Mass Media Representation of Men and Women

The contemporary society is made up of different kinds of people shaped by the ideas represented in the media and the popular culture.Advertising We will write a custom essay sample on Mass Media Representation of Men and Women specifically for you for only $16.05 $11/page Learn More Generally, the ideal man is portrayed according to the views of the media and in most cases; many individuals do everything possible to resemble the people represented in the media. Being a black American in a white society has its difficulties as many stereotypes are associated with this particular race. All these stereotypes and differences are majorly influenced by the ideas represented in the media. This is further exacerbated by the position the media plays as an influential agent of socialization that has the capacity to influence even the other agents of socialization such as peers, the family and the family or school institutions. JHally in his documentary â€Å"Des ire, sex and power in music videos†, talks about women and men who are represented in an overly exaggerated manner as opposed to a real representation. He describes the women represented in music videos as a fantasy of the adolescents. The ideal woman is defined as one who is slim and light skinned in complexion, with blonde hair being overly exaggerated as a mark of beauty. The men portrayed in the music videos are also associated with certain features, which include the masculinity aspect.Advertising Looking for essay on communications media? Let's see if we can help you! Get your first paper with 15% OFF Learn More A real man is supposed to be masculine and thus, the girls who get to watch such kind of men may end up losing partners in their lives because they always look for the ideal man as represented in music videos and other visual media. Relationships are represented in a stereotypical manner. For instance, in Katz video â€Å"Tough Guise†, he an alyzes violence, media and crisis in masculinity. In this video, masculinity is analyzed in terms of relationships that exist between the male and other males and the males and females. In both videos, the aspects of racism, classism and heterosexism are represented. People relate with each other in terms of race and class. Thus, the blacks associate with fellow blacks and the whites too. Heterosexism is an aspect that is not strange according to the whites and according to the â€Å"Tough Guise† video male-male relationships are part of their relationships in their society. However, these two videos are against the stereotypes associated with human beings as they urge people to watch all videos with a critical eye. The directors of these videos say that, the media and popular culture can influence our thinking and lifestyle in a great way albeit all the views they represent are not true. The ideas and views in these videos are a mere representation of the adolescents’ fantasies. These representations relate to what I am today since, have always thought that the media represents the perfect man.Advertising We will write a custom essay sample on Mass Media Representation of Men and Women specifically for you for only $16.05 $11/page Learn More Popular culture has had an effect on me, as I have lived to believe that women who are viewed as pretty are petite and light skinned. On the other hand, a man should be masculine for him to qualify as a real man. This exercise has changed my way of thinking as I have learnt that; the men, women and everything that the media represents are all purposely meant to attract an audience. The advertisements, music, and films represent people who are a creation of fiction and not reality. Their representation in the media is more influenced by the need to paint a certain mental picture that only represents what should be ideal as opposed to what should be a reality. This essay on Mass Media Representation of Men and Women was written and submitted by user Saanvi I. to help you with your own studies. You are free to use it for research and reference purposes in order to write your own paper; however, you must cite it accordingly. You can donate your paper here.

Is it more useful to analyse Scarface (1932), Scarface (1983) and Goodfellas (1990) as genre films Essay Example

