What Is Music For Me Essays - Mase, Bart Marantz,

What Is Music For Me Why is Music important is to me Music is the third most important thing to me in life outside of god and my mom. Music keeps me balanced. Every since I was a baby music was played around me. Jazz was always played around me to soothe me. There would be times when I would be really hyper acting like I couldnt sleep, my mom would put on some jazz and I would be fine. A lot of times I can have a long chore and I say to my self how can I accomplish this, Knowing it will take me forever. So Ill put on some jazz music and in twenty-five minutes Im finished. A lot of times I can have a long tiring day and I want something that will soothe me. And jazz music does it every time. Every time I through on a tape within one minute I forget what I was made about or whats bothering me and I either fall asleep or I start my next chore and move on to something else I had planned on accomplishing (Carlos P.46). People ask me whats the big deal with me and music, and I tell them plain and simple. When I listen to music I let the song drown my problem. If the song has a positive message then I dont have a problem listening to it. I cant listen to a song thats talking about killing people especially after someone has just made me mad. Of-course in music there is a lot more than just the song that A listen to I listens to the beat. I will listen to instrumentals, but if there is a guy raping to swing music then that will totally change the way I think of rap. Im not saying that a person cant rap to swing music but if you listen to music for fifteen years with a similar beat or rhythm then when you hear it with something else even though its still music it just wont sound right. The reason I chose rap was because I had this disc Double Up by Mase. The chorus of the song said if you love me I love you if you have me Ill hate you if you ride for me I ride for you, but if you [emailprotected] me Ill [emailprotected] you(Mase) I truly believe in the golden rule. I also believe in helping others, and I totally believe that in some ways music helps us. For instance, when youre going throw trials and tribulations you dont want someone telling that you cant make it, or some music playing that just rubs your problems in your face. You want some soothing music that will at least bring some balance back into your life. Every one was Lucas 2 born to be free and music is a style of expression. You can either express the way you feel or and get out of that trap or you can just drown in your problems playing sorry blues. All my life I worked with music and I realize that music is a difficult but beautiful thing that people should take more time to appreciate. And in life theirs nothing I can relate to more than music. Some doctors and lawyers cant help me but music can. Bibliography Carls,Avery. What music means to me.Vibe.2000 Mase,Sean. The vibes I get from music.Source.1999 Music Essays

Free Essays on Emerson and Transcendentalism

were infallible. One can see this in the following passage: We lie in the lap of immense intelligence, which makes us receivers of its truth and organ of its activity. When we discern justice, when we discern truth, we do nothing by ourselves, but allow a passage to its beams. If we ask whence this comes, if we seek to pry into the soul that causes, all philosophy is at fault. Its presence or its absence is all we can affirm. (Self-Reliance 1163) In the preceding passage reference to the divinity of humanity is made when he states â€Å"When we discern justice, we discern truth†. Another â€Å"truth† he discusses is the divinity of nature and mankind’s oneness with it. Ralph Waldo Emerson believes that there is Divinity in Nature, and everything makes a circle back to a unity with the universe. The universe is the externsation of the soul. Whereve... Free Essays on Emerson and Transcendentalism Free Essays on Emerson and Transcendentalism Emerson and Transcendentalism In The Pulley George Herbert stated â€Å"He would adore my gifts instead of me; And rest in Nature, not the God of Nature†. Quite often people make this mistake of not seeing the forest through the trees. Be that as it may, there are many that only see one aspect of the whole scheme and focus all of their lives and energy into that feature. Ralph Waldo Emerson is one of these, devoting his existence to the concept there is divinity in nature and humanity. Emerson exemplifies these points in his writings â€Å"The Poet† and â€Å"Self-Reliance†. Ralph Waldo Emerson’s beliefs are grouped in a category called transcendentality. This idea started a philosophical and literary movement that flourished in New England from about 1836 to 1860. It began in a small group of intellectuals who were debating against the orthodoxy of Calvinism and the rationalism of the Unitarian Church, developing their own faith centering on the divinity of humanity and the natural world. Because he surrounded himself with intellectuals he started to believe that his words were infallible. One can see this in the following passage: We lie in the lap of immense intelligence, which makes us receivers of its truth and organ of its activity. When we discern justice, when we discern truth, we do nothing by ourselves, but allow a passage to its beams. If we ask whence this comes, if we seek to pry into the soul that causes, all philosophy is at fault. Its presence or its absence is all we can affirm. (Self-Reliance 1163) In the preceding passage reference to the divinity of humanity is made when he states â€Å"When we discern justice, we discern truth†. Another â€Å"truth† he discusses is the divinity of nature and mankind’s oneness with it. Ralph Waldo Emerson believes that there is Divinity in Nature, and everything makes a circle back to a unity with the universe. The universe is the externsation of the soul. Whereve...

HIPPA Compliance Research Paper Example | Topics and Well Written Essays - 750 words

HIPPA Compliance - Research Paper Example It is evidently clear from the discussion that HIPAA Security Rule assigns the control and monitoring over Administrative Safeguards to a security officer, who responsibility is to develop and implement the policies and procedures (gap analysis, logs audit, etc). In addition, this measure is partially governed by  § 164.312 (a) of Security Rule, Technical Safeguards, that obligates entities to establish technical policies that grant access to electronic data only to authorized people and software. The second corrective action offered by Providence Health and Services which is to be implemented to improve off-site transport and storage of electronic data falls under  § 164.310 of Security Rule, Physical Safeguards, particularly  § 164.310 (d) containing procedures on media and hardware removal and transportation, and  § 164.310 (b and c), specifying workstations use and security, including physical safeguards for all workstations. Workstation access to information is to be lim ited strictly to the job description. Moreover, the use and disposal of various storage devices, such as disks, tapes, text messaging and camera cell devices must be documented. The third corrective step by Providence Health and Services, involving workforce training of the safeguards, falls under  § 164.308 (5), Administrative safeguards, which cover an implementation of a security awareness and training programs, including security reminders and updates, methods of protection from malicious software, login monitoring and password management. The training programs aim to stimulate awareness about the vulnerability of data within the electronic system.

International Trade in a Global Village Research Paper

International Trade in a Global Village - Research Paper Example rks and innovations in the transport industry have facilitated faster and efficient interaction between world citizens hence allowing a clean environment for international trade to take place. This paper is a critical evaluation on globalization and its impacts on the contemporary society. Globalization has transformed the world, virtually from a planet of 7 continents into a global village. This has been made possible by inventions in communication technology such as internet, satellites, telephony among others which have created a platform for real time exchange of data and information. Through the internet, for example, it has become possible to chat with people in distant nations, through platforms such as Skype, facebook, Twitter, video conference among others. Today, one does not need to travel to Japan to buy and import a motor vehicle. E-commerce utilizes the internet whereby traders are facilitated with a platform to host websites on the World Wide Web, which can be accessed by consumers from any corner of the world. With a click of a mouse, one can negotiate, order a vehicle or any other merchandize, pay through credit card or any other means such as wire transfer, and wait for the items to be delivered to his doorstep (Tomlinson, 2011). Indeed, reports indi cate that business transactions over the internet was valued as $16 trillion as at 2012. The invention of aircrafts, trains, ships and motor vehicles made it possible to travel from one nation to another and continent to continent in search of jobs, markets and suppliers, thereby enhancing one on one interaction of individuals from different cultures and backgrounds (Singer, 2013). Globalization has been of great economic benefit to world economies. Numerous multinational companies have invested heavily in subsidiaries around the world where they employ locals and engage in corporate social responsibility, especially in third world countries, which have little to invest in infrastructure, schools and

Marketing research and market evaluation Essay Example | Topics and Well Written Essays - 3000 words

