful for small mercies' (Chapter 21). Finally Offred tries to lay her mother to rest, but without success: ‘I've mourned for her already. But I will do it again, and again' (Chapter 39). Deprived of the freedoms which her mother fought for, Offred learns to admire her mother's courage and to value her memory as a vital link with her own lost identity. Her elegy to her mother underlines the thematic motif of Missing Persons, and particularly lost mothers and daughters, which runs through the novel. MALE CHARACTERS The few male characters in this novel seem little more than functionaries of the patriarchal state or functional to the workings of the plot. Most of them have no names but only group identities like ‘Angels' or ‘Eyes' or ‘the doctor', while Professor Pieixoto is a satirical sketch of a male academic. Only three male characters are given any individuating characteristics. They are Offred's Commander, her lover Nick, and her absent, vanished husband Luke. THE COMMANDER The Commander is the most powerful authority figure in Offred's world. He is a high-ranking government official, and he is head of the household to which Offred is assigned. It is his first name which she takes, though whether as a slave or as a parody of the marriage service is never made clear. Yet he is an ambiguous figure, substantial but shadowy, whose motivations, like his career in Gilead, remain unclear to Offred; even in the ‘Historical Notes' his identity remains uncertain. As a Commander he wears a black uniform and is driven in a prestige car, a Whirlwind. He is an elderly man with ‘straight neatly brushed silver hair' and a moustache and blue eyes. He is slightly stooped and his manner is mild (Chapter 15). As Offred observes him with his gold-rimmed glasses on his nose reading from the Bible before the monthly Ceremony, she thinks he looks ‘like a midwestern bank president', an astute judgement, as he tells her much later that before Gilead he was in market research (Chapter 29). The image he presents is that of male power, isolated and benignly indifferent to domestic matters, which include his Wife and his Handmaid. This is, however, not entirely true, for Offred has seen him earlier on the day of the Ceremony, a figure lurking in the shadows outside her room, who tried to peer at her as she passed: ‘Something has been shown to me, but what is it?' (Chapter 8). It is only after the official Ceremony, performed by the Commander in full dress uniform and with his eyes shut, that Offred has the chance to get to know him a little and his stereotypical male power image begins to break down. It is he who asks her to visit him ‘after hours' in his study, for he is a lonely man who desires friendship and intimacy with his Handmaid and not the serviceable monthly sex for which she has been allocated to him. In his Bluebeard's chamber, what he has to offer is not ‘kinky sex' but Scrabble games and an appearance of ‘normal life', with conversation and books and magazines, all of which he knows are forbidden to Handmaids. On his own private territory the Commander is an old-fashioned gentleman with an attractive sheepish smile, who treats Offred in a genially patronising way and gradually becomes quite fond of her. ‘In fact he is positively daddyish' (Chapter 29). He seems to have the ability to compartmentalise his life (in a w ay that Offred cannot manage) so that he can separate her official role as sexual slave from her unofficial role as his companion. In many ways the Commander's motives and needs remain obscure to Offred, though they do manage to develop an amiable relationship, which from one point of view is bizarre and from another is entirely banal: ‘The fact is that I'm his mistress' (Chapter 26). Yet their relationship is still a game of sexual power politics in which the Commander holds most of the cards, as Offred never allows herself to forget. For all his gallantry, he remains totally trapped in traditional patriarchal assumptions, believing that these are ‘Nature's norm' (Chapter 34) and allow exploitation of women, as his comments and conduct at Jezebel's suggest. Their private sexual encounter there ends in ‘futility and bathos' and is strongly contrasted with Offred's meeting with Nick later that same evening. As she leaves his house for the last time, Offred sees the Commander standing at the living-room door, looking old, worried and helpless. Possibly he is expecting his own downfall, for nobody is invulnerable in Gilead. Offred has her revenge, for the balance of power between them has shifted: ‘Possibly he will be a security risk, now. I am above him, looking down; he is shrinking' (Chapter 46). The academics go to some trouble later to establish the Commander's identity: he may have been ‘Frederick R. Waterford' or ‘B. Frederick Judd'. Waterford, it is revealed, had a background in market research (which seems most likely), while the more sinister Judd was a military strategist who worked for the CIA. Both of them ‘met their