Is it more useful to analyse Scarface (1932), Scarface (1983) and Goodfellas (1990) as genre films Essay Example Is it more useful to analyse Scarface (1932), Scarface (1983) and Goodfellas (1990) as genre films Paper Is it more useful to analyse Scarface (1932), Scarface (1983) and Goodfellas (1990) as genre films Paper Essay Topic: Film Shane The Gangster film has always struggled to maintain a precarious balance; to portray the Gangster as a charismatic and crowd-pleasing character, at the expense of his eventual demise for the social good. The Gangster, as Robert Warshow puts it, is a quintessential tragic hero, a character whose very nature and deeds ultimately condemn them to a short and fruitless existence, outside of the boundaries of normal society. The Gangsters place within cinema is an important one, and the genre has now developed to a point of sophistication far beyond the flailing reach of the petty criminals on which it was based. In this essay I intend to examine exactly how the Gangster genre has changed and developed during its 90 year life span. There are a number of ways in which to go about this, although I will be focusing on four in particular; where the genre came from, the mythology surrounding its protagonists, the development of the genre as a whole (both aesthetically and psychologically), and the film-makers instrumental in this development. This approach, then, will obviously require references to both genre and auteur theory, and so I will establish how these two theories can coexist to develop and redefine a genre. To do this I will draw on much critical debate surrounding genre, as well as referring to specific examples from celebrated and diverse filmmakers and auteurs, such as Martin Scorsese, Howard Hawks and Brian De Palma. Firstly, who is the Gangster, and what allows him to exist? The Gangster genre has had a different development to many of the other staple genres of the studio system. Thomas Schatz, in his seminal book Hollywood Genres, identifies that the other genres being developed concurrently to the Gangster had in fact either been translated from literary formats, or had developed from an already established mythology within American society (the Western is a prime example of both). Conversely, the Gangster film, rather than dealing with modern sentimentality or attempting to rewrite history, was lifted straight out of the newspaper headlines. Schatz, 1981, p. 82) The passing of the vastly unpopular prohibition act in 1919 gave rise to enormous public demand for alcohol, something which many American immigrants and ambitious workers were only too pleased to fulfil. Thus the Gangsters of Americas cities rose to wealth and power by bootlegging quickly produced alcohol, and then distributing to or selling it in the secretive speakeasys, often their own. These Gangsters made great press. The tabloids glorified the enigmatic social rebels and their vertically integrated industry day after day, until criminals such as Al Capone and Hymie Weiss became legendary for their decadent lifestyles and thinly veiled abuse of the system. The Gangster became an inverted hero, a twisted, parasitic advocate of the American Dream that people respected, admired and feared. Thus the mythology of the Gangster was born. D. W. Griffiths (perhaps Hollywoods original auteur) laid the template for the Gangster film with The Musketeers of Pig Alley in 1913. However, it was not until the introduction of cinematic sound in 1927 that the Gangster film became a mainstream genre. The first talking Gangster film, Lights of New York (1928), introduced the Gangster protagonist as he would remain for the duration of the genres Classic period; a charismatic, ambitious underdog whose aspirations consume him, to the point that he kills his friends and his boss, and so must suffer death for his deviance from the social norm. The films that followed invariably portrayed the Gangster in this way, and always depicted him as a social outcast, by way of his foreign status, fatherless upbringing or his role as a disillusioned war veteran. These characters were popular with the audience for a number of reasons. A public disgruntled with prohibition laws, the depression and a bleaker view of the American dream than they once had held found it easy to relate to these ambitious working class heroes. It was also comforting to know that a major institution such as Hollywood was on the same wavelength as themselves, and could point out the intrinsic flaws in the state system. Hollywood product during the post-depression era certainly emphasised this, with films such as The Public Enemy (1931), Scarface (1932) and Angels with dirty faces (1938) all showing the Gangster as being as much a victim of American society as an exploiter of it. The Gangster genre, as I have said, did not have any substantial literary foundation to draw from, and so the genre was initially constructed of an amalgam of literary, journalistic and filmic references. Perhaps though, the most obvious source of inspiration for the Gangster genre was that of the Western. In terms of the setting, the iconography and the structure of the Gangsters society, it seems at first that the two are not very closely related. However, if one is to look beyond the exterior of a Gangster film, many similarities can be identified between the two. For example, both perfectly fit the genre of order suggested by Schatz, as well as readily conforming to Mcconnells genre cycle. This goes further than to prove that they are just formulaic productions of the studio system. If one is to closely examine the various Western heroes that have developed during that genres evolution, it is easy to draw parallels between these characters and the Gangster. The Gangster is a social outcast, relying on his gun and his wits to get him out of trouble. He provides a service to the community (albeit it not a legitimate one) and depends upon that very society for his existence, although he can never be a part of it. Consequently his demise is as inevitable as that of the Western hero, he must either die or ride off into the sunset, as he has performed his duty and now cannot settle into society as he would like (a theme particularly emphasised in some of the more unorthodox Gangster films, such as Brian De Palmas 1993 film Carlitos Way). Thus the Gangster contains elements found in many Western protagonists, the parasitic, violent impulses of the Man With No Name, or the ability to simultaneously crave, protect and shun family values as Shane did, for example. The films deal with different settings and iconography, although the themes remain similar. Whereas the Western hero struggles to transform desert into garden, in the Gangsters world the garden has developed a life of its own and overgrown into the untameable urban jungle, nurturing and subsequently destroying the characters it produces. Therefore, it is true that both the Gangster and the Westerner are a victim of their own environment, and both of them must be banished or destroyed in order to repay their debt to society. The fact that the gun is feared and respected within both genres as the method of entry into the protagonists profession is significant, as the gun also provides the exit from the narrative. The gun is the most important artefact within the genre. It gives raw, masculine power to those who use it, but only at the ultimate price. The Gangster, like the Westerner before him, is inevitably doomed. This brings us to the next stage of our analysis, which filmmakers are responsible for creating such a socially deviant, yet likeable, character? French film critics writing in the Cahiers du cini ma in the late 1950s collectively developed a new theory regarding the construction and internal authorship of Hollywood cinema, which they labelled the politique des auteurs. This politique broke away from the previous theories of filmmaking as a collaborative process, and instead identified one artist as the creator (or author) of the film the Director. They began to identify filmmakers such as John Ford and Howard Hawks, whom had been working during the days of the studio system, and argued that the films of these directors had a distinctive personal style that surpassed the limitations of the factory style of production. American film critic Andrew Sarris was at the vanguard of the English language auteur arguments, and stated that D. W. Griffith had already delineated every Hollywood genre by 1915, The debt that all filmmakers owe to D. W. Griffith defies calculation. Even before The Birth of a Nation, he had managed to synthesize the dramatic and documentary elements of the modern feature film. He effectively argued, then, that the history of cinema could be attributed to a few great men, otherwise known as the auteurs. (The Cinema Book, 1999, p. 2 57) The Gangster film is no exception to this, and this is a genre undoubtedly overrun with auteur directors. The Gangster genre is attractive to many visionary filmmakers for a number of reasons. Firstly, whereas the Classic cycle of the Gangster genre was prematurely shortened with the introduction of a stricter censorship regime, the opposite is now true, with filmmakers allowed unprecedented freedom since the changes in classificatory and self-regulatory laws introduced in the 1960s. This allows modern filmmakers to capitalise on what had been previously forbidden graphic portrayals of sex, drugs and violence that emphasise the level of excess by which the Gangster lives. Secondly, the Gangster genre has always consisted of a highly stylised and overtly character-driven formula, which gives the filmmaker freedom to produce a highly complex psychological portrait of the American criminal. Finally, and perhaps most importantly, the Gangster film has always been intrinsically American in nature stemming from the genres portrayal of the protagonists search for the American dream, and how the unreality of that dream leads to corruption. This gives the filmmaker an almost unparalleled opportunity to cross-examine contemporary American society, and in the process weave an intricate web of corruption and violence that encompasses every part of that society. This cynical and depressing examination is not even possible in that most American of genres, the Western, which is limited by the constraints of rewriting history in an ideologically correct manner. Therefore, the Gangster genre and the Western can be viewed as one. Whilst the Western establishes the American dream and the difficult urbanization of the wilderness, the Gangster acts as an extension of this, with a new breed of cowboy and a new ideological struggle as a result that of trying to maintain the dubious social order that that has risen from the ashes of so many Western heroes. Hence the Gangster can be seen as the most important of Hollywood genres, one in which the filmmaker can lay bare both the foundations and the present condition of American society, and criticise it in a detached manner. It is, then, a genre that encompasses every aspect of America, from flag-waving patriotism to hard-hearted cynicism, and in the process uncovers corruption at every turn. This rich and intriguing subject matter can therefore make for compulsive viewing, and so the genre has attracted a multitude of talented and influential auteurs as a result. Scarface: The Shame of the Nation was directed by Howard Hawks and produced by Howard Hughes, and released in 1932. The Hawks/Hughes partnership was a particularly fertile one, and the two collaborated on many projects during the era of the studio system. This is interesting, as it immediately questions the validity of the directors auteur status, due to the fact that much of the productions raw and violent nature was directly down to Hughes. The film was actually finished in 1930, but due to censorship issues with the (then) MPPDA, the film was only released after two years of lengthy court battles regarding the remorseless moral standpoint of the film, which Hughes, incidentally, won. Despite this however, it is undoubtedly true that Howard Hawks maintained a distinctive artistic style whilst working within the constraints of the studio system, but does this mean that it is more appropriate to consider Scarface as such a production? Scarface is certainly recognisable as one of the very few landmark Gangster films from the Classic stage of the genres cycle. The film is notable in that its main protagonist, Tony Camonte (Paul Muni), shows no remorse for what he has done to achieve his decadent lifestyle. Not only this, but his status as Gangster is not depicted in the same way as characters played by James Cagney or Edward G. Robinson. Schatz mentions that, Munis Scarface is not clearly superior in courage and intelligence to rival his own henchmen. In fact, his rise to power seems somewhat arbitrary, due primarily to the fact that Camonte was among the first gangsters in the city to procure a machine gun, that new innovation in the technology of urban warfare. (Schatz, 1981, p. 91) This seems to indicate that, even though Scarface was among the first of the Classic Gangster films, Hawks was already toying with the psyche of the protagonist. Whereas other Classic Gangster films (such as Little Caesar and The Public Enemy) have a clearly deliniated rise and fall structure, Camonte is in fact at the top of his game when he is destroyed, and his fall is precipitated by the events of a single night. Therefore, it appears that Hawks is attempting to build on and consolidate the mythology of the Gangster, with overt references to the Live fast, Die young existence and the inevitable descent into the gutter of the Gangster protagonist. If this is the way in which an auteur may be defined, then George Stevens is undoubtedly deserving of the same status