Marketing research and market evaluation - Essay Example An online focus group is one type of research method, particularly falling under focus groups which makes use of the internet, thus people do not meet physically but are able to exchange ideas and converse through conferencing software (Wikimedia Foundation, Inc.). In particular, this is how it is done: "A moderator invites prescreened, qualified respondents who represent the target of interest to log on to conferencing software at a pre-arranged time and to take part in an online focus group. Some researchers will offer incentives for participatingbut this raises a number of ethical questions. Discussions generally last one hour to 90 minutes. The moderator guides the discussion using a combination of predetermined questions and unscripted probes. In the best discussions, as with face to face groups, respondents interact with each other as well as the moderator in real time to generate deeper insights about the topic" (Wikimedia Foundation, Inc.). Some consider online focus group as a breakthrough in conducting market research and is found to be an effective way to lead the select groups to a more in-depth discussion about the topic on hand (BioInformatics, LLC ). This is so as both clients and respondent participants can comfortably participate from their own office or home. This then allows for a greater number of participants and extends the geographic scope of possible participants world wide (Insights Online). Online focus group is a relatively new way of conducting market research. It is one of the innovations brought by an increase in the use of technology. The online focus group is seen to be an alternative to the traditional face-to-face focus group done for the same purpose of market research. "Online focus groups are appropriate for consumer research, business to business research and political research. Interacting over the web avoids a significant amount of travel expense. It allows respondents from all over the world to gather, electronically for a more representative sample. Often respondents open up more online than they would in person, which is valuable for sensitive subjects. Like in-person focus groups, online groups are usually limited to 8-10 participants" (Wikimedia Foundation, Inc.). Basically the methodology observed is this: clients are able to observe the focus group while it is in session. They can also communicate with the moderator; therefore can influence the direction to which the discussion leads without necessarily interrupting the session. Since participants type their own responses, there is no room transcription errors are completely avoided. (Insights Online). Online Focus Groups are conducted in the following step-by-step process: 1. Develop screener and discussion guide. 2. Program screener into HTML/CGI format. (if neccessary) 3. Screen/recruit participants for desired qualifications. (if neccessary) 4. Moderate the Online Focus Group session with client observers. 5. Provide transcript. (normally within 24 hours after group session) 6. Provide topline report. (normally within one week after closing survey) 7. Compile final written or oral presentation. Source: Insights Online Some view online focus group as advantageous compared to the more traditional market research methods. In summary, online focus group has the following advantages: Responses are more objective. Respondents participating in online focus

