In Memoriam (Tennyson) Essay Example for Free

In Memoriam (Tennyson) Essay The poem is not, nonetheless, merely a way to express personal grief. Even though the â€Å"I† of In Memoriam is at times totally linked with the poet. Tennyson, the poet himself alleged that it is recurrently proposed to symbolize how the human race expresses and communicates through him. The individual sorrow and uncertainty became a microcosm for the distress being beared by the men and women of the 19th century who had been moving away from faith in traditional religion, as the evolvements in science were getting on to the ending that as such there was no divine hand which existed to guide. The speaker actually gets troubled through the loss he has beared but he gradually consents to the notion that, regardless of the external signs of confusion, and disorder the world actually becoming a better place to live in; his friend Hallam enters in to be seen as a messenger of a superior reace which will show way to humankind to lead them to God. Tennyson shifts alternately from insensitive misery to self-awareness and gets too see that writing poetry is an antidote for pain. Poems 9 through 17 make up a cluster amalgamated by the poet’s thought on the arrival of Hallam’s body through the ship from Italy. A calmer anguish now encompasses his heart. This anguish due to grief gradually make the mind even firmer, but the more deeper the sorrows are than words keep closed within in his heart. He commences on not to display his emotions openly but as he should (Richard, 2004). As a consequence, In Memoriam portrays the chief Victorian clash of science and faith to be the true work of its era; Tennyson’s effort to settle any sort of doubts that are based on religion which take birth from his not public sorrow and the outcomes of pre-Darwinian theories which are associated to succession were cut down by thinkers of his time as a reasonable landmark. The cyclic modification in the turn from personal anguish and desolation to the bigger vision of the public and apprehension for wider, social problems that can be seen in this poem reveal Tennyson’s mounting reception of and settlement with the issues of his age. As the elegy gets to its ending, the poet becomes more strongly influenced. His love, even though was seen on their preceding earthly association, is â€Å"vaster passion† which is now that Hallam’s incidence is spiritual and subtle through God and nature. The elegy ends up with the self-assured statement of the poet which shows that the living are real and will supplementarily move humanity’s measures and of the faith in its real sense that will not be highlighted only after death. Form The poem is not, nonetheless, merely a way to express personal grief. Even though the â€Å"I† of In Memoriam is at times totally linked with the poet. Tennyson, the poet himself alleged that it is recurrently proposed to symbolize how the human race expresses and communicates through him. The individual sorrow and uncertainty became a microcosm for the distress being beared by the men and women of the 19th century who had been moving away from faith in traditional religion, as the evolvements in science were getting on to the ending that as such there was no divine hand which existed to guide. The speaker actually gets troubled through the loss he has beared but he gradually consents to the notion that, regardless of the external signs of confusion, and disorder the world actually becoming a better place to live in; his friend Hallam enters in to be seen as a messenger of a superior reace which will show way to humankind to lead them to God. As a consequence, In Memoriam portrays the chief Victorian clash of science and faith to be the true work of its era; Tennyson’s effort to settle any sort of doubts that are based on religion which take birth from his not public sorrow and the outcomes of pre-Darwinian theories which are associated to succession were cut down by thinkers of his time as a reasonable landmark. The cyclic modification in the turn from personal anguish and desolation to the bigger vision of the public and apprehension for wider, social problems that can be seen in this poem reveal Tennyson’s mounting reception of and settlement with the issues of his age (Matthew, 2002). Style Tennyson shifts alternately from insensitive misery to self-awareness and gets too see that writing poetry is an antidote for pain. Poems 9 through 17 make up a cluster amalgamated by the poet’s thought on the arrival of Hallam’s body through the ship from Italy. A calmer anguish now encompasses his heart. This anguish due to grief gradually make the mind even firmer, but the more deeper the sorrows are than words keep closed within in his heart. He commences on not to display his emotions openly but as he should. As the elegy gets to its ending, the poet becomes more strongly influenced. His love, even though was seen on their preceding earthly association, is â€Å"vaster passion† which is now that Hallam’s incidence is spiritual and subtle through God and nature. The elegy ends up with the self-assured statement of the poet which shows that the living are real and will supplementarily move humanity’s measures and of the faith in its real sense that will not be highlighted only after death. Because I Could Not Stop for Death Form The tone, or the emotional position of the speaker in this particular poem, is highly significant and the deception in â€Å"Because I could not stop for Death.