for his similar attempt at consolidating the mythology of the Western hero in Shane (1953). If not, then we must identify other characteristics that distinguish a Hawks film from other directors working during the same period, such as Mervin LeRoy (Little Caesar) and William Wellman (The Public Enemy). Scarface is certainly an interesting film, in that it confronts both the cinematic taboos at the time of its production (such as its explicit violence), as well as exploring the motives and ethics of the Gangster protagonist. This, then, is undoubtedly the scriptwriter of the films premise as much as the directors. Ben Hecht, an ex-journalist whom would obviously have had an intricate knowledge of the Gangsters of New York and their lifestyles, penned the script for Scarface. Hecht was renowned for his loaded dialogue and intense psychological characterisation, and so much of the credit for making Scarface a distinctive Gangster film must obviously go to him. If this is the case then it is true that Hawks is a distinctive director, but that Scarface is more accurately seen as the product of a trio of influential filmmakers, Hecht the scriptwriter, Hughes the producer and Hawks the director. Many filmmakers have been labelled as auteur during the course of cinema, but few have produced, written and directed their own films entirely self sufficiently. Even directors such as Alfred Hitchcock and Frank Capra, two who have attained the directorial Holy Grail in cinema, their name above the title, have failed to direct a film entirely on their own without artistic input from their writers or producers. Therefore, I suggest that the lone director needs his gang as much as the urban lone wolf needs theirs. The authorship of a film consists of a trio of roles, and it is rare indeed that one filmmaker can perform all three. Hence the auteur theory is flawed, but not so much that it cannot help us to identify a more deviant and intellectually challenging filmmaker. Therefore, I will identify whether the two remaining directors, Scorsese and De Palma, both working in similar genres during the same timeframe, can be classified as auteurs, both in Sarris sense of the word and my own. Brian De Palma has had a chequered history of commercial success within Hollywood. This of course is the best place to begin an analysis of an auteur director, as the definition of an auteur is obviously determined by the industry within which they are working. The Cahiers du cini ma writers, and their English speaking equivalents, believed that an auteur director was one that could take a standard script, star and budget, and yet still stamp a distinctive, individual style on the finished product. Due to the almost completely dominant status of Hollywood products within worldwide film criticism, and the commercially driven factory style of production employed at the time, it was not difficult for these writers to single out directors whom surpassed the production limitations of the studio system. During the days of the studio system, the production methods were so formulaic that if a film had a good script and star, then it was a surefire hit. It was up to the director to simply elaborate on the basics and incorporate their sublimity of expression into what was, most of the time, standard fare. Now things are certainly different. Due to the financer status of the major Hollywood studios, it is now difficult to grant a more distinctive director a budget due to the uncertain financial return on such a project. An auteur director, for all of their artistic integrity and filmmaking prowess, is still undoubtedly going to have a few commercial failures listed in their filmography (take Scorseses The Last Temptation of Christ or De Palmas Mission to Mars for example). De Palma is notable in that he has managed to produce many highly stylised and self-referential films within the Gangster genre stemming from his in-depth knowledge of Hollywood cinema. This knowledge, gained from his studies at New York University, has helped him to identify key elements of genre, and subsequently deconstruct the Gangster film to assist in its development. One particularly good example of this is Carlitos Way. Carlito Brigante (Al Pacino) is a character torn by the dilemma of choosing between the Gangster lifestyle and that of an ordinary citizen. The entire film is told in flashback, as a retrospective acknowledgement of the Gangsters tragic status by the Gangster himself. De Palma and Pacino masterfully portray the rise and fall of the charismatic protagonist, insinuating that the Gangster is created by society (Pacino buys a gun for self-defence, and subsequently becomes drawn deeper into the underworld) and destroyed by it, courtesy of Benny Blanco from the Bronx. Carlito is in fact very similar in nature to Shane; he is a reformist Gangster willing to settle into civilised society, but he cannot have children, maintain a relationship or find legitimate work, and his past will always come back to haunt him. Carlitos Way takes the inevitable demise of the Gangster even further than ever before. Whereas De Palmas 1983 remake of Scarface had portrayed Tony Montoya (Al Pacino) dying in a hail of self-inflicted bullets ten years earlier, Carlitos Way sees us sympathising as the protagonist is destroyed only moments from freedom. Both of these characters are flawed and are not, for the most part, operating within the confines of the law. However, no matter how illegitimate the activities of the Gangster are, De Palmas films invariably portray the society within which the Gangster is working as morally bankrupt, and indeed depict the Gangster as the only character with any real ethical or moral code. This idea of the Gangster as a morally sound and highly honourable character, despite their anti-social status, is one that has been explored regularly within the genre (particularly by another Hollywood auteur partnership, Joel and Ethan Coen in their 1990 film, Millers Crossing). This is a crucial point, as De Palmas juxtaposition of a deeply flawed capitalist ideology and the cinematic requisite of a likeable criminal protagonist has created a fertile ground for criticising American society. Therefore, for these reasons alone it seems that we have found proof positive that De Palma has been instrumental in developing and refining the Gangster genre. De Palma has certainly explored many facets of the Gangster lifestyle and their role outside of society, and has added much to the genre by way of his intricate psychological portrayal of the ethics and motives of the Gangster protagonist. If this is the case, that some directors do indeed independently deconstruct and consequently develop a genre by way of their films, then is it more useful to view auteur directors as a genre unto themselves? Perhaps the fact that a Scorsese or De Palma film is so instrumental in adding to the genres development merits analysis from an individual point of view. If we are to analyse an auteur director within this context, then we must identify what drives such a filmmaker to create such provocative and influential films. It is clear that any director with an intricate knowledge of Hollywood cinema, as well as the various theoretical frameworks used to analyse it, is going to be much better equipped to create what Christopher Frayling terms critical cinema. Should we, therefore, view an auteur director as a filmmaker creating cinema about cinema, within the confines of a certain genre? Should the films of such directors be placed under a sub-genre, or do they in fact push the genre into the next stage of its cycle? Martin Scorsese, like De Palma, has obtained an intricate knowledge of Hollywood cinema through his study of film at NYU. His talent as a filmmaker is undisputed, and perhaps this, coupled with his passion for Hollywood cinema, allows him a critical free reign. Both Scorseses and De Palmas Gangster films accurately fit Schatzs genre of order and McConnells genre cycle, within which all can be placed in the Satire Post-Modern category. Both directors are concerned with consolidating the mythology of the Gangster, mainly by depicting the Gangster as a tragic character of Macbethian proportions, and focusing on satirising the generic rules laid down by Classic directors such as Hawks and LeRoy. Thus films such as Goodfellas are certainly obeying the generic codes and conventions of the Gangster film, whilst still adding a new or deviant twist to the narrative (for example, Henry Hill suffers a fate worse then death in Goodfellas when he is condemned to the life of a shmo under the witness protection program). Films such as Raoul Walshs The Roaring Twenties (1939) and Brian Singers The Usual Suspects (1996) were both primarily concerned with establishing and satirising the mythology of the Gangster respectively. Scorsese and De Palma are certainly noteworthy as auteurs in one respect, their attempts to revitalise a genre with each new film, whilst still conforming to the constrictive nature of a well-established set of generic conventions. Both directors films are constructed of many cinematic references, for example, De Palmas use of many of Hitchcocks most recognisable imagery, or Scorseses imitation of Hawks overhead crowd shot in Scarface (1932). These directors produce self-referential and intertextual films that provoke and stimulate audiences and filmmakers alike, thereby guaranteeing the genres progression to the next stage of its cycle. Goodfellas is a fascinating and diverse film. Scorsese seems to have clearly held in his mind exactly how he wanted his Gangster to appear, and he consequently adds much to the genre by way of his portrayal of the rise and fall of real-life Gangster, Henry Hill. Henry Hill is the embodiment of the twisted, parasitic advocate of the American dream mentioned earlier. He is not a highly intelligent or courageous man, much like Tony Camonte, but proves himself willing to exploit the system at every turn, in order not to end up as just another 9 til 5 shmo. The film satirises the mythology that has built up around the Gangster persona, by emphasising the decadence and glamour of the Gangster life style through a number of distinctive characters. The protagonist, Henry Hill, narrates the film and we realise at the end of the film that he has given us a blow-by-blow account of how he came to be a Gangster by way of a courtroom confession. Throughout the film we are introduced to a number of Henrys surrogate mafia family, all of whom give us a little more insight into the psychology of the Gangster and his underworld. For example, Henrys pathologically insane mentor, Jimmy Conway (Robert De Niro), proves to us that an older Gangster must be erased from society, as the lifestyle begins to take control of its owner. Henrys accomplice Tommy De Vito (Joe Pesci) pushes the violence employed by the Gangsters to the extreme at every available opportunity, swearing and kicking his way into the role of the most psychotic Gangster ever to grace the screen. As for the rest of the family, Paulie is a Gangster stuck in his ways, an old man with a deep-rooted fear of becoming institutionalised by New York State Penitentiary until the end of his days. Henrys headstrong Jewish wife Karen, at first completely at odds with the criminal Italian-American lifestyle, becomes drawn deeper and deeper into the equation before finally resisting the sordid and unbearable lifestyle of the Witness Protection Program, ultimately a much stronger character than her husband. This surrogate family, then, serves to present an inverted microcosm of society. The Gangster values family above all else, and yet ironically is incapable of sustaining any kind of family lifestyle himself. The Gangster community lives off a society that they can never be a part of, on the fringes of civilisation as an outmoded and insecure bunch of immigrant misfits, psychopaths and outcasts. An analysis of the iconography utilised within a Scorsese film is essential to creating a full appreciation of the text, as the characterisation of these Gangsters is emphasised by their clothes, cars, guns and their dependence on these items. The Gangster seems to have literally acquired more money than sense, and Scorsese plays on this with references to their overblown demeanour, terrible gaudy taste and lack of discretion with respect to their criminal activities. However, this is counter pointed by the fact that the Gangster does not fear the law. In fact, the Gangster is above the law. The only things that the Gangster fears is loss of their excessive lifestyle and lacklustre surrogate family, two things that the Gangster cannot avoid, due to his own self-destructive nature. Thus Scorsese emphasises elements of the Gangster only alluded to by Hawks and De Palma. The Gangsters of Goodfellas are parasites unintelligent, violent and excessive characters that live only to exploit society. These characters are irredeemable, everything they touch is corrupted, even that rare commodity (and indeed a commodity they are) in the Gangster film, a good woman. Thus the Gangster is a misogynistic, materialistic degenerate, and yet still captivates the audience with his charisma. The audience can still identify with the criminal, even though they have never performed the acts depicted, because of the Gangsters caricatured status. Upon viewing of a Gangster film the audience must suspend disbelief, emphasising the illusionary and tragicomic nature of the Gangster lifestyle. Therefore it is clear that the films of films of directors such as Scorsese and De Palma are highly critical of the mythology that has developed around the Gangster hero, and so prompt the audience to re-evaluate the Gangster as a character bereft of any socially acceptable features, save for their crowd-pleasing charisma.