Exploring Surrealism In Fashion Fashion Essay

Exploring Surrealism In Fashion Fashion Essay You only have to take a glance at todays catwalks and fashion magazines to see the unmistakable traits of Surrealism in fashion. How is it then that an art initially composed of concepts and words and subsequently of images generated in the complexities of the intellect and subconscious imagination (Martin 1987, p. 9) would forge such a harmonious relationship with fashion? In a bid to answer this question this thesis will investigate the origins of Surrealism in fashion and its enduring effects on the fashion industry to this day. In order to understand how an ideal founded on political reactions would find its way into the glamour and materialism of fashion, we will firstly begin with a brief analysis of Surrealism and the main ideologies of the movements. This essay will highlight the key steps in the progression of the Surrealist movement from its founding roots through to its manifestation in its most commonly recognised form, art. Upon having completed a review on the key characteristics of Surrealist ideology we will then explore how each of these characteristics has been expressed through fashion. Though surrealisms founding fathers would not have concerned themselves with the attire of their movement, the metaphorical and meaningful attributes of fashion created a natural avenue for the expression of surrealist ideas (Martin 1987). No study on Surrealism in fashion would be complete without mention of its pioneering first lady, Elsa Schiaparelli. This essay will contain a case study on the life and works of Schiaparelli, focusing specifically on how she led the way in merging art with fashion by introducing Surrealist ideas in her designs. Her collaborations with artists such as Salvador Dali, Man Ray and Jean Cocteau shocked the fashion industry with its ingenuity and style. A subsequent case study on Viktor Rolf will examine the contribution of Surrealism in todays fashion industry. Just like their predecessor Schiaparelli, Viktor Rolf are known for their ability to shock, with their extravagant collections and high-concept catwalk shows (Evans Frankel 2008). Though not explicitly billed as Surreal, the flamboyant designs of Viktor Rolf exhibit tell tale characteristics of Surrealist ideas and serve as an ideal example of the height of Surrealisms impact on todays fashion. This study aims to reveal the important role that Surrealism has played on the fashion industry. Both from a historical point of view in the way that it changed the way fashioned was viewed, as well as its continued impact on fashion as a source of inspiration for contemporary designers. The collaboration between artists and designers allowed for fashion to move forward in unprecedented ways, pioneered by the likes of Salvador Dali and Elsa Schiaparelli, and exemplified in todays fashion by the likes of Viktor Rolf. Surrealism Often when we hear the word Surrealism we automatically think of art and conjure up images from Dali and his contemporaries. However, in actual fact there is no such thing as surrealist art. At its true core surrealism is not a matter of aesthetics, but rather a way of thinking, a point of view (Waldberg 1997). It can be summed up quite well by Rimbauds dictum Change life (Levy 1995, p. 5). Surrealism,  through its roots in Dadaism, was a reaction to the philosophy of rationalism, which many felt had caused, through the Industrial Revolution, the disaster of World War I. Tristan Tzara, leader of the  Dada movement, believed that a society that creates the monstrosity of war does not deserve art, so he developed anti-art in a bit to shock society through scandal (Sanchez 2000). Lead by Andre Breton, the participants of the movement were influenced by the works of Sigmund Freund and Carl Jung. The differing interpretations automatism, a term used to describe one of Jungs theories on personal analysis, split the movement into two distinct groups of thought (Sanchez M, 2007, P.49). Some went down the path of abstractionism,  where calligraphy, animation and movement were the key attributes, regardless of the subject. Their belief was that images should not be burdened with meaning. The others however, believed that images could be a link between abstract spiritual realities. Through faithful representation, objects stood as metaphors for an inner reality (Waldberg 1997, p. 9). For the purposes of this thesis, the focus will be on the latter interpretation of automatism in the realm of surrealism as it applies to a subset of artistic expression in the form of fashion design. Surrealism in Fashion Though surrealisms founding fathers would not have concerned themselves with the attire of their movement, the metaphorical and meaningful attributes of fashion created a natural avenue for expression of surrealist ideas (Martin 1987, p. 9). Its appeal to the fashion industry was instantly obvious in the use of ordinary everyday objects and weird landscapes that transferred easily to fabric printing, jewelry,  hats, couture etc, allowing designers the freedom to create art pieces. The amalgamation of surrealism and fashion changed the view of fashion from being disposable and unsubstantial to an art form in its own right (Warburton T, 2008, P. 2). As surrealism evolved into an artistic style through the 1930s and beyond, fashion became one of surrealisms most observable juxtapositions between the ordinary and extraordinary, disfigurement and embellishment, body and concept, pretence and reality. This fascination worked both ways as what covered the body had always been important to the Surrealist  philosophy, in the way that it allowed the imagination to wonder what lay underneath, and this translated easily into wearable garments. The inherent characteristics of fashion offered a natural association to the physical properties of disfigurement that was central to the Surrealist style. Symbolism and Metaphors Fashion and its instruments were at the core of Surrealist metaphor even before Surrealism found its way into fashion. The imaginary of women and beauty has long been a favourite topic for Surrealist artists. Based on the line by French poet Isidore Ducasse, the chance encounter of a sewing machine and an umbrella on a dissecting table, Man Rays photograph of a sewing machine and an umbrella paved the way for the Surrealist study of the sewing machine object as a symbolic metaphor for woman. The sewing machine itself is the primary tool of fashion, and as such came to symbolise women, who at the time were the primary workers in the clothing industry. Therefore since the process is deemed female, so the result fashion is also deemed primarily female. Future Surrealist works would take this idea further such as Joseph Cornells untitled collage depicting a sewing machine producing not only a garment, but the woman within it also (Image 1). The sewing machine was a central metaphor in the Surrealists understanding of beauty within a woman as being composed of clothing and form. Image 1 Joseph Cornell, 1903, Untitled Music was another key imagery in the Surrealists arsenal; in particular musical instruments and their resemblance to the female form. This objectification of women included the idea of women being substitutes for musical instruments. Perhaps one of the most famous of Man Rays photographs Le Violon dIngres (Image 2) fittingly illustrates this concept. This exact imagery has been used many times in fashion from Christian Lacroixs Violin Dress (Image 3) to more recently Viktor Rolfs black violin dress (Image 4). Influenced by Dali and Man Ray themselves, Elsa Schiaparelli also used musical notes and instruments in her designs (Image 5). Image 2 Man Ray, 1924, Le Violon dIngres Image 4 Viktor Rolf, Spring/Summer 2008, Harlequin Collection [Mention mirrors?] Human Form and Parts The mannequins and dress forms of fashion created the ideal playground for the Surrealists appropriation of the human body. The bottle for Elsa Schiaparellis fragrance Shocking adopted the shape of a human torso (Image 6) is a prime example of the Surrealist ideal of the conversion between the living and the inanimate. These surrogates for living figures allowed for greater distortion and display than real models, thus allowing the Surrealist to fully examine the relationship between clothing and the naked body. The Surrealist fascination with parts of the body as symbolic representations is central to the understanding of Surrealist works. To the Surrealist, the eyes represent not only optical vision, but also dreaming, sight, voyeurism, and even blindness. Yves Saint Laurents used this convention in 1980, producing a jacket with emblazoned eyes, Les Yeux dElsa, paying homage to Schiaparelli as the greatest advocate of Surrealist fashion (Image 7). The French designer also used lips, a commonly used decorative device in surreal art, in his Lip Dress; the alignment of the lips with the breasts, creating a distinctive Surrealist touch along with sexual overtones (Image 8). Image 6 Elsa Schiaparelli, 1973, Shocking Perhaps the most imaginative of the abstracted parts are the hands. Used widely by Surrealists in all manner of creative, sexual and functional contexts. Schiaparellis jacket embroidered by Jean Cocteau plays on the functional concept of hands being a natural device for belting around the waist (Image 9). This is also emulated in Francios Lesages Hand Belt (Image 10) and Marc Jacobs lOeil Beaded Dress (Image 11). Likewise, Pierre Cardins leather shoes in the shape of feet draw out the functional characteristics of feet (Image12). Displacement of Objects One of the most common devices of Surrealism is the placement of everyday objects in unusual places. The dysfunction and dislocation of an object allows for a redefining of that object and a friction between the conventional and the subliminal. One obvious method of displacing object is by using it backwards as is the case with the backwards jacket created by Karl Lagerfeld (Image 13), originally pencilled by Elsa Schiaparelli. Viktor Rolf created a similar effect by presenting a whole collection of dresses worn upside down and a show itself that was run completely back to front (Image 14). However, displacement is not confined to within the realm of fashion itself. Objects from one classification can be used within another to create an even more vivid reaction. Dalis fusion of furniture and the human form inspired Schiaparellis design of a desk coat (Image 15) and later on Doline Dritsass Painted-Silk Drawer Dress (Image 16). The use of traditionally non-fashion related objects in fashion is common among contemporary designers. Viktor Rolf have often used objects such as bells, pillows and even spotlights in their designs. Hats have offered some of the most interesting examples of this Surrealist philosophy; from Schiaparellis Dali inspired shoe hat (Image 17), to Karl Lagerfelds mini sofa chair hat (Image 18). The hat is an appropriate agent not only because its function allowed for a seemingly limitless display of dissimilar objects, but it also enabled the ridicule of the hat as a symbolic accessory in culture, ceremony and rank. Image 14 Viktor Rolf, Spring/Summer 2006,Upside Down Collection Nature and Fantasy The natural world itself offered the Surrealist with an array of symbolic objects. Some chose to contort existing symbols and metaphors, such as Rene Magrittes unconventional mermaid (Image 19); while others chose to make up their own eccentric associations, the perfect example being Dalis association of the lobster with female genitalia (Image 20). Dalis obsession with the lobster influenced Schiaparellis legendary lobster dress (Image 21), the painted lobster deliberately placed at the front of the dress over the womans groin area Surrealists had a particular interest in fantasy and the worlds within the imagination They had a fondness of merging things in nature with the human body Looking for objects within nature to symbolise certain things such as sexuality, beauty, metamorphosis Image 19 Rene Magritte, 1934, A Reverse Mermaid Image 20 Salvador Dali Image 21 Elsa Schiaparelli, 1937, Organza Dress with Painted Lobster Surrealism in the Fashion Industry Throughout the 1930s and 40s major Surrealist figures entered the realm of fashion, fashion advertising and shop front displays. Spurned by the first generation of pure Surrealists they sought a channel to continue their exploration into the reconciliation of revolutionary art and everyday realities. By enlisting the talents of notable Surrealists such as Jean-Michel Frank, Jean Cocteau, Cecil Beaton and May Ray, fashion magazines became the method for the propagation of Surrealist style. The partial figure, dislocation of body parts and the placement of these parts in unnatural settings were adopted by new fashion imagery in the 1930s. The Surrealists ability to juxtapose the real and the imaginary made it an ideal