† Although the theme is related to death, it is not a serious sad thing to talk over. In disagreement, Death is shown to be equal to a wooer in which emerges as fundamentally a fable, with abstractions constantly incarnate. overwhelmed by Death’s consideration and patience, the speaker responds by adding to her aside her work and free time (Vendler, 2004). One sees many of Dickinson’s typical devices at work: the tightly patterned form, based on an undefined subject, the riddle-like puzzle of defining that subject, the shifting of mood from apparent observation to horror, the grotesque images couched in emotionally distant language. All this delineates that experience, that confrontation with God, with nature, with the self, with one’s own mind which is the center of Dickinson’s best poetry. Whether her work looks inward or outward, the subject matter is a confrontation leading to awareness, and part of the terror is that for Dickinson there is never any mediating middle ground; she confronts herself in relation to an abyss beyond. There is no society, no community to make that experience palatable in any but the most grotesque sense of the word, the awful tasting of uncontrollable fear. The second third of the poem changes the proportions. Although the experience is not actually any of the four things she has mentioned above, it is like them all; but now death, the first, is given seven lines, night three, frost only two, and fire is squeezed out altogether. It is like death because she has, after all, seen figures arranged like her own; now her life is â€Å"shaven,/ And fitted to a frame.† It is like night when everything that â€Å"ticked† — again mechanical imagery for a natural phenomenon — has stopped, and like frosts, which in early autumn morns â€Å"Repeal the Beating Ground.† Her vocabulary startles once more: The ground beats with life, but the frost can void it; â€Å"repeal† suggests the law, but nature’s laws are here completely nullified. Finally, in the last stanza, the metaphor shifts completely, and the experience is compared to something new: drowning at sea. It is â€Å"stopless† but â€Å"cool†; the agony that so often marks Dickinson’s poetry may be appropriate to the persona, but nothing around her, neither people nor nature, seems to note it. Most important, there is neither chance nor means of rescue; there is no report of land. Any of these conditions would justify despair, but for the poet, this climatic experience is so chaotic that even despair is not justified, for there is no word of land to despair of reaching. Style Death is a mostly a concern of Dickinson’s poetry. Usually in order to make means of exploration, she will surely check that its objectification all the way through a persona who has already died. The truth is that life is short and death is long. Perhaps in this sobering truth one may find that Dickinson’s poem is as much about life about how one ought to redeem it from the banal as it is about death(Laurence, 2004). One sees many of Dickinson’s typical devices at work: the tightly patterned form, based on an undefined subject, the riddle-like puzzle of defining that subject, the shifting of mood from apparent observation to horror, the grotesque images couched in emotionally distant language. All this delineates that experience, that confrontation with God, with nature, with the self, with one’s own mind which is the center of Dickinson’s best poetry. Whether her work looks inward or outward, the subject matter is a confrontation leading to awareness, and part of the terror is that for Dickinson there is never any mediating middle ground; she confronts herself in relation to an abyss beyond. There is no society, no community to make that experience palatable in any but the most grotesque sense of the word, the awful tasting of uncontrollable fear. The second third of the poem changes the proportions. Although the experience is not actually any of the four things she has mentioned above, it is like them all; but now death, the first, is given seven lines, night three, frost only two, and fire is squeezed out altogether. It is like death because she has, after all, seen figures arranged like her own; now her life is â€Å"shaven,/ And fitted to a frame.