James McPherson - Civil War James McPherson - Army of the Tennessee

James McPherson - Civil War James McPherson - Army of the Tennessee James McPherson - Early Life Career: James Birdseye McPherson was born November 14, 1828, near Clyde, Ohio. The son of William and Cynthia Russell McPherson, he worked on the familys farm and aided with his fathers blacksmith business. When he was thirteen, McPhersons father, who had a history of mental illness, became unable to work. To aid the family, McPherson took a job at a store run by Robert Smith. An avid reader, he worked in this position until he was nineteen when Smith aided him in obtaining an appointment to West Point. Rather than immediately enroll, he deferred his acceptance and took two years of preparatory study at Norwalk Academy. Arriving at West Point in 1849, he was in the same class as Philip Sheridan, John M. Schofield, and John Bell Hood. A gifted student, he graduated first (of 52) in the Class of 1853. Though posted to the Army Corps of Engineers, McPherson was retained at West Point for a year to serve as an Assistant Professor of Practical Engineering. Completing his teaching assignment, he next was ordered to aid in improving New York Harbor. In 1857, McPherson was transferred to San Francisco to work on improving fortifications in the area. James McPherson - The Civil War Begins: With the election of Abraham Lincoln in 1860 and the beginning of the secession crisis, McPherson declared that he wished to fight for the Union. As the Civil War began in April 1861, he realized that his career would be best served if he returned east. Asking for a transfer, he received orders to report to Boston for service in the Corps of Engineers as a captain. Though an improvement, McPherson desired to serve with one of the Union armies then forming. In November 1861, he wrote to Major General Henry W. Halleck and requested a position on his staff. James McPherson - Joining with Grant: This was accepted and McPherson traveled to St. Louis. Arriving, he was promoted to lieutenant colonel and assigned as chief engineer on the staff of Brigadier General Ulysses S. Grant. In February 1862, McPherson was with Grants army when it captured Fort Henry and played a key role in deploying Union forces for the Battle of Fort Donelson a few days later. McPherson again saw action in April during the Union victory at the Battle of Shiloh. Impressed with the young officer, Grant had him promoted to brigadier general in May. James McPherson - Rising through the Ranks: That fall saw McPherson in command of an infantry brigade during the campaigns around Corinth and Iuka, MS. Again performing well, he received a promotion to major general on October 8, 1862. In December, Grants Army of the Tennessee was reorganized and McPherson received command of XVII Corps. In this role, McPherson played a key part in Grants campaign against Vicksburg, MS in late 1862 and 1863. In the course of the campaign, he took part in victories at Raymond (May 12), Jackson (May 14), Champion Hill (May 16), and the Siege of Vicksburg (May 18-July 4). James McPherson - Leading the Army of the Tennessee: In the months following the victory at Vicksburg, McPherson remained in Mississippi conducting minor operations against the Confederates in the area. As a result, he did not travel with Grant and part of the Army of the Tennessee to relieve the siege of Chattanooga. In March 1864, Grant was ordered east to take overall command of Union forces. In reorganizing the armies in the West, he directed that McPherson be made commander of the Army of the Tennessee on March 12, replacing Major General William T. Sherman, who was promoted to command all Union forces in region. Commencing his campaign against Atlanta in early May, Sherman moved through northern Georgia with three armies. While McPherson advanced on the right, Major General George H. Thomas Army of the Cumberland formed the center while Major General John Schofields Army of the Ohio marched on the Union left. Confronted by General Joseph E. Johnstons strong position at Rocky Face Ridge and Dalton, Sherman dispatched McPherson south to Snake Creek Gap. From this undefended gap, he was to strike at Resaca and sever the railroad which was supplying the Confederates to the north. Emerging from the gap on May 9, McPherson became concerned that Johnston would move south and cut him off. As a result, he withdrew to the gap and failed to take Resaca despite the fact the city was lightly defended. Moving south with the bulk of Union forces, Sherman engaged Johnston at the Battle of Resaca on May 13-15. Largely inconclusive, Sherman later blamed McPhersons cautiousness on May 9 for preventing a great Union victory. As Sherman maneuvered Johnston south, McPhersons army took part in the defeat at Kennesaw Mountain on June 27. James McPherson - Final Actions: Despite the defeat, Sherman continued to press south and crossed the Chattahoochee River. Nearing Atlanta, he intended to attack the city from three directions with Thomas pushing in from the north, Schofield from the northeast, and McPherson from the east. Confederate forces, now led by McPhersons classmate Hood, attacked Thomas at Peachtree Creek on July 20 and were turned back. Two days later, Hood planned to attack McPherson as the Army of the Tennessee approached from the east. Learning that McPhersons left flank was exposed, he directed Lieutenant General William Hardees corps and cavalry to attack. Meeting with Sherman, McPherson heard the sound of fighting as Major General Grenville Dodges XVI Corps worked to halt this Confederate assault in what became known as the Battle of Atlanta. Riding to the sound of the guns, with only his orderly as an escort, he entered a gap between Dodges XVI Corps and Major General Francis P. Blairs XVII Corps. As he advanced, a line of Confederate skirmishers appeared and ordered him to halt. Refusing, McPherson turned his horse and tried to flee. Opening fire, the Confederates killed him as he tried to escape. Beloved by his men, McPhersons death was mourned by leaders on both sides. Sherman, who considered McPherson a friend, wept upon learning of his death and later wrote his wife, McPhersons death was a great loss to me. I depended much on him. Upon learning of the death of his protà ©gà ©, Grant was also moved to tears. Across the lines, McPhersons classmate Hood penned, I will record the death of my classmate and boyhood friend, General James B. McPherson, the announcement of which caused me sincere sorrow...the attachment formed in early youth was strengthened by my admiration and gratitude for his conduct toward our people in the vicinity of Vicksburg. The second highest ranking Union officer killed in combat (behind Major General John Sedgwick), McPhersons body was recovered and returned to Ohio for burial. Selected Sources Sherman Loses his Right Bower by Wayne BengstonCivil War Trust: James McPherson Major General James B. McPherson