form for advertising and media expression. Case Study 1: Elsa Schiaparelli For Elsa Schiaparelli, her works were more about the passion and energy than fashion and design itself. What mattered to her more was that moment of inspiration (Martin 1987, p. 197). Born to an intellectual family in Rome, the would-be French designers work is best known for its Surrealist period in the 1930s, yet her work can be traced back to the 1920s during the earlier Futurism movement. Her marriage to Theosophist Wilhelm Wendt de Kerlor in 1914 encouraged a bohemian existence that led to encounters with a broad circle of international avant-garde artists and thinkers including Dada artist Francis Picabia and surrealist photographer, Man Ray. Through collaborative efforts with Surrealist artists like Jean Cocteau, Man Ray, Salvador Dalà ­ and Marcel Vertà ¨s she was able to bring enthusiasm and spontaneity to her collections. The Modernist characteristics and avant garde style of Schiaparellis work must have reflected their interests. Her simple and sharp design aligned well with their modern lifestyle in tailored suits and evening dresses; and her witty persona esteemed her original designs with embroidery and complementary colors fit for an active clientele (Bryan 2010). Schiaparelli was more an artistic designer than a refined designer, always grasping at ideas but not extracting a style from her garments. In her mind, the objectives of both the designer and artist were equal, and that a garment was a place for artistic expression rather than a medium for the couturiers craft (Martin, P.198). The defining characteristic of Schiaparelli was her daringness to dream, enabling her to bring creations of pure, undiluted inspiration to fashion. A keen interest in unusual materials kept Schiaparelli at the forefront of design innovation. She was persistent in accruing new fabrics for fashion, especially manmade fabrics which were intentionally different from natural fabrics. Her use of cellophane like materials played on the illusions of transparency (The Torso, Picture Book, P.65), and hard rendered soft materials challenged the traditional notions of the properties of materials. In one instance Schiaparelli commissioned the creation of a newspaper-clipping fabric, producing a paradox between the expected ruffle and stiffness of newspaper with the softness of fabric. She also designed a number of accessories to complement her garments; costume jewelry, hand bags as bird cages and even necklaces made of insects (Picture from Elsa picture book, P.43). Most of these were created to make a statement rather than to be worn on the street. Not only was Schiaparelli eager to use unconventional materials in her garments, she was also zealous in adopting new fashion innovations of her time. Invented in 1936, the zipper was already being used by Schiaparelli in imaginative ways. Though we may look at a wool dress with a zipper and contrasting colours and see nothing sublimely Surreal about it now, at the time it was considered novel and daringly inventive. In the 1937-38 season, Schiaparelli shocked the world with her Jean Cocteau jacket (Martin, P.100). The jacket presents an illusion of hands clasping the waste complemented by the profile of a figure and a cascade of hair down the side of the arm. In typical Surrealist style it creates a friction between the figure on the jacket and the wearer, frustrating the viewers attempt to place parts of the body in relationship with the figure. That same year also saw the creation of the iconic, Dali inspired lobster dress (Picture book, P.46). An elegant party dress imprinted with a giant lobster. The lobster was a prime example of the Surrealist vocabulary of forms, Dali using it as a substitute for female genitalia and sexuality. Of all of Schiaparellis artistic collaborations, it is the one with Salvador Dali which produced some of the most imaginative and unusual results. In 1936, Schiaparelli and Dali presented suits and jackets with bureau-drawer pockets reflecting themes prevalent in Dalis Art. In that same year, she and Dali created the Shoe Hat (Martin, P.111), a black felt concoction in the shape of a high-heeled shoe with a shocking pink heel. In these designs, Schiaparelli and Dali used the idea of displacement, where an object is selected and then removed from its usual environment. In doing so, they modify the objects original purpose. The same Surrealist idea of displacement can also be seen on another of their collaborations, the Mutton Hat (Example?). With the desk suit, shoe hat and mutton hat, the artist and the designer altered an objects conventional meaning by transforming it into an item of clothing. The beginning of the Second World War put a halt on Schiaparellis work, which after the war would not return to the same level of exuberance as the past. Her glory was brief, but left a lasting impact on both art and fashion. Perhaps Schiaparellis most important legacy was in bringing to fashion the playfulness and sense of anything goes of the Dada and Surrealist movements. She was an artist in the world of couture, not a designer involved in the evolution of designs. A pioneer, whose inspiration and merger of the arts altered clothing with a capacity to be art, enabling it to be more than just apparel. Case Study 2: Viktor Rolf Viktor Rolf started in 1993 with the pairing of two Dutch graduates, Viktor Horsting and Rolf Snoeren. Ever since then they have endeavoured to blur the line between art and fashion. Through their early instillations at European galleries, Viktor Rolf quickly gained a reputation as high-end conceptual designers who created images and ideas rather than commercial fashion (Evans C. and Frankel S. 2008, P10). Though early on they were known for wowing the fashion press but not selling a stitch Viktor Rolf made a move from haute couture to ready-to-wear in 2000. Similar to conceptual art, conceptual fashion involves works in which concepts and ideas take precedence over traditional aesthetic and material concerns. Aside from the garments themselves, conceptual fashion was marked with radically new retail spaces, experimental fashion shows and adventurous publishing ventures. All of which have been exemplified in the works and methods of Viktor Rolf; their upside down store in Milan, performance piece catwalk shows and designs for miro-zines such as Visionaire. For Viktor Rolf, couture is an artistic medium, and a playground for the expression of ideas. They are innovative designers who make exquisite and technically amazing garments, yet at the same time they are commentators of their own industry. This is probably most evident in their early gallery installations, as many were critiques and commentaries on the difficulty of breaking into the fashion industry. The pairs first collection of over-sized dresses expressed their feelings of minuteness in the threatening world of Paris fashion. The internal referencing of the industry itself can also be seen in Viktor Rolfs use of Yves Saint Laurent emblazoned fabrics and paying homage to the iconic silhouettes of Chanel, Balenciaga and Yves Saint Laurent in their Black Hole collection. More recently their The Fashion Show collection presented their view on the importance of the fashion show itself to the industry. The garments for this collection were draped over scaffolding and spot lights w orn by the model in a surreal juxtaposition of hard metallic frames and soft flowing fabric. Having mostly displayed their work through art gallery instillations for the initial few years of their career, Viktor Rolf had their first fashion show during the 1998 Paris Fashion Week, albeit without the endorsement of the Chambre Syndicale de la Haute Couture, the regulators of haute couture. However, even then, their works hardly existed outside the realm of the fashion show. As one magazine put it their gowns tend to go straight from the catwalks into art museums rather than into wardrobes (Tuner J. 2000).The almost virtual nature of their garments prevented them from initially being granted admittance to the Chambre Syndicale. Despite not conforming to the Chambres requirements, it was their success in the fashion press and magazines that eventually gained them the respect and recognition for membership. Through their simulation of an emergence into the fashion industry via media channels, Viktor Rolf were able to do it for real. In doing so, they had also discovered the rising importance of images in an ever more media rich society. They grappled with the philosophy that our perception of reality is shaped by images and that illusion is now a new form of reality; believing that fashion doesnt have to be something that people wear. Fashion is also an image (Gan S. 2001). This ideology is personified in their Autumn/Winter 2002-03 collection labelled Bluescreen. Models dressed all in blue were recorded via a video camera with the image then being projected onto large screens. On the screen, urban and natural landscapes were transposed onto the blue areas utilizing a movie industry method for creating special effects, thus creating a blur between image and reality. The innovative and often outlandish clothes produced by Viktor Rolf where often complimented by the surreal theatrics of the fashions shows that they were displayed in. In their Autumn/Winter 1998-99 collection Atomic Bomb, the duo fused the silhouette of mushroom clouds with the human form by installing silk padding to inflate the clothes. The apocalypse themed show was followed by models parading the same outfits, however with the implants removed to reveal the graceful draping of the clothes. They used a similar dichotomy in their Spring/Summer 2006 Upside Down collection, showcasing pieces that could be worn bottom up or bottom down; presented on the catwalk one way then the other. Applying the same surreal reasoning, the show itself was presented entirely backwards, with the designers appearing first followed by a procession and then the presentation of each individual piece. Perhaps one of Viktor Rolfs most memorable shows was for their Autumn/Winter 1999-2000 Russian Doll collection. The show was more a performance piece, involving just one model who was dressed one piece at a time in layers of couture dresses by the designers themselves. The resulting effect was that of a reverse Martryoshka doll. This fascination with dolls has been prevalent throughout their career since their Launch instillation of miniatures in 1996 to their latest offering at Londons Barbican Art Gallery. Proving that their move to more commercial markets has not diminished the duos affinity towards Surrealism, the 2008 Barbican display consists of a gigantic dollhouse inhabited by 55 dolls clothed with miniaturised Viktor Rolf outfits showcasing their 15 year career, aptly named The House of Viktor Rolf. In 2004 the duo launched a perfume called Flowerbomb and in fine Surrealist fashion packaged it in a grenade shaped bottle. Complimenting that was a clothing collection featuring the excessive use of oversized bows and ribbons. Viktor Rolfs penchant for the Surrealist ideology of displacement of objects can be further witnessed by their Bells collection of garments, heavily embroidered with brass bells, and the use of pillows and quilting in their intimate Bedtime Story collection. Not only do Viktor Rolf draw on the ideologies of the Surrealism movement, but their works also show inspiration from other Surrealist artists. The ever present trait of medieval carnival was brought out explicitly in their Spring/Summer 2008 Harlequin collection. The garments exhibited references to commedia dellarte, a theme that was once adopted by the queen of Surrealist fashion, Elsa Schiaparelli (Evans C. and Frankel S. 2008, P16). Motifs of violins adorning the dresses paid homage to Surrealist photographer May Ray and his famous image, Le Violon dIngres (Image 2). Though not known specifically as Surrealist designers the characteristics of Surrealism are clearly evident in Viktor Rolfs designs. They have used Surrealist methods such as the displacement of objects, manipulation of the human form and merging of the real and imaginary as tools for their own conceptual ideas. Just like their predecessors, in the likes of Elsa Schiaparelli, they employ these methods to create innovative and shocking garments often more akin to art, than off-the-shelf fashion. The Lasting Impact of Surrealism on Fashion Conclusion When Surrealism came to fashion it was with a passion, engulfing the fashion arts with an enthusiasm that has never left. Over time ideas about fashion presentation in magazines, window displays and apparel have evolved, but Surrealism remains fashions favourite art. The collaboration between artists and designers allowed for fashion to move forward in unprecedented ways, pioneered by the likes of Dali and Elsa Schiaparelli, and exemplified in todays fashion by the likes of Viktor Rolf.