† It is like night when everything that â€Å"ticked† — again mechanical imagery for a natural phenomenon — has stopped, and like frosts, which in early autumn morns â€Å"Repeal the Beating Ground.† Her vocabulary startles once more: The ground beats with life, but the frost can void it; â€Å"repeal† suggests the law, but nature’s laws are here completely nullified. Finally, in the last stanza, the metaphor shifts completely, and the experience is compared to something new: drowning at sea. It is â€Å"stopless† but â€Å"cool†; the agony that so often marks Dickinson’s poetry may be appropriate to the persona, but nothing around her, neither people nor nature, seems to note it. Most important, there is neither chance nor means of rescue; there is no report of land. Any of these conditions would justify despair, but for the poet, this climatic experience is so chaotic that even despair is not justified, for there is no word of land to despair of reaching. Content Death appears personified in this poem as a courtly beau who gently insists that the speaker put aside both â€Å"labor† and â€Å"leisure.† He arrives in his carriage, having stopped for her because she could not have stopped for him, and he even submits to a chaperone, â€Å"Immortality,† for the length of their outing together. It was not Death, for I stood up† Riddling becomes less straightforward, but no less central, in such a representative Dickinson poem as â€Å"It was not Death, for I stood up† (#510), in which many of her themes and techniques appear. The first third of the poem, two stanzas of the six, suggest what the â€Å"it† is not: death, night, frost, or fire. Each is presented in a couplet, but even in those pairs of lines, Dickinson manages to disconcert her reader. It is not death, for the persona is standing upright, the difference between life and death reduced to one of posture. Nor is it night, for the bells are chimin g noon — but Dickinson’s image for that fact is also unnatural. The bells are mouths, their clappers tongues, which are â€Å"Put out†; personification here does not have the effect of making the bells more human, but of making them grotesque, breaking down as it does the barriers between such normally discrete worlds as the mechanical and the human, a distinction that Dickinson often dissolves. Moreover, the notion of the bells sticking out their tongues suggests their contemptuous attitude toward man. In stanza two, it is not frost because hot winds are crawling on the persona’s flesh. The hackneyed phrase is reversed, so it is not coolness, but heat that makes flesh crawl, and not the flesh itself that crawls, but the winds upon it; nor is it fire, for the persona’s marble feet â€Å"Could keep a Chancel, cool.† Again, the persona is dehumanized, now grotesquely marble. While accomplishing this, Dickinson has also begun her inclusion of sense data, pervasive in the first part of the poem, so that the confrontation is not only intellectual and emotional but physical as well (Hood, 2000). The second third of the poem changes the proportions. Although the experience is not actually any of the four things she has mentioned above, it is like them all; but now death, the first, is given seven lines, night three, frost only two, and fire is squeezed out altogether. It is like death because she has, after all, seen figures arranged like her own; now her life is â€Å"shaven,/ And fitted to a frame.† It is like night when everything that â€Å"ticked† — again mechanical imagery for a natural phenomenon — has stopped, and like frosts, which in early autumn morns â€Å"Repeal the Beating Ground.† Her vocabulary startles once more: The ground beats with life, but the frost can void it; â€Å"repeal† suggests the law, but nature’s laws are here completely nullified. Finally, in the last stanza, the metaphor shifts completely, and the experience is compared to something new: drowning at sea. It is â€Å"stopless† but â€Å"cool†; the agony that so often marks Dickinson’s poetry may be appropriate to the persona, but nothing around her, neither people nor nature, seems to note it. Most important, there is neither chance nor means of rescue; there is no report of land. Any of these conditions would justify despair, but for the poet, this climatic experience is so chaotic that even despair is not justified, for there is no word of land to despair of reaching. Thus, one sees many of Dickinson’s typical devices at work: the tightly patterned form, based on an undefined subject, the riddle-like puzzle of defining that subject, the shifting of mood from apparent observation to horror, the grotesque images couched in emotionally distant language. All this delineates that experience, that confrontation with God, with nature, with the self, with one’s own mind which is the center of