Change Management process Coursework Example | Topics and Well Written Essays - 2250 words

Change Management process - Coursework Example In addition accept changes in the current business environment and embracing the desired change. Organizational change is a planned approach for ensuring smooth transition and successfully implementation of change (Hayes 150). The business needs to keep changing to remain relevant in the industry. Changes in the organization are brought about by internal and external factors of the business. According to Jabri (20) internal drivers to change in any business include: To compete effectively, it is mandatory at times for businesses to change their strategies. Adjustment in business strategies is in response to external environments. These adjustments may involve changing some fundamental approaches by the business like the target market. Structural changes in the business may involve changing the hierarchy of authority. These changes are influence by internal and external factors. All changes in the management of the business are structural. Structural changes may involve change in management or change in simple polices in the organization. The business may be forced to reengineer its processes to optimize on productivity. The introduction of the machine in the business is one way of changing the process. This internal driver influences only organization’s with production processes. SolarTech Ltd. is influenced by this type of driver. Restructuring of the organization is crucial to benefit from new technologies. The main goal for any organization is minimizing costs and maximizing revenue. According to Treat (160), technology helps maximizing output while minimizing inputs. With that in mind the organization changes its structure for the new technologies to save labour costs. The introduction of the new machine is due to this driver to change. This is a modern internal driver to change. The tradition notion of ‘going to work’ has changed drastically in many organizations. A recent survey has shown

Computer Literacy Essay Example | Topics and Well Written Essays - 1000 words

Computer Literacy - Essay Example It exists for programs that are developed by programmers. There are two main classes of software: systems software along with applications software. Systems software controls and manages the function of the computer system when it carries out tasks on behalf of the system user (Chitra & Rani 2014). Systems software comprises of three essential classes: software development programs, operating systems, and utility programs. A database is an assortment of interrelated files. They can exist on paper, for instance, a telephone directory. Paper databases are inefficient as well as costly to keep. A computer-based database has the benefit of powerful explore services that can be used to find and get information several times faster than the physical techniques (Greenwell, Liu, & Chalmers 2014). Electronic databases provide amenities for system users to add modify or delete records as desired. Indexing characteristics imply that the same essential information is stored in a number of diverse categories. It offers great flexibility as well as allows system users to track, retrieve and put in order information as desired. A business information system is a group of interconnected constituents that work together to perform input, processing, output, and storage as well as management actions so as to change data into information products. These products can then be used to support planning, forecasting, control, decision making, coordination and functional activities in business. In terms of the elements that do this activity, they can be grouped into five fundamental assets of hardware, people, software, communications as well as data. People resources comprise of the users along with developers of information computer system. It also includes those who assist to maintain along with operating the system like as IS managers in addition to technical support personnel (Chitra & Rani 2014). Hardware

Law in the light Of Three cases Essay Example for Free

Law in the light Of Three cases Essay Framing his arguments on the conception of the â€Å"original understanding† as basis, Bork argues that this theory is the best and sole method which can be utilized in order to resolve and reconcile the perceived conflict that exists between what he calls as the â€Å"Madisonian† or â€Å"counter-majoritarian† dilemma. This problem primarily concerns the judiciary of creating law bereft of popular approval or consultation. The reconciliation between the two opposing poles according to Bork can be further resolved through the guidance not only of the basic functions of the branches of the government but, far more importantly, also of the Framer’s original understanding of the Constitution of the United States of America. Bork emphasizes that it is not essentially the role of the courts to legislate or create laws from where they are primarily positioned and that the court’s primary duty is to adjudicate. Moreover, he also argues that the courts should not only practice restraint in arriving at legal decisions over cases but that they should also make manifest of â€Å"neutral principles† quite apart from ad hoc pronouncements or subjective valuations or judgments which Bork sees as insufficient. In essence, the theory of originalism within the scopes of the constitutional interpretation by the U. S. is a conjuncture or a family of theories that reinforces the perception that the Constitution has an unchanging, hence fixed, and comprehensible meaning right at its establishment or the time of its ratification. It is also a theory of law that is formalist in nature and is closely related with the theory of textualism. The theory of originalism is currently popular among the political conservatives of the United States political system that is directly intertwined with Robert Bork as well as Clarence Thomas and Antonin Scalia although there are also quite a number of liberals who support and make use of the arguments being put forward by the theory of originalism. For the most part, originalism is conceived as a family of theories whereby a set of interpretations, though separated by fine distinctions, are nevertheless held together by their theoretical and argumentative support for originalism. The theory of original intent suggests that originalism is the view that argues that the interpretation of a written constitution is held to be firmly aligned with the primary intentions of those who drafted and approved its legality. This interpretation based on original intent has so often been used to disapprove unpopular groups such as gays and blacks during the middle parts of the twentieth century from acquiring civil liberties. The reason to this is that the original intent of the authors or the â€Å"founders† of the constitution did not practically intend explicitly or implicitly either for gays or for blacks to be duly given with the same rights that white males enjoy. On the other hand, closely related to textualism is the notion of the â€Å"original meaning† which holds that the precise and rightful interpretation of the constitution should be entirely founded on what the ordinary meaning of the written texts in the constitution would have been during the year or the time when it was drafted and ratified. Although these interpretations of the theory of originalism may not necessarily come into full agreement on the use of the terms expressed in the constitution, they nevertheless share the same view that there is an authority that exists with the ratification of the constitution that should serve as the backbone in extracting the meaning of the constitution. The very distinctions correspond to the intentions of the authors, the plain meaning of the written texts in the constitution, and the comprehension of those who authored the constitution or those who ratified it. Paul Brest held contradicting arguments to those that are being proposed in the context of originalism. Brest maintains that the theory of originalism is itself unworkable for the reason that it is practically not feasible to identify and aggregate the intentions of the framers of the constitution whose numbers come in multitudes. He further maintains that the arguments being put forward by originalism is difficult to be pursued and be delegated to current issues that beset the legal system. Frederick Schauer, as a proponent of legal formalism, may very well suggest that the substance of laws is not an area of concern for the judges to delve into but is rather the function of the legislative body in a democratic government. The division between policy or normative considerations and legal reasoning, as put forward by formalism, highlights the issue revolving around the attempts of justices to determine the legal valuations of statutes. Planned Parenthood versus Casey  The constitutionality of a number of state regulations in Pennsylvania that correspond on the legal issued of abortion were put to legal test in the case of Planned Parenthood versus Casey. The Supreme Court of the United States’ lead plurality opinion maintained the right to acquire an abortion although contemporaneous to its decision is the lowering of the standards for the assessing limitations of such right which in turn nullified the validity of one regulation in favor of the upholding of the other regulations. The case in itself is divided between differing judgments among the justices and that none of the opinions of the Justices were merged or could have been merged by a majority among the justices. Moreover, the case has made clear the very substantial role of precedents in deciding the legality and outcome of the arguments in legal cases. The main precedent that has been used in the case is that of Roe v. Wade which initially recognized the right guaranteed by the U. S. Constitution to decide for and acquire an abortion as a form of liberty specifically maintained by the Fourteenth Amendment, specifically by the Due Process Clause. The course of the case posed the first challenge directed towards the court’s ruling in the case of Roe that further distinguished itself as a seminal issue in the history of the abortion rights in America. On the part of the Justices who comprised the panel that will decide the merit and outcome of the case, dissenting opinions were raised and held. Part of the arguments raised by the justices who concurred with Roe as precedent suggests that the arguments raised in the Roe case were legally substantial enough to uphold the constitutionality of the provisions set forth by the Constitution. That is, the Roe case as precedent addresses the contentions of the complainants in the manner in which prior court rulings are maintained and, hence, determine the legality of the case inasmuch as the contentions to the legal rights are provided and preserved. On the other hand, part of the panel of justices dissented on the substantiality of the constitutional provision by arguing that the Roe case, when used as a precedent in the case at hand, was incorrectly decided and, hence, cannot be considered in extracting the necessary legal remedy in the case of Planned Parenthood versus Casey. Rawls and the principle of fairness Central to John Rawls’ conception of justice is his treatment of the concept of justice as â€Å"fairness†. From this main precept, Rawls continues his argument by expounding on the circumstances that will give rise to these fair conditions. Before centering one’s attention on these circumstances, it must be noted that Rawls primarily makes use of the veil of ignorance in determining the principles of justice that the society will eventually adopt. These first principles of justice will then serve as the basis for the legal aspects of the society such as the creation of legislative proclamations, precedents, drafting and ratification of the constitution, legal sanctions expressed in these written codes of law among many others. At the onset of the determination of the principles of justice, Rawls suggests that the members of the society will convene in order to determine which principles are to be accepted as the first principles. The convention of the individuals is made on equal on grounds on several bases. First is that the individuals will be deprived of general knowledge on matters which will allow them to obtain a relative advantage over other people in the convention. This limiting of knowledge is met through the hypothetical veil of ignorance that serves as the â€Å"veil† which strains out specific knowledge among them. The specific types of knowledge Rawls refers to are those that revolve around the context of the age, race and social status among many others. The knowledge of these specific factors, Rawls claims, lead to an unfair advantage of some over the rest for the reason that it results to basic inequalities prior to the commencement of the convention of rational individuals. On the other hand, what must only be permitted are general knowledge such as the knowledge that the principles that the convention of individuals will eventually agree on will automatically subject these people to the scopes and limitations set forth in these principles and other sets of principles that can be derived from them. Eventually, the individuals in the convention will agree on the first principles of justice they are able to decide. Conversely, this is the crucial part whereby fairness is met. Fairness here is taken to mean that the first principles were derived under fair conditions to the individuals and that the principles, consequently, are fair as well. From this, it is claimed that the moral obligations that are to be extracted from the principles of justice are those that the individuals will not disagree on for reasons of injustice or unfairness. The reason behind this is that the veil of ignorance guarantees fair conditions in arriving at fair principles thereby ensuing that the individuals will not go against the provisions of the law derived from the first principles. John Simmons, on the other hand, maintains that there is apparently the non-existence of any strong moral duty towards the law of any given society or state. Moreover, Simmons argues that moral obedience towards the constitution or the law in general barely amounts to the premise that even in a just or orderly state only some natural duty and not all brings justification of compliance to the law. Further, Simmons analyzes and determines that Rawls’ conception of a natural duty of justice (all must build and maintain just institutional arrangements) as a justification for the natural duty to obey the law is inadequate to bring about a strong moral duty towards the law. The arguments of Rawls primarily fail for the reason that Rawls is unable in thoroughly explaining the reason behind why even just institutions in the domestic arena ought to acquire privileged moral authority over individuals in the state. Conversely, it should be noted that if indeed there is the existence of natural duty towards justice, then the question remains as to why this duty would have to arrive at the fences of every state or nation.