Grapes of Wrath Essay: Steinbecks Powerful Style -- Grapes Wrath essa

The Powerful Style of The Grapes of Wrath      Ã‚   When Steinbeck wrote The Grapes of Wrath, our country was just starting to recover from The Great Depression.   The novel he wrote, though fiction, was not an uncommon tale in many lives.   When this book was first published, the majority of those reading it understood where it was coming from-they had lived it.   But now very few people understand the horrors of what went on in that time.   The style in which Steinbeck chose to write The Grapes of Wrath helps get across the book's message.    Early in the 1930's Steinbeck wrote, "The trees and the muscled mountains are the world-but not the world apart from man-the world and man-the one inseparable unit man and his environment. Why they should ever have been understood as being separate I do not know."   Steinbeck strove to reconnect them, and it shows in his writing.   Intermixed with the plot are corollary chapters.   The purpose of the corollary chapters is to put the events of the story in perspective to the circumstances of the country, so everyone would be able to understand the context of the book.   The corollary chapters tell little pieces of the "common story", the story held in common. They don't give specifics-they give generalities.   The first chapter gives the background to all of the following events. Every-other chapter gives more background to the story.   Whether a massive draught causes this migration of people from the Midwest, or all the families get told to get off of the land, or all th e migrants are starving; the chapters tell how all of this happened.    Not only does Steinbeck tell his story and put it in perspective, he also gives social commentary.   One might expect this social commentary to be... ...h at the idea of carrying a new life, as well as saving an older life-when aspects of her maternity give life.    The various writing techniques that Steinbeck used in the Grapes of Wrath brought out the message he wanted to get across.   The corollary chapters put the story in perspective, helping the reader understand the context of the events. The two types of social commentary gave each of them added weight.   And finally, the use of repetition gave the whole book a sense of continuity.    Works Cited and Consulted: Noble, Donald R. ed. The Steinbeck Question: New Essays in Criticism. Troy, New York, 1993. Pipher, Mary. Reviving Ophelia. New York: Ballantine Books, 1994. Steinbeck, John. The Grapes of Wrath. New York: Penguin Books, 1930. Wyatt, David ed. New Essays on The Grapes of Wrath. Cambridge: Cambridge University Press, 1990. Grapes of Wrath Essay: Steinbeck's Powerful Style -- Grapes Wrath essa The Powerful Style of The Grapes of Wrath      Ã‚   When Steinbeck wrote The Grapes of Wrath, our country was just starting to recover from The Great Depression.   The novel he wrote, though fiction, was not an uncommon tale in many lives.   When this book was first published, the majority of those reading it understood where it was coming from-they had lived it.   But now very few people understand the horrors of what went on in that time.   The style in which Steinbeck chose to write The Grapes of Wrath helps get across the book's message.    Early in the 1930's Steinbeck wrote, "The trees and the muscled mountains are the world-but not the world apart from man-the world and man-the one inseparable unit man and his environment. Why they should ever have been understood as being separate I do not know."   Steinbeck strove to reconnect them, and it shows in his writing.   Intermixed with the plot are corollary chapters.   The purpose of the corollary chapters is to put the events of the story in perspective to the circumstances of the country, so everyone would be able to understand the context of the book.   The corollary chapters tell little pieces of the "common story", the story held in common. They don't give specifics-they give generalities.   The first chapter gives the background to all of the following events. Every-other chapter gives more background to the story.   Whether a massive draught causes this migration of people from the Midwest, or all the families get told to get off of the land, or all th e migrants are starving; the chapters tell how all of this happened.    Not only does Steinbeck tell his story and put it in perspective, he also gives social commentary.   One might expect this social commentary to be... ...h at the idea of carrying a new life, as well as saving an older life-when aspects of her maternity give life.    The various writing techniques that Steinbeck used in the Grapes of Wrath brought out the message he wanted to get across.   The corollary chapters put the story in perspective, helping the reader understand the context of the events. The two types of social commentary gave each of them added weight.   And finally, the use of repetition gave the whole book a sense of continuity.    Works Cited and Consulted: Noble, Donald R. ed. The Steinbeck Question: New Essays in Criticism. Troy, New York, 1993. Pipher, Mary. Reviving Ophelia. New York: Ballantine Books, 1994. Steinbeck, John. The Grapes of Wrath. New York: Penguin Books, 1930. Wyatt, David ed. New Essays on The Grapes of Wrath. Cambridge: Cambridge University Press, 1990.