ends, probably soon after the events our author describes'. NICK Nick is presented as the central figure of Offred's romantic fantasy, for he is the mysterious dark stranger who is her rescuer through love. He also hasa place in her real world, of course, as the Commander's chauffeur and the Commander's Wife's gardener. He ‘has a French face, lean, whimsical, all planes and angles, with creases around the mouth where he smiles' (Chapter 4) and a general air of irreverence, wearing his cap at a jaunty angle, whistling while he polishes the car, and winking at Offred the first day he sees her. At the household prayers he presses his foot against hers, and she feels a surge of sensual warmth which she dare not acknowledge. In the daytime he is rather a comic figure but at night he is transformed into Offred's romantic lover, the embodiment of sexual desire. This transformation is made all the more piquant because he is always acting under orders, either as the Commander's messenger or as the lover chosen for Offred by the Commander's Wife. From their first unexpected encounter in the dark living room (Chapter 17) theirs is a silent exchange which carries an unmistakable erotic charge. It is Nicles hands which make his declaration: ‘His fingers move, feeling my arm under the night-gown sleeve, as if his hand won't listen to reason. It's so good, to be touched by someone, to be felt so greedily, to feel so greedy (Chapter 17). As a subordinate, Nick, like Offred, has to remain passive until ordered by the Commander's Wife to go to bed with Offred. On that occasion his attitude is not directly described but veiled by Offred's three different versions of that meeting. Certainly she falls in love with him, and in defiance of danger she returns many times to his room across the dark lawn on her own. Towards the end, she tells him that she is pregnant. Nevertheless, her description of their love-making is suggestive rather than explicitly erotic, and Nick tends to remain a mysterious figure. Even at the end when he appears with the Eyes to take her away, Offred really knows so little about him that she almost accuses him of having betrayed her, until he calls her by her real name and begs her to trust him. Ever elusive, he is the only member of the household not there to see her depart. We want to believe that Nick was in love with Offred, and we must assume from the ‘Historical Notes' that he did rescue her and that he was a member of Mayday resistance. However, as a character he is very lightly sketched and it is his function as romantic lover which is most significant. LUKE Luke, Offred's husband, is one of the Missing Persons in this novel. Probably dead before the narrative begins, he haunts Offred's memory until he fades like a ghost as her love affair with Nick develops. He is the one person Offred leaves out when she tells the story of her past life to Nick (Chapter 41), though she is still worrying about him at the end (Chapter 44). He is also the most fragmented character in the text, appearing briefly as a name in Chapter 2, and then gradually taking on an identity as Offred's lover, husband and the father of her child. He is a figure whose life story stopped for Offred at a traumatic point in the past: ‘Stopped dead in time, in mid-air, among the trees back there, in the act of falling' (Chapter 35). Through her reconstruction Luke appears as a late twentieth-century ‘liberated man', full of courage and humour and remembered by Offred entirely in his domestic relations with her. He is an older man who has been married before, so that there is an ironic parallel drawn between him and the Commander. Offred remembers their affair when she goes with the Commander to Jezebel's, for it is the hotel where she and Luke used to go (Chapter 37). She retains the memory of a strong loving partner, and her detailed recollections are of Luke cooking and joking with her mother, of lying in bed with her before their daughter was born, of collecting their daughter from school. We never know what Luke's job was, but Offred recalls his supportive behaviour when she lost her job at the time of the Gileadean take-over and her resentment against him for being a man (Chapter 28). Luke figures insistently in Offred's recurring nightmare of their failed escape attempt, not only in that final image of him lying shot face down in the snow, but also in her recollections of his careful preparations and his coolly courageous attempt to take his family to freedom over the Canadian border. His afterlife in the novel is very much the result of Offred's anxieties about what might have happened to him. Is he dead, or in prison? Did he escape? Will he send her a message and help her to escape back into their old family life? ‘It's this message, which may never arrive, that keeps me alive. I believe in the message' (Chapter 18). It is also her hope of this message which keeps the image of Luke alive. The anxieties we may feel for his fate are projections of Offred's own.