The Eve of St. Agnes by John Keats Essay -- The Eve of St. Agnes John

Someone once said that true love is only an illusion and can never be achieved. This is evidently shown through many elements of the poem by John Keats, â€Å"The Eve of St. Agnes.† Much of this poem is about the imagination and how it can blind people and make them oblivious to the true events that are occurring. We the readers can see this very easily through the portrayal of one of the main characters Madeline. The second main character Porphyro tries to authenticate her quest for a dream experience however ends up taking advantage of her while she thinks she is still dreaming. The poem does endorse how the power of Madeline’s visionary imagination can influence her and the others around her, but also that happenings outside of the dream can cause the person in the dream to be taken advantage of with out the dreamers knowledge. The truth is that Porphyro knows exactly what he is doing and instead of doing things in a honorable way, he decides to proceed in a dishonorable way and totally violates her visionary imagination. The night that is being spoken of in this poem is a night of dreams and imagination. It is supposed to be a mystical night in which young women have dreams of their one true love. Madeline takes this to a totally different level in that she totally succumbs to the mystical ability of the night and totally loses her mind. In that she doesn’t even know if she is still dreaming or if she is wake. Some interpretations of the poem say that she is wake and know what she is doing. However, I believe the contrary that she doesn’t know what she is doing. â€Å"Hoodwink’d with faery fancy.† (70) Most of what she does is due to the mystical feeling the night causes. A mind can play may tricks and the mind can make ... ... to trick her into doing something on a night to which she seem to have no control over, on one of the most mystical night of them all. The only reason that I can think of that she goes away with him at the end is not because she truly love him, but that she is starting to realize what she did. Now the only honorable thing to do is go away with him so that she doesn’t dishonor anyone. This is kind of ironic because it was the dishonor of Porphyro, which caused all this, and yet she is doing the honorable thing. Works Cited Page Keats, John. â€Å"The Eve of St. Agnes.† The Norton Anthology of English Literature. Vol II, Ed. MH Abrams, et al. New York; Norton 2000. Pg 834-844. Stillinger, Jack. â€Å"The Hoodwinking of Madeline: Skepticism in The Eve of St. Agnes.† Twentieth Century Interpretations of the â€Å"Eve of St. Agnes.† Englewood Cliffs, NJ. Pgs. 67-94

Just Take Away Their Guns

In Willow's essay about gun control, the focus is on figuring out a way to remove Illegal guns from the street, and gang members to prevent more deaths of innocent people. Wilson focus's on how adding more restrictions in regards to purchasing a gun will not stop the mass murders, or even Illegal guns. So it is pointless to Increase the amount of gun control when It comes to purchasing guns legally.Although Wilson Is for less gun control, he does a very good Job of expressing each side of the arguments flaws, even his own. I personally don't see the need for guns In the home f Americans, but I will not be the person who Insists on removing all guns entirely, when I understand those that were obtained legally only use them for recreational use, not to murder and kill Innocent people. But something does need to be done about the Illegal guns, but the suggestions that Wilson makes In his essay, are very clear that they will never be come laws.He Is obviously poking fun at the gun contro l advocates by suggesting people walking down the street who fit the profile of someone who carries an illegal gun, be searched. It's a ludicrous idea, and not to mention illegal to profile anyone, based on looks alone. Clearly, Willow's suggestions are not legitimate ideas, but I think he is making these comments to prove the American people, especially gun control advocates its not as simple or black and white.Eliminating guns is only going to affect people who buy them legally, not those who obtain them illegally, so how will that prevent fewer murders? There isn't a simple answer and I understand that, I wish there was so the amount of people whom, as of lately, seem to be getting killed in mass shooting are suffering at the price of illegal fire arms. Its unfortunate and I agree, but I lack the ability to find a better solution. Just Take Away Their Guns In Willow's essay about gun control, the focus is on figuring out a way to remove Illegal guns from the street, and gang members to prevent more deaths of innocent people. Wilson focus's on how adding more restrictions in regards to purchasing a gun will not stop the mass murders, or even Illegal guns. So it is pointless to Increase the amount of gun control when It comes to purchasing guns legally.Although Wilson Is for less gun control, he does a very good Job of expressing each side of the arguments flaws, even his own. I personally don't see the need for guns In the home f Americans, but I will not be the person who Insists on removing all guns entirely, when I understand those that were obtained legally only use them for recreational use, not to murder and kill Innocent people. But something does need to be done about the Illegal guns, but the suggestions that Wilson makes In his essay, are very clear that they will never be come laws.He Is obviously poking fun at the gun contro l advocates by suggesting people walking down the street who fit the profile of someone who carries an illegal gun, be searched. It's a ludicrous idea, and not to mention illegal to profile anyone, based on looks alone. Clearly, Willow's suggestions are not legitimate ideas, but I think he is making these comments to prove the American people, especially gun control advocates its not as simple or black and white.Eliminating guns is only going to affect people who buy them legally, not those who obtain them illegally, so how will that prevent fewer murders? There isn't a simple answer and I understand that, I wish there was so the amount of people whom, as of lately, seem to be getting killed in mass shooting are suffering at the price of illegal fire arms. Its unfortunate and I agree, but I lack the ability to find a better solution.