Reflective Portfolio

Abstract This is a reflective essay looking at the author’s career expectations and working background. Models of reflection are used to examine the author’s experience and self learning in terms of career aspirations. Past working history, and the situation with jobs in the airline industry, are discussed. A model of ideal characteristics for the author’s desired job is presented, and the areas in which the author is lacking are set out. The tools and approaches which can be used to improve these characteristics and hence become more like the ideal candidate are set out. 1. Introduction In the following paper, I am going to look at my career aspirations in the context of available careers in my chosen industry: the airline industry. I want to work in a customer services / management capacity at British Airways, building upon my existing skill-set and experience. I will discuss this subject in terms of approaches and insights I have gathered from studying international tourism management and travel tourism management, as well as what I have learnt in this particular module on career development. I will be looking critically at my experience and self-learning in order to identify the characteristics which I have that I feel equip me for this role. I will also be identifying areas which need to be further worked on. I will be combining intuitive writing about my experiences and capacities with academic research, textbooks and theories. In reflecting on my experience, I have been influenced by a number of models of learning through reflection, including Gibbs’ an d Kolb’s. Both these models show a way to structure learning. In Kolb the learner is encouraged to look at an experience and make observations then form concepts and general theories, which are then tested against more new experience. Gibbs suggests a similar process of describing, analysing feelings, evaluating, analysis and conceptualisation (Moon 2013). I have used models like these to first describe to myself or others my experience, then build conceptual models, abstract key ideas and theorise about what happened in order to do things differently in the future. Overall, I will be demonstrating how and why I feel I fit the role of Customer Service Manager within the airline industry, and how I might fill the current gaps in my knowledge and experience. 2. The Airline Sector and Available Careers In this section, I will look at the airline industry globally and in the UK, outline the areas of work, discuss the different possible job roles, and suggest the one which is right for me. I will also look at the career possibilities associated with this role, and look at the relationship between the ideal candidate for this role and my capabilities. My aim is to work in management within the airline industry. Although I have had a variety of jobs in my career so far, I have always wanted to work for British Airways. I was drawn to the opportunities for travel, as I see it as a way of learning and personal development. The old saying that travel broadens the mind seems true to me, although it also seems that travel and tourism research has so far concentrated more on why tourists select the destinations they do, rather than the impact on travellers psychology and perceptions (Chon et al 2012). Initially, I felt I should wait until the right job came along, but I was advised by a friend that I should take any job within the organisation and then work my way into the position I wanted. Many jobs are advertised internally first in many employers, not just B.A. (Williams 2010). The airline industry as a whole is large, and is likely to expand particularly if the trend for cheap air travel continues. Globally, there are approximately 2000 airlines with 23,000 aircraft serving over 3500 airports. By 2006, air travel growth was approximately 5% year on year, and capacity was thought likely to double by 2021 (Hencke 2006). Within the UK, aviation is a significant contributor to the economy, with UK airports handling 230 million passengers a year. UK manufacturing, technology and service providers in the industry are considered world leaders. Nearly 150,000 people are employed in the UK directly within the industry, and the sector contributes nearly ?10 billion to GDP (The Air League [online] 2014). The strength and likelihood of growth of the sector, while not directly motivating me to want to join the industry, certainly give me confidence that I will be able to have a life-long career within the industry. In terms of different organisations, the industry is d ominated by a few large organisations, although low-cost players have changed the situation somewhat. British Airways is the largest operator, followed by Virgin Atlantic Airways. British Midland and Easy Jet are also well known. UK companies face competition from overseas providers as well (Belobaba et al 2009). I was especially drawn to working for British Airways as they are the largest provider in the UK, and as such I feel I will have more opportunities for career development. But because many other companies operate globally, I feel I am in a good position to move to different organisations in the future, not least because I speak a number of languages. Given the large number of jobs in the sector, it is unsurprising that there are a wide range of occupations and roles. The type of jobs available can be divided into three main sections: ground handling services (e.g. baggage handling), airport operations (e.g. terminal manager, customer support) and airline operations (e.g. ground handling, cabin crew etc) (National Careers Service 2014). Of the choices, I have decided to focus on roles which directly progress out of the role I am now occupying. In particular, I have mapped out a possible career development path. First, I will go for a Future Talent Customer Service Manager (FTCSM) position, which I can move to after 12 months in this role. After this I can progress to a Customer Service Manager (after 2 years), and, beyond this, to an In-Flight Business Manager (IBM). I have chosen this particular development path having considered and rejected another. In the other path I would take a less customer-facing role, becoming a Duty Off ice Manager (DOM) or Turn Around Manager (TRM). The first looks at the management of crew, while the second deals with the mechanics of putting aircraft back in the air quickly and efficiently. My decision to go for the first career route was guided by my skills in dealing with people. I feel I have demonstrated empathy with different types of people, and am practiced at dealing with people’s problems. I care about people, want them to enjoy their experiences and want to continue to be very hands-on, if not with the public then with other employees. I also feel that there’s a more defined and visible career path in the first set of roles, as I can move from FTCCSM to CSM and to IBM, and beyond. In terms of my chosen career progression, there are a number of skills and abilities the ideal candidate will have. These are not specific to B.A. or the aviation industry, but are needed across all customer service and people facing roles. A CSM/FTCSM should have: Good leadership skills Planning ability Understanding and acting on feedback Communication ability Networking ability Flexibility The ability to manage stress and pressure as well as cope with job challenges Be able to deal with conflict (Evanson 2011) In terms of this ideal checklist, I believe I already possess several of these requirements. That is, I feel I am able to deal with conflict in a low-key, non-confrontational manner (a skill honed during my time as a bouncer), I can manage stress and pressure, I am fairly good at planning, understanding feedback and communication. This is not to say I cannot improve in these areas, but I feel that the areas in which my personal profile is most mismatched with the ideal job candidate profile are: Leadership Networking Flexibility I will explore in more detail my personal circumstances and their match to the ideal profile in the next section. 3. Current Career & Circumstances This section looks at my background in terms of career history, strengths and weaknesses. I then assess my competencies in terms of the ideal candidate profile I outlined in the last section. Finally, I identify areas for improvement in relation to this profile. Currently, I am working as a member of cabin crew. I have 6 months experience. I felt this position will help me advance in the industry as a whole. My previous career history has given me some very useful experience. I have had a variety of jobs from modelling to being a bouncer. While many of these positions might be considered ‘low level’ I feel they have taught me to deal with many different types of people, particularly people who are aggressive or who attempt to manipulate. Having dealt with so many tricky people, I feel I have a strong intuition about what people’s real motives are, as opposed to what they say they are motivated by, and also an ability to communicate with all sorts of people without making situations worse. Before I started my current job, I knew I wanted to work within the airline industry. I was also attracted to B.A. as I had heard they were a good employer (indeed.com [online] 2014). I treated the application process as a way of learning how to improve my interview skills. I applied to some organisations not because I especially wanted the advertised job, but in order to brush up on these skills, and become familiar with a range of the interview styles which exist in different companies. Some organisations, for example, use stress techniques to see how you cope under pressure (Parkinson 2002), others put you in either a very structured or an unstructured situation, both of which elicit different types of responses and require different approaches (Lehman and DuFrene 2010). During my 6 months in this job, I have come up against a number of new challenges which have made me more aware of my strengths and weaknesses in terms of the job I am ideally looking for. I have found that people tend to assume that working as a member of the cabin crew is easy particularly for men. Indeed, there’s a strong ‘trolley dolly’ stereotype (Bolton & Boyd 2003), which I have found frustrating at times. In fact, cabin crew work is a difficult job demanding good time management, concentration, the ability to think ‘on your feet’ and solve problems quickly, and an ability to get on with many different sorts of people. In addition, you need to pass a number of tests. For example for the BA mixed fleet crew the tests include health, criminal record and different aircraft licenses. I have found out in this job that I am good at listening to others. I feel I have a natural empathy with others and want to listen to what they are saying, rather than try and organise them into my way of doing things. However, and perhaps this is connected with this strength, I am not naturally forceful and good at leading others. In fact, if I am faced with a domineering or overpowering customer, I tend to give in and do what they want. This creates problems for me, for example if what they want is against the company rules. I think if I had more leadership ability, I would be better able to convince such people that the way I want them to behave is the right one for them as well. I also feel I do not currently demonstrate leadership skills. When in group meetings I tend to hang back and do not put my point of view across. I also feel I do not make the best use of situations. For example, I was asked to train up a new member of my team, but I felt I did not do this well, I felt und er-confident of what I was doing and I think I confused the person I was training. In addition to the areas of improvement I need to work on, which I will discuss more in the next section, I need to look at ways in which I can achieve my goal of a management position. I believe that my experience so far has helped a great deal. I have already had 6 months experience working as a member of cabin crew, so I understand the mechanics of this industry, but also of this particular job. After all, many people have to spend several months, if not years, volunteering to get similar experience of their desired industry, and I have had the luck to be paid for getting to this stage. Another benefit of being in the industry is that I have had a chance to build contacts already. Networking is an extremely powerful tool for getting the job you want (Souza 2010) and continues to be useful once in the job. After all, networking can be defined simply as creating opportunities, improving relationships with other people and making useful contacts. In a job, these benefits deepen over time, as you develop a more permanent network (Fisher 2011). As such, it is useful to career progression. Another skill I need to learn is flexibility. After all, as Pryor and Bright (2011) point out, the 21st Century workplace is characterised by change. Being able to adapt to change, not to expect the workplace to stay the same for years (or even months) and having a portfolio approach to a career are becoming increasingly important. I recognise that I am somewhat inflexible, and that change scares me. I naturally prefer the security of some sort of routine. However, there are things I can do to become more flexible. To some extent, working as cabin crew has helped improve my adaptability and increased the extent to which I can have a positive response to change, as I am never 100% sure where I’ll be going over the next months, and I have become aware that people can be very different in their demands and expectations. As I deal so much with members of the public, I have learnt to adapt to circumstances as they come up in a consistent way. I think there is more I can do in this area though. To summarise, there are some key areas which I need to work on: developing my management skills (including communication) and improving my networking, as well as being more flexible and open to change. I have covered networking and flexibility in this section, and will look at leadership in the next section. 4. The Development of Key Skills: Leadership This section evaluates the personal development tools I have used to improve my leadership skills, as it has been identified above as one of the areas I need to work on. I have had extensive working experience in a variety of positions, but have not really worked in a position where I have had to lead others. This initially made me wonder if I had what it takes to be a leader, but a number of things we covered in the module have convinced me that I can lead others. Other gaps include networking skills and flexibility. Theoretical learning about leadership has helped expand my horizons in terms of career development. Before I started the module, I believed that leaders are born, not made, and that one either is or is not the sort of person who can lead others. However, we learnt about different theories about leadership, and also about ways leadership can be developed. The idea that leaders are born is also known as the ‘great man’ theory of leadership (Daft 2007). A similar theory is the ‘trait’ model (Komives et al 2009). Although these are old models, they were still influential in my thinking. My experience on the course opened my eyes about different leadership theories. Many hold that leadership can be learned, for example behaviour-based theories, contingency theories and transformational theory (Komives et al 2009; Bragg 2008). Of the three, I have been most influenced by transformational theories. Behavioural and contingency theories seem to lack soul for me. It seems to me, based on my working experience, that people need to relate to and be inspired by leaders. Transformational theory, introduced by Burns (1978), suggests that transformational leadership is related to â€Å"morality, charisma, vision and values† that is, the leader must inspire people. Leaders also need to work with the people they lead, sharing information (Lucas 2005, p.20). One problem I found was that while there is a lot written about transformational leadership, there is not so much about how it can actually be put into practice. I did find a model based on Burns (1985) ideas. Manktelo et al (2005) suggest a 4 step process involving Creating a picture of the future to inspire people Getting people to ‘buy in’ to the picture Manage the way the vision is made to occur Improve relationships between people involved in delivering the vision They also suggest ways in which each stage can be achieved. In order to attain my desired career goals I will certainly be using this model to help me. I also found some textbooks recommended for the module useful. Chapman and O’Neill (1999) broke leadership down into 6 practical steps. I found this useful as I find it hard sometimes to translate theory into practice. I also found Covey (1999) useful. This approach teaches one how to base leadership around principles. I have always felt that management should be to do with treating people fairly and involving them in decisions, no matter what level of the company they are working at. Gardner and Laskin (1996) have given me ideas about how to watch what other leaders do and incorporate their behaviours into my own approach. One writer I found less helpful was Watkins (2013). He suggests getting to understand the â€Å"pivotal† people in the organisation quickly, through understanding their motivations and the pressures t hey are working under as well as the way they see their choices. The strategy is then to apply tools of influence to sway them. I have two issues with this approach. First, I believe every worker in an organisation is equally important. I would rather get all people agreeable to a course of action than concentrate on those he sees as ‘pivotal’. By concentrating on a few, resentment might arise. I would also suggest that it might not be possible to get to know people as quickly as he thinks. Watkins (2013) assumes that people will be honest and open about their motivation in a short conversation, and from my experience this often is not the case. Overall, I believe that learning more about leadership and finding practical approaches to being a better leader, including coaching skills, is the key way to address the gap I have talked about in earlier sections between my current skill set and the skill set required for my ideal position. 5. Conclusion In conclusion, I have examined my career in the context of my past working experience, where I am at the moment, and where I want to be. A number of tools I have learned during this module, as well as through self-learning, have helped me work out the ideal profile for my desired job role. I have also identified how I might turn my current skill set into the desired one. In particular, I need to work on leadership abilities. I have found a number of practical tools to help me do this, and have explored them above. My networking skills and flexibility can also be improved. 6. References The Air League (2014) ‘UK Aviation’ [online] (cited 8th February 2014). Available from http://www.airleague.co.uk/about/position-papers/uk-aviation/ Belobaba, P, Odoni, A and Barnhart, C (2009) The Global Airline Industry, John Wiley & Sons, Hoboken, NJ Bolton, S C and Boyd, C (2003) ;Trolley Dolly or Skilled Emotion ManagerMoving on from Hochschild’s Managed Heart’, Work, Employment and Society, 17:2, 289-308. Bragg, D J (2008) The Application of Transformational Leadership, Proquest, USA. Chapman, E N and O’Neill, L S (1999) Leadership: Essential steps every manager needs to know (3rd edn.), Prentice Hall, USA Chon, K S, Pizam, A and Mansfeld, Y (2012) Consumer Behaviour in Travel and Tourism, Routledge, UK Covey, S R (1999) Principle-centered Leadership, Simon & Schuster, London Daft, R (2007) The Leadership Experience (4th edn.), Cengage Learning, Mason OH. Day, D V, Zaccaro, S J and Halpin, S M (2004) Leader Development for Transforming Organizations: Growing Leaders for Tomorrow, Psychology Press, Bristol D’Souza (2010) Brilliant Networking: What the Best Networkers Know, Say and Do, Pearson, UK Evenson, R (2011) Customer Service Management Training 101: Quick and Easy Techniques That Get Great Results, AMACOM Div American Mgmt Assn, USA Fisher, D (2011) Professional Networking For Dummies, John Wiley & Sons, Hoboken, NJ Gardner, H and Laskin, E (1996). Leading Minds: An anatomy of leadership, Basic Books, NY. Gladwell, M (2001) Tipping Point: How little things can make a big difference Abacus, London Hencke, E (2006) ‘Airline Industry Overview’, [online] (cited 8th February 2014) available from http://www.columbia.edu/cu/consultingclub/Resources/Airlines_Eric_Henckels.pdf Indeed.com (2014) ‘British Airways’ [online] (cited 8th February 2014) available from http://www.indeed.com/cmp/British-Airways/reviews Komives, S R, Lucas, N and McMahon, T R (2009) Exploring Leadership: For College Students Who Want to Make a Difference (2nd edn.), John Wiley & Sons, Hoboken, NJ. Lehman, C and DuFrene, D (2010) Business Communication (16th edn.), Cengage Learning, Mason, OH Lucas, D B (2005) A Study of the Relationship Between Transformational Leadership and Constructive Organizational Culture in Small Manufacturing Companies, Proquest, USA Manketelow, J, Brodbeck, F and Anand, N (2005) How to Lead: Discover the Leader Within You, Mind Tools, Swindon. Moon, J A (2013) Reflection in Learning and Professional Development: Theory and Practice, Routledge, Oxon National Careers Service (2014) ‘Finding out about aviation’ [online] (cited 9th February 2014) available from ttps://nationalcareersservice.direct.gov.uk/advice/planning/LMI/Pages/aviation.aspx Parkinson, M (2002) Your Job Search Made Easy, Kogan Page Publishers, London Pryor, R and Bright, J (2011) Chaos Theory of Careers: A new perspective on working in the twenty-first century, Routledge, Oxon. Watkins, M D (2013) First 90 Days, Updated and Expanded: Critical Success Strategies for New Leaders at All Levels, Harvard Business Press, USA Williams, C (2010) Management (6th edn), Cengage Learning, Mason, OH