Dickinson’s best poetry. Whether her work looks inward or outward, the subject matter is a confrontation leading to awareness, and part of the terror is that for Dickinson there is never any mediating middle ground; she confronts herself in relation to an abyss beyond. There is no society, no community to make that experience palatable in any but the most grotesque sense of the word, the awful tasting of uncontrollable fear (Barton ,2008) Conclusion In this paper we have analysed two brilliant works of poetry, one In Memoriam by Tennyson as compared to Because I Could Not Stop for Death by Dickinson. We have analysed both the works in terms of their content, form and style and evaluate how they have been done by their respective writers. References Barton, A. (2008). Tennyson’s Name: Identity and Responsibility in the Poetry of Alfred, Lord Tennyson. Burlington, Vt.: Ashgate,. Hood, J. (2000). Divining Desire: Tennyson and the Poetics of Transcendence. Brookfield, Vt.: Ashgate, Laurence. M. (2004). W. Alfred Tennyson: The Critical Legacy. Rochester, N.Y.: Camden House, Matthew, C.( 2002). The Consolation of Otherness: The Male Love Elegy in Milton, Gray, and Tennyson. Jefferson, N.C.: McFarland,. Richard,B. (2004). Experience and Faith: The Late-Romantic Imagination of Emily Dickinson. New York: Palgrave Macmillan, Lundin, Roger. Emily Dickinson and the Art of Belief. Grand Rapids, Mich.: William B. Eerdmans, 2004. Vendler, H. (2004). Hennessey. Poets Thinking: Pope, Whitman, Dickinson, Yeats. Cambridge, Mass.: Harvard University Press.

The implications of Opportunity Recognition for entrepreneurs

The implications of Opportunity Recognition for entrepreneurs The Entrepreneur that starts up this business is Mr. Goh Cheng Hoy; he was born in 1959 in Penang. In 1983, Mr. Goh identifies the prospect of setting up a mattress manufacturing factory in Penang. He saw what others dont saw and he is the pioneer in bringing this business up in Penang. Not only did his company made name locally, his brand is also well known in the other part of the world as it is a major exporter of mattress. According to Donald Kuratko and Howard Frederick, entrepreneur is defined as a person who is innovative, recognizes and seizes opportunities; converts those opportunities into workable/marketable ideas; add value through time, effort, money, or skills; and assumes the risks of the competitive marketplace to implement these ideas. Entrepreneurs are often characterized by their ability to recognize opportunities (Bygrave Hofer, 1991) and the most basic entrepreneurial actions involve the pursuit of opportunity (Stevenson Jarillo, 1990). Entrepreneur is a person who can identify and recognise viable business opportunities. Opportunities lie everywhere, yet many people neglected and didnt notice there was one; however, entrepreneurs have the capacity to see what others do not. They are uniquely optimistic, committed, determined, creative and innovative. Although all people are unique by nature, all entrepreneurs have one common objective that is to create wealth from new or existing resources. The purpose of this paper is to review opportunity recognition literature in the entrepreneurial process and to discuss the implications of Opportunity Recognition for entrepreneurs. The opportunity recognition as presented here is only on an individual-level basis. Christensen et al. (1989) defines opportunity recognition consists of either perceiving a possibility to create new business, or significantly improving the position of an existing business. It both will lead to profit potential. Opportunity Recognition for new business is the central and important component of entrepreneurial process, (Christensen et al. 1994; Gaglio 1997; Gaglio and Katz 2001; Gartner et al. 2001; Kirzner 1997; Shane and Venkataraman 2000), and is the first and most vital steps in the entrepreneurial process (Christensen et al. 1994; Hills 1995; Timmons et al. 1987). Before one could proceed to others, they must first identify the opportunity that arise and take further step to make the opportunity into a profit making business. Without opportunity there is no entrepreneurship. This is further strengthen by the cited definition of an entrepreneur as someone who perceives an opportunity and creates an organization to pursue it (Bygrave Hofer, 1991:14) Numerous scholars view opportunity recognition as a multi-staged and often complex process. The process perspective of OpR has proved to be a fruitful area of research because it acknowledges that OpR is a multifaceted phenomenon influenced by numerous factors. Long and McMullan (1984), for example, proposed a model of the opportunity recognition process with four stages: Prevision, point of vision, opportunity elaboration, and the decision to proceed. Pre-vision is affected by both