Leadership and Management Concepts for Health Professionals Essay

In this essay, leadership will be defined and analysed. A detailed leader profile from my workplace will be developed and described using transformational theory, as this is the most adequate theory to describe the performance, effectiveness and styles used by the leader to achieve the objectives and goals in my workplace. Moreover, the nature of the leader’s role and achievement utilising the theory will be analysed. In addition, transformational theory will be defined and analysed based on different explanations. Leadership is one of the most essential criteria of the nurse manager. It is the process of interaction between the leader and the other staff, influencing them toward workplace goals achievement (Yukl, 1998). Leadership is the ability to provide direction toward preferred future aspirations and aligns the followers toward goals achievement (Kelly-Heidenthal, 2004). Moreover, leadership is viewed as a dynamic interactive process that involves various dimensions, including planning, organising, directing and controlling. The activities of an organised group can be influenced by a process in which the efforts to achieve the goals and tasks are managed by leadership (Roussel, Russell & Swansburg, 2006). Leadership is also defined as inducing individuals or a group to take an action in accordance with the purpose of the leader. Moreover, Roussel, Russell and Swansburg (2006) correctly pointed out that leadership can be explained as a group of individuals who have been inspired by a person to work together toward achieving common goals and missions using appropriate means. A crowd can be transformed into a functioning and useful organisation, and this is a vital component of leadership. Leadership can be formal or informal. As Sullivan and Decker (2004) explain, it can be formal when a nurse manager demonstrates power and authority within a framework of legal approval by the organisation. Leadership can be informal when utilised by a staff member who does not have effective leadership skills, ideas and roles to promote the performance of the work outcomes. Leader’s Profile Mrs. Zahra is a nursing officer who has been working since 1996 in charge of a department in the Armed Forces Hospital, Sultanate of Oman. She is known to everybody in the department and all around the hospital as a friendly person who is intelligent, hardworking, and motivational, a good communicator and a person with a strong personality that inspires others to follow her. In addition, Mrs. Zahra has problem solving skills and extensive experience and knowledge in her speciality as well as in leadership and management. Further, she is a member of the Quality Assurance and Staff Development Committees. As she is in charge of the operating theatres department, she manages the planning and coordination of the operating rooms scheduling system. Moreover, she adjusts the staffing assignments of nursing and ancillary personnel to provide adequate room coverage. Motivation, direction, controlling and evaluation of the staff performance are some of the leader’s responsibilities. Transformational Leadership Transformational theory is the most appropriate theory to describe my leader’s role, nature and achievements. Transformational leadership focuses on how the followers can be motivated, guided and directed to achieve the goals of the work by the leaders (Sullivan & Decker, 2005). Sullivan and Decker (2005) emphasise that generating employees’ commitment to the vision is the goal of transformational leadership. According to Kelly-Heidenthal (2004), ‘transformational leadership is based on the idea of empowering others to engage in pursuing a collective purpose by working together to achieve a vision of a preferred future’. The work of Roussel, Russell and Swansburg (2006) reveals that there are four components of effective and dynamic transformational leadership: management of trust, attention, self and meaning. In management of trust and reliability, decisions based on fairness, honesty and equity that have been made by the transformational leaders will be respected, followed and executed by the nurses. A transformational leader’s judgment is usually consistent and sound. Having vision, goals or a sense of outcomes will lead to achieving the management of attention. Any health care organisation will be defined by how it serves the community and where it is headed in order to achieve its vision statement. Vision means the credible, attractive and realistic future stated for the organisation. Knowing the skills of the staff and how to utilise them effectively is defining the meaning of self. Leaders develop their leadership skills through continuing their education in leadership and management skills so that the burnout and stress facing them will be reduced and controlled. In management of meaning, leaders must inspire commitment in staff by communicating their vision and creating a standardised culture among the staff by using group discussions, meetings, agreements and consensus building in which individual innovation and creativity are well supported. The goals and objectives that are consistent with the vision must be related with the rewards and appraisals for the staff. Moreover, Roussel and Russell (2009) have made clear that in transformational leadership, the achievement of goals that benefits the organisation and the personnel themselves is achieved by empowering the personnel to have a vision about the organisation and to trust the leaders. Transformational leadership can be practiced in hospitals and emergency rooms, as they are unstable and rapidly changing environments. Therefore, leaders in this atmosphere will acknowledge uncertainty, be flexible, motivate, and consider the employees’ values and needs (Roussel & Russell, 2009). In transformational leadership, leaders empower and motivate the staff by involving them in decision-making, which inspires them to be a part of the vision and makes them feel that they are part of the team contributing to the success of the organisation. Leaders inspire the staff by rewarding them for the quality and excellence of the work carried out. As a result, leaders will have staff who demonstrate high quality performance, commitment and job satisfaction Roussel & Russell, 2009). Kelly-Heidenthal (2004) has pointed out that the empowerment and inspiration of the staff leads to high performance and commitment to the organisation through a good relationship between the leaders and the staff. In general, there are certain common characteristics that transformational leaders should have. These are the ability to: instil a sense of capability in staff; offer vision; inspire trust; perform all tasks on time; take risks; manage and take action appropriately during times of crises; and communicate effectively. In the context of a transformational leadership framework, Mrs.  Zahra treats all staff in a friendly way, equally and with perfect communication skills acceptable to all of them. This leads to building a trusting relationship between her and the staff. In addition, the leader involves all the staff in the organisation’s vision and treats each staff member as a part of it. As a result, the self-confidence of the staff is gained and restored. The leader is concerned about the values and needs of her staff as she routinely holds individual meetings with each staff member in her office, asking each one of them about their feelings, needs and problems and tries to address them. Further, she shares many responsibilities and power with the staff; therefore, the staff feel responsible to work harder and more effectively. This causes all staff to be more motivated and work hard to accomplish the goals and tasks of the organisation. The leader holds general meetings with all staff frequently sharing with them decision-making, work strategies and any other new ideas from the staff. Consequently, all staff are inspired to be a part of the team, working hard and effectively for the vision of the organisation. The leader inspires the staff by being a model of a hard working, responsible and motivational person. In doing so, she motivates and stimulates staff performance and commitment to achieve the goals of the organisation. As Mrs. Zahra is a trustworthy and reliable leader. All staff follow her decisions with a sense that she is doing the best for the achievement of the organisation’s tasks. She directs, guides and controls all operating theatres scheduling systems. She delegates and allocates staff to fulfil various functions as a motivation process, which increases the trusting relationship between her and the staff. This leads to increased staff commitment, goals’ achievement and job satisfaction. The leader develops staff knowledge and experience in collaboration with the staff development department by involving them in ongoing job training programs in the Armed Forces Hospital or by sending them for short courses in Oman or nearby countries. Thus, staff will be more knowledgeable, educated, and more capable to carry out the work and tasks effectively and on time. As an example of the leader’s motivation of the staff, she has assigned a monthly reward for one of the staff members who works hard and effectively with high performance. This creates competition amongst the staff to work harder with a high level of performance and commitment to achieve the goals of the organisation. Moreover, this process demonstrates the meaning of inspiration skills and how to motivate the staff positively within the organisation. After all, the organisation’s performance and productivity in general will be increased and delivered with high quality standards. Conclusion Leadership is one of the most important skills in nurse managers. It is a process of interaction between the leader and the staff, influencing them positively toward achieving the goals and tasks of the organisation. Transformational leadership is very effective and is commonly used in hospitals. It is based on ideas of empowering, inspiring and motivating the staff toward working together to achieve the organisation’s goals and vision. A transformational leader who acts as a role model can influence the staff and make them accountable for their own practice, work achievement and staff development (McNaron, 2009, pp. 89-560). Moreover, high levels of competency can be gained by using transformational leadership skills and the quality of patient care outcomes will be improved as a result. Staff development, commitment and job satisfaction can be improved by using transformational leadership skills. These are motivation, inspiration, empowerment, building a trusting relationship between the leader and the staff, sharing power and decision-making and rewarding staff for quality and excellence of job achievement. My leader’s profile has been discussed in detail. As well as her nature, goals and achievements, using transformational leadership theory has been recognised with many similarities between them. She applied transformational leadership skills very effectively and utilised them toward the improvement of staff and the organisation’s productivity in general. I enjoyed working in the operating theatres department with Mrs. Zahra’s leadership and I hope that I will continue working with her for many years to come. I wish the best for my leader and for her to continue in her current leadership style.