buy custom Reflective Essay essay

buy custom Reflective Essay essay The most intriguing part of this course was touching on joining a conversation. This is because a majority of people is not aware of how to do it, meaning that they offend many people when they do it wrongly. I have learnt that one has to be careful enough to find out what a conversation is all about before giving their views or even asking anything about what is being discussed. Although this may sound a little bit difficult, I have learnt that it is expedient to do so because one is likely to fare well in any conversation community. Thus, it is crucial to find out the topic being discussed. This will help one in choosing how to contribute basing on his or her familiarity. It is also easier to develop an argument when one is familiar with the subject of a conversation. It is also necessary to be observant on the form of communication being used. This is mainly in terms of the language settings, which are addressed by the literacy settings of the community. For instance, it is always beneficial to judge the mood or reactions of the members before carefully selecting what to say. Otherwise, use of a polite language when interrupting is advantageous in trying to secure the desired reception. Reading and writing are two different things but are interconnected in a manner they one is supported by the other. In this regard, I have learned how to improve my writing skill coupled by critical reading. This is by understanding that I have to develop strong reading skills in order to gather the material I would need in my writing. For instance, a systematic process that will ensure maximum understanding of the materials being read should be coupled with academic reading. This can be done by taking notes while reading and engaging with the author in a oneto one conversation fashion. This will help much in understanding and thus helpful when it comes to writing about what has been tread. Revision skills are also improved this way thus improving my understanding of the content in the reading materials. The use of drafts is also a valuable writing approach learnt. Wring a draft first before setting to write the soft copy is critical in correcting mistakes and avoiding issues such as plagiarism. Doing peer reviews on the draft can also be crucial in improving the piece of writing. In other words, a lively writing habit involve as a series of steps before producing a finished product. This will help me in future academic writing because the work I will be writing will be up to standards and of superior quality. This means that I will be able to score well, pass, and get outstanding grades in my projects. Academic writing is mainly based on a problem solving approaches, which are supposed to begin as perceptions that rise certain questions or uncertainties. This means that it can be instrumental in writing research papers like dissertations. This is because the writing skills learn can be used in collecting data and writing out ideas properly. This is then followed by engaging other students in evaluating the information collected and then preparing drafts of the intended writings. This is followed by writing the final paper, editing, and publishing. This process in hugely supported by excellent writing and reading skills learnt. The information gained will help me in undertaking the steps of writing big academic papers. This will be critical in ensuring that I write grammatical error free papers with an academic flow. . In conclusion, I have understood the importance of using my cognitive function through interconnected domains of language use, which are mainly listening, writing, re ading and speaking. Buy custom Reflective Essay essay