uncontrollable and controllable factors, such as environmental and job forces, as well as venture alertness cultivation, moonlight venturing, and job selection. Ardichvili et al. (2003) suggest that the opportunity identification process begins when alert entrepreneurs notice factors in their domain of expertise that result in the recognition and evaluation of potential business opportunities. The issue of opportunity recognition, as opposed to opportunity evaluation, has received far less attention. Yet it is opportunity recognition that often drives deals. Until recently this aspect has been offered very little attention by scholars. However, there has been a growing interest into the process of opportunity recognition over the last few years, resulting in a number of published researches. The specific area of opportunity identification has been particularly enriched with insights through valuable academic in recent years. Namely, it is through the research findings and contributions of scholars like Shane, Lumpkin and Gilad that there are several affecting factors identified and modelled accordingly. Even though the joint efforts of the business practitioners and scholars, they have yet to produce a workable universal model, there are a number of framework variables that are being discussed and elaborated upon. Despite of a growing amount of published research work focusing on entrepreneurial opportunities, there is little empirical research and investigation into this area. The main question that puzzles most of the research relating to opportunity recognition is why, when and how someone generates or sees opportunities whilst others do not (Shane Venkataraman, 2000). Scholars argue that existing entrepreneurs are more likely than others to detect opportunities because of the knowledge they have learned from previous entrepreneurial experiences (McGrath, 1996; Ronstadt, 1998). Recent research on habitual entrepreneurship founds that opportunity recognition may be fuelled by prior entrepreneurial experience resulting in knowledge (Ucbasaran, Howorh, Westhead, 2000; Ucbasaran Westhead, 2002). There are two set of questions and debates surrounding opportunity literature. The first is whether opportunities are the result of serendipity or deliberate search (Chandler, Dahlquist, Davidsson, 2002; Gaglio Katz, 2001). The second is whether they are discovered objectively or created subjectively (Gartner et al., 2003). Existing knowledge is assumed to have the capacity to affect both the ability to search for information and the ability to take advantage of elements of coincidence or luck. Furthermore, both the discovery and creation of opportunities may be supported by the existing knowledge of the discoverer. Despite Shane (2000) states that opportunities are discovered without actively searching for them, he also supports the notion that prior knowledge is a pre-requisite for discovery. The discovery of entrepreneurial opportunities depends on prior knowledge, and people will be more likely to discover opportunities in sectors that they know well. Individuals who have developed particular knowledge through education, personal events, and work experience -idiosyncratic prior knowledge- are better able to discover certain opportunities than others. Therefore, all individuals are not equally likely to recognize a given entrepreneurial opportunity. The prior distribution of knowledge in society influences who discovers these opportunities. In sum, for opportunities to be discovered there must be a fit between an entrepreneurs prior experience and a venture opportunity. Prior experience must overlap with the knowledge domain of the venture opportunity (Fiet Patel, 2006). Shane (2000) takes into consideration the mentioned fit or overlap and proposes to assess the knowledge possessed by the entrepreneurs instead of identifying the knowledge needed to launch a new business. Conclusion An early step along a prospective entrepreneurs path to beginning a new business is the identification of an opportunity to pursue. In essence, the would-be entrepreneur must recognize that society currently deploys resources in a sub-optimal manner, so that a benefit exists to mobilizing and then reconfiguring them for use in a different capacity. In many instances, opportunity recognition results from an entrepreneurs creative insight into a new way to fulfill an unmet need. But even in well-established and highly visible industries, much of the information that serves as a necessary input to the creative process is available only to those with extensive industry experience. In part for this reason, considerable evidence reveals that nascent entrepreneurs most likely develop new ventures in domains in which they have broad work experience (for an early statement of this argument, see Brittain Freeman, 1986).