Sex in Traditional Chinese Culture

Sex in Traditional Chinese Culture The Chinese are more traditional than Western people. Talking about sex is controversial. Whenever sex is mentioned, Chinese people usually consider it as being in bad taste. This tradition causes a lack of education about sex issues. A couple married for many years went to see a doctor for infertility. Both were in good health, but to the doctors surprise, the couple had never made love. This is one of the extreme cases, but it shows that some people have no knowledge about sex. Chinese Women and Having Sex Some young, unmarried women in China have no idea about sex  before they become pregnant and have to undergo abortions, which could be avoided if they knew better. Moreover, the lack of knowledge about sex could also lead to the spread of venereal diseases and AIDS. Therefore, sex education is urgently needed in China. Young people need to learn what love is and how to protect themselves. Sex in China The Sex Education Program, introduced in 2017, is the main key to the problem. However, the courses set for all levels of schools are not optimized. Teachers and students are always finding themselves in a very embarrassing situation when they debate about sex in class. Sex has really become forbidden fruit. Even so, most people think they can use some guidance about sex. Some think it works well to get informed by their peers. Some think they can be taught well from books on sex. Most people seem to find a way to educate themselves. But that is not enough to help the young from getting into bitter results. Impetuous love and sexual activities can be risky and sometimes even fatal, so it is better for them to get educated about sex before they fall in love. Not everyone is optimistic about this approach. A college student once said that he didnt want to marry a medical graduate. He thought knowing too much about the body and sex would bring an end to romance. Anyway, bringing sexual knowledge to people, especially to students, is an urgent but long-term task. China is working hard on it with entirely new approaches. More compatible courses have been introduced to junior and senior schools for teens and college students are beginning to debate sex in class. Furthermore, organizations have been established to lead the movement to a higher level to modernize the old views on sex in China.

The Difference Between Coordinate and Noncoordinate Adjectives

The Difference Between Coordinate and Noncoordinate Adjectives The Difference Between Coordinate and Noncoordinate Adjectives The Difference Between Coordinate and Noncoordinate Adjectives By Mark Nichol Writers are often confused about whether to punctuate a phrase that includes two or more adjectives. To determine whether a comma is required between any two adjectives, test whether they are coordinate or noncoordinate. Coordinate adjectives have equal status: They both modify a noun or noun phrase. By contrast, noncoordinate adjectives have different functions: The former type of adjective modifies a noun or noun phrase, and the latter modifies a phrase consisting of another adjective and a noun or a noun phrase when that other adjective is an essential description of the thing being described. The following sentences, and the discussions and revisions that follow, illustrate this point. 1. For decades, companies have assigned repetitive, manual tasks to robots. Repetitive describes a type of manual tasks- it does not have equal status with manual in modifying tasks- so the adjectives are noncoordinate and no comma should follow the word: â€Å"For decades, companies have assigned repetitive manual tasks to robots.† 2. The 218-acre, oceanfront estate is for sale. The phrasal adjective â€Å"218-acre† modifies â€Å"oceanfront estate,† not just estate, so the adjectives are noncoordinate and no commas are required: â€Å"The 218-acre oceanfront estate is for sale.† 3. A holistic forward-looking, risk-focused, continuous-monitoring approach is often difficult. Forward-looking and risk-focused both describe â€Å"continuous-monitoring approach,† and they’re interchangeable, so they are coordinate adjectives and should be separated from each other by a comma. However, â€Å"continuous-monitoring† is not equivalent to the other phrases; it is an essential part of the phrase they are modifying, so the final comma is incorrect: â€Å"A holistic forward-looking, risk-focused continuous-monitoring approach is often difficult.† (Also, holistic modifies everything that follows, so it is noncoordinate and therefore no comma should follow it.) 4. Recognizing how a home meets your needs, and the needs of your family, can help you contribute to the development of a happy, healthy, home environment. Home is not equivalent to happy and healthy, it is an intrinsic term describing the type of environment that can be happy and healthy. Those words, which are interchangeable, modify the phrase â€Å"home environment,† so the final comma is incorrect: â€Å"Recognizing how a home meets your needs, and the needs of your family, can help you contribute to the development of a happy, healthy home environment.† 5. The risks presented by this complex, fragmented, legacy architecture are rarely, if ever, considered. Complex and fragmented describe â€Å"legacy architecture,† so legacy is not equivalent to the first two words and should not be separated from them. Those words, however, are interchangeable and must be set off by a comma: â€Å"The risks presented by this complex, fragmented legacy architecture are rarely, if ever, considered.† Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Grammar category, check our popular posts, or choose a related post below:60 Synonyms for â€Å"Walk†20 Pairs of One-Word and Two-Word Forms7 Sound Techniques for Effective Writing

A recent major decision that was made in the United States Assignment

A recent major decision that was made in the United States - Assignment Example One of the assumptions was by the management of financial, mortgage and insurance institutions that the real estate prices would continue rising. According to Bianco (2008), after a decade long of continuous rise in property prices, lending institutions assumed that this would go on and disregarded the long known real estate price cycles. As a result, they continued lending to willing consumers majority of who are oblivious of such real estate price patterns. It is difficult to conceive how real estate and financial experts failed to project the burst in real estate prices, instead relaxing their lending requirements to take advantage of the price boom. Insurance institutions also bought into this assumption and thus insured such unsustainable investments. The second assumption is on the part of the government; driven by free market assumptions that competition and market forces would result in self-regulation, the government watched along as standards were relaxed in fierce competition to sell mortgages (Akif, 2011). The government failed in providing oversight and regulation which would have resulted in the lending institutions acting ethically and following sound financial projections. A number of explanations have been provided as to why the much experienced financial experts, who had witnessed real estate price cycles before, would assume the prices would not fall on this occasion. Bianco (2008) argues that unscrupulous and unethical behavior from financial institutions was behind the assumption. This is supported by the view that financial institutions loosened their standards, offering high risk and fraudulent mortgages. The author provides evidence of this by citing the statistics that fraud in mortgages had increased by 1411% between 1997 and 2005. On the part of the government, Akif (2011) ponders whether the assumptions were a result of naà ¯ve optimism that social utility would accompany self