greenhouse gas effect essay Essays

greenhouse gas effect essay Essays greenhouse gas effect essay Essay greenhouse gas effect essay Essay Greenhouse Gas The greenhouse gas effect is the number one blame for global warming. We could not live without the greenhouse effect. The main gases are ozone, nitrous oxide, carbon dioxide, methane, and water vapor. These reflected rays, called infrared radiation , keeps the atmosphere warm. They are vital in maintaining the balance in our atmosphere. The greenhouse effect is mostly a result of the sunlights energy and the clouds that absorb and reflect heat. Without the greenhouse effect, earth would be less than 33 degrees Celsius cooler. Human activity increased the percentage of gas, which increased the temperature. Population growth is one of the major causes. With the increase of population, the needs and wants increase. The more demands of the people, the more the industry has to help our needs. As the industry grows, so does the gas used to keep their work going. The uses of electrical appliances are even a contributing factor. Even the humble efrigerator in the house emits gas, gas known as chlorofluorocarbon (CFCs) are used in fridges, as well as aerosol cans, foam in packaging, fire extinguisher chemicals, and cleaners. Everything we use effects the air we breathe. Burning of fossils contributes too. Burning of fossil fuels, oils, coal, and gas, releases chemicals into the atmosphere. The most common fossil fuels are used in the industry business. Some of the gases can last longer in the air then others. The gases can increase global warming. : These gases are not natural. The man made cause of the greenhouse effect is deforestation. Due to the lack of trees, photosynthesis cannot take place. With the cutting down of trees the amount of carbon dioxide in the atmosphere increases. The decay of the trees also causes the carbon to increase. We need the greenhouse effect to live in our world successfully. Each factor can make up a balance that we have to survive. There is too much of a good thing though. That is why we need to balance everything out to succeed.

Sky Global Essay Example | Topics and Well Written Essays - 3500 words

Sky Global - Essay Example The nature of the subsidiary office will be basically meant marketing because the products will be processed in Australia and shipped to France. France has a variety of races and people with different lifestyles (Sparrow, Brewster, & Harris, 2004). Though it can be said that French markets is diverse, provision of good services makes consumers buy the product in the market. Justification of the choice The major reason for the establishment of the subsidiary is mainly due to the potential market available in the country. Traditionally French people had some specific ways of identifying the cepage and terroir (Edwards, 2007). The terroir identify the wine in regards to the place where the processing was done, the taste of wine from that region and skills that the producer has. In the other way, cepage identifies wine by the type of grapes used in the process of making the wine (Edwards, 2007). For many years the French wine consumers based their choice of wine on terroir however a new trend is emerging that preference has shifted to being based on cepage where wines were associated with the grapes and its taste. Basically this is an opportunity as most of the foreign wines are gaining acceptance in the market and therefore Sky Global Wine Company could not wait to seize the opportunity (Edwards, 2007). Management Structure Structure of management between the headquarters and the subsidiary With the new subsidiary in place, it is important to ensure that the company has the most important staff that will coordinate its activities in France. For efficiency the following posts were found to be necessary for smooth running of the business. The manager in the Subsidiary country will coordinate with the headquarters on the operation activities Country Manager Manager in charge of Marketing Chief Wine Technologist Manager in charge of Production Finance Manger Human Resource Manager Country Manager The activities revolving around the success of the company will be mainl y based on the manager. The company will place an experience manager from the company in order to facilitate the experience that has seen the company grow in its international market (Price A. , 2007). It will be necessary to have a manager from the parent country because it is more likely to have a wide selection to make from. Manager in charge of Marketing The manager in charge of marketing should be from the host nation basically this is because of the cultural and language understanding (Sparrow, Brewster, & Harris, 2004). It will be important to work with the person conversant with the environment that than to just make a choice Chief Wine Technologist Since the brand has gained its international reputation through its quality and test, it will be equally important to ensure an expatriate who has vast experience in working for the company takes the mandate. Manager in charge of Production Finance Manger Human Resource Manager Most of the employees will be from the subsidiary co untry since their presence will be an added advantage due to their experience working in the country. They are perfectly in a good position to deal with issues arising from their own country. Comparison between Peoples management in the host country and the subsidiary country People’s management style in Australia In Australia the sense of equality in an organization is highly valued to extend that the manager should not behave like a superior.

Analyzing langguage Communities Essay Example | Topics and Well Written Essays - 750 words

Analyzing langguage Communities - Essay Example The modern society has developed a different meaning of the term queer in comparison to what was known two decades ago. The society viewed gay, lesbians, and bisexuals as individuals who had queer character traits. The morals of lesbians, gays or bisexuals were queer to the society. In many cases, the society would refer to these groups of people as queer. In response to this term, the gay, lesbians and bisexuals decided to defiantly apply this name. The term queer loses its original meaning when gay; lesbians or the bisexuals feel that the term is okay with them. It has become a common language in the streets. Some gays or lesbians respond to it by claiming that they teach the straight people how to dress or introduce new fashion to the straight people in the society. Whenever the gays or lesbians react in this manner, the term queer does not seem to have a negative impact or meaning to their morals. I think that in trying to cope with the humiliation brought by the term, they have resorted into mocking the society or the straight people. History indicates that lesbian and gay activists started using queer in 1980s as a self-identification. On the contrary, it did not appear to them as an insult, but as a means that promoted their motives to the society. When lobbying for their activities and principles in the society, the activists propagated the name to identify themselves as people who are queer to the society. It is true that their moral is queer, as the name would seem to suggest. The continuous or the public use of the term queer by the lesbians, gays, and bisexuals has led to erosion of the real meaning of the term. Notably, the society would adopt names according to the immediate meaning. The next generation may not know the genesis of the term queer, but would adopt it in their normal language usage. Many people still feel that queer is a term that insults on the behavior or the conduct of an individual. This especially applies when the individual in question belong to the gay or lesbian community. The term has a greater harm to the individual especially in an environment where people associate the term to gay or lesbian practices. Some people may not treat any insult lightly; it might result into shady show in the streets. The insulted individual may decide to retort back by hulling abusive words. The society regards a name as an important tool that markets a character. Any situation that taints the name of an individual may elicit heated reactions. Culturally, gay or lesbians have no place in the society. People who advocate for good cultural practices believe that gay or lesbians have raped good morals. The social acceptance of an individual in the society depends of cultural inclination of the society. Queer means cultural rejection of a particular trait of an individual. Names given to events or occurrences define the social values of the community. Gay and lesbians value their characters in contrasts to the society. The so ciety attributes the term queer to a lost value or something that is worthless. Each individual would wish to have some value in the society. Gay and lesbians exert their worthiness in the society by identifying themselves using this term. In the past the term elicited negative reaction, but today it has taken a new drift. Gay and lesbian lobbyist