Brazil Imaginative Portrait of a Futuristic Socio

Brazil Imaginative Portrait of a Futuristic Socio Brazil is one of the best works created by Terry Gilliam in 1985. This movie is one of those masterpieces, which may be comprehensible not by every viewer, but if a person gets a clear understanding of the plot, the results and impression will be amazing. Brazil is a cooperative work of Gilliam with Charles McKeown and Tom Stoppard. Advertising We will write a custom essay sample on Brazil: Imaginative Portrait of a Futuristic Socio-Political Structure specifically for you for only $16.05 $11/page Learn More These people create a cult-favorite movie about the future society tied with one of so-called red tapes and bureaucracy and about a man, who decides to fight against the existed programs and society in order to be free and be able to love. In the movie Brazil, Terry Gilliam tries to present a magnificent imaginative portrait of future society with wrong socio-political structure and the consequences, which wait for any person, who will try to break down this system and be out of it. In this movie, it is rather easy to trace the peculiar features of Kafka’s, Orwell’s, and Kubrick’s stories. Their ideas about possible future and the society that is under control of a certain group of people captivate lots of readers. People always want to know what is waiting for them in future. Those writers, who make an attempt to look a bit ahead of time, are usually criticized by lots of people. To my mind, many people prefer to criticize such attempts because of their disabilities to use their imagination and present possible development of the events by themselves. Brazil displays Gilliam’s really wild and vivid imagination and wittiness. Future socio-political system is perfect and weak at the same time. The life of each inhabitant is under control of one concrete system. When something goes wrong, the government can easily fix the mistake and not bother the rest of the population. One day, the governmental mistake leads to a death of an innocent person. When certain people, such as Sam Lowry, get to know about this mistake, they cannot believe that such mishap and the innocent death should be forgotten. Such mistakes cause lots of misunderstandings and desire to get out of this terrible system that is not already as perfect as it seemed before. Unfortunately, the ruling system is much more powerful than a single person, and Lowry’s objections do not count. In order to save the existed socio-political structure, it is necessary to liquidate anyone, who can put it in jeopardy. Cinematic imagery, presented in the movie, cannot leave any viewer indifferent to the methods used against people. Mysterious disappearance of Harry Tuttle, Sam’s presence at funerals, and all his dreams – this is what makes the movie really futuristic and unforgettable.Advertising Looking for essay on social sciences? Let's see if we can help you! Get your first paper with 15% OFF Learn More People have the right to dream, and the society usually tries to deprive them from such an opportunity. Terry Gilliam creates one of the possible options of our future, where bureaucratic government and machines may control every person’s life. Is it possible to trace the trends, described in Brazil, nowadays? Of course, it is possible. Nowadays, people are so anxious about their rights and freedom, that they can hardly notice how the government tries to control their lives. In order to be hired and have an opportunity to earn enough money for living, people have to pass numerous tests. In order to leave a country for some time, it is necessary to pass numerous controls and correspond to all the requirements. In fact, there are lots of similar cases, when human destiny is in the hands of a certain system and the government. In Brazil, Terry Gilliam introduces his own vision of the futuristic socio-political structure, where everything is under control of government. Nowadays, our society is on its way to be under control of a certain system, and it is high time to decide whether we are ready to be under control or we should try to fight and protect our interests and the interests of our generations.

Macular Degeneration essays

Macular Degeneration essays Macular Degeneration is a problem in the part of the eye that controls your sharpest central vision. It is a group of diseases that result in a loss of detailed vision. The brain will not just leave the spot empty, so it learns to fill it in with spotty macular cell damage. People most of the time don't tell their doctors (opthalmologists) about it until it is well in advance. There are two types of Macular Degeneration. Juvenile Macular Degeneration affects the central vision in young children. This takes place in the macula, or the central region of the retina. The retina is where we are able to read and to distinguish colors. The main symptoms of Juvenile Macular Degeneration is a reduction in the vision. Adult Macular Degeneration is usually said to affect only those over 55 years of age. This type is found in the photosensitive cells in your retina. This includes those that control critical colors and fine detail vision. These are in the center area in the eye called the macula. The many symptoms of Macular Degeneration vary. Sometimes only one eye will lose it's vision, while the other eye is perfectly normal. There is a decrease of visual acuity. This means the macula doesn't provide the sharpest vision. The surrounding of the retina can be used, but it is not as sensitive as the macula. There is also visual distortion. The damage to the retina may cause wavy vision because of the stretching. Some other symptoms are blindspots, eccentric viewing, photostress, photophobia, better vision at night, color vision, peripheral vision sensitivity, hallucinations, and depth perceptions. These are just some of the things that Macular Degeneration affects. Macular Degeneration is hard to recognize at the first, but if it affects both eyes than it becomes a problem. Reading and close up work can be very difficult. Few people realize that Macular Degeneration is an incurable eye disease and is the leading ...

Quantitative tools Essay Example | Topics and Well Written Essays - 500 words

Quantitative tools - Essay Example This clearly shows that these airline staffs are not motivated at their work place. In psychology, motivation is refers to the initiation, direction, intensity and persistence of behavior. It is a temporal and dynamic state that should not be confused with personality or emotion. Motivation is having the encouragement to do something. A motivated person can be reaching for a long-term goal. (Deci and Ryan, 1985) According to Abraham Maslow's hierarchy of human needs theory, the most widely discussed theories of motivation, human beings have wants and desires which influence their behavior and only unsatisfied needs can influence behavior, satisfied needs can not. For this case, the pilot and the flight attendants are avoiding to receive the scheduling office's call to fly on holiday since they are dissatisfied with their job and do not want to be given any duty. Maslow says that people are motivated by hierarchy of needs, which includes money and for this case the airline staff are also raising concern that they are not remunerated properly. In the case of the pilots and the flight attendants, the job needs to be redesign which requires specifying the tasks that make up a job for an individual or group.

Recruitment and Staffing Proposal Coursework Example | Topics and Well Written Essays - 1000 words - 1

Recruitment and Staffing Proposal - Coursework Example I will also suggest three detailed selection approaches that the company may consider when performing a cost-benefit analysis for each process. My final duty will be to recommend to you the best method that suits the business and solves its human resource challenges. Highly qualified staff is fundamental to ensure high performance of any organization (Joseph, n.d). However, finding the best employees depends on the methods of recruitment adopted by the firm. The problem of staffing proves even more challenging in this era than what it was in the past because of the shifting dynamism in employment patterns. Challenges also emanate in relation to matching organizational performance with the demand levels of the institutions (Joseph, n.d). Most of the problems of dynamism in employment result from high levels of competition in the job market. There is, therefore, a requirement that businesses consider adopting the best recruitment approaches, which will ensure the best employees in management positions. There are varied methods used when recruiting employees, which depend mostly on organizational needs. One such method is gamification, which involves posting of virtual problems and inviting potential candidates to solve (DeMarco, 2014). The method borrows from graphical computer games, which may serve as both an advertisement and staffing plan. The method’s success may result from the fact that it targets a particular job skill. The cost-benefit analysis for this rationale gives the company a challenge of designing skill-specific games for use in recruitment. Using the same approach may select the best candidates for the required skills and at the same time, introduce as particular product or service of the firm as an advert. Another approach is the Go Undercover Technique, which gives the selected candidates time long enough to prove their worth (DeMarco, 2014). Such a method is a matter of chance,