Rational Perspective And Approaches To Strategic Management

Rational Perspective And Approaches To Strategic Management The word strategy mainly takes for granted the historical and geo political conditions under which management precedences are determined and executed. Strategic Management is not just restricted to the business world rather it can be seen in the ever widening circle of problems which are suitable for its application- from public sector and NGOs to regional economic development. In this essay we try to explore the rationalities to help managers improve organizational effectiveness and corporate profitability. The dynamic approach seeks to explore the nature of strategic management as an organizational process. The rational approach exposes the contradictions between the idealised myth of perfect competition and the more realistic ramifications of market power as explored by business school strategists (Porter, 1980). But at the end of the day, for both approaches, it has been seen that managers are the only players within the organisational structure of the market who have any power in the real strategic process. This eventuality has been criticised by such eminent scholars as Whittington (1993), who proposes mechanisms to ensure that the strategy process remains objective rather than being captured by a particular management faction; moreover, he suggests that managers can draw from broader, less visible sources of power, such as the political resources of the state, the network resources of ethnicity, or, if male, the patriarchal resources of masculinity (1993: 38). Moving away from managers One limitation of the dearth of literature available on the analysis of strategic planning is an account of how a faction of global managerial staff came to assume and maintain a stronghold on the strategic processes in the larger scheme of the market. There, however, have been individuals who have addressed this issue, notably among them Shrivastava, who, in a landmark critique in 1986, sought for emancipation in the acquisition of communicative competence by all subjects that allows them to participate in discourse aimed at liberation from constraints on interaction (1986: 373). He also called on researchers to generate less ideologically value-laden and more universal knowledge about strategic management of organisations (1986: 374). Post modern critiques, such as that by Knights and Morgan (1991), take a leaf out of Shrivastavas book and similarly propound a more constitutive and inclusive approach to strategic planning. They see corporate strategy as a set of discourses and practices which transform managers and employees alike into subjects who secure their sense of purpose (1991:252). So they are saying that managers cannot stand at a passive distance from ideology and impose their personal rationales on an unaware workforce. But for all practical purposes, that is what takes place in the actual workplace a core group of elite members, often known as the executive board, are the only participants of strategic discourse, with more actual manual labour deployed on workers as we go further down the line. This norm looks like it is here to stay, at least for a while. This is because even in the contemporary business scenario, mid0level managers, even if they assume any strategic responsibility, are possibly livi ng an illusion if they feel that they have any decisive say in the actual decision-making process. If we draw from Sun Tzus seminal work on military strategy, The Art of War (1983), we find echoes of this theory, where, as in a military structure, it is the field marshall who is behind the drawing board and the foot soldier who is out there on the ground fighting. The captain, or the mid-level manager, does have a say on the functioning of the troops on the ground. But in actual effect, all he is doing is relaying the strategy of those above him, or the executive board members. The rational and dynamic approaches Before we move on further and investigate the pros and cons of the two approaches under discussion rational and dynamic let us start by taking a brief look at both. The rational approach This is concerned with an organisations ability to achieve the goals that it has set for itself. For this, the organisation must first identify a goal for itself, then define a set of means or objectives that can be employed to achieve this goal, and then set in place a list of activities that help put the objectives in action. An evaluation of the organisation is then based on the number of objectives it achieves in comparison to the number it had planned. The primary motivating factor in this model is profits for the company. As such, the top echelon of decision making under such a system can tend to be more autocratic in nature than in other models. Managers who are inspired by financial statements alone in turn tend to leave their workforce uninspired. In a critical study for his PhD, C.P. Washburn says, What we found is that executives emphasizing rationality in their decision making are less likely to be seen as visionary by their subordinates and more likely to be seen as autocratic. But the more holistic executives are seen as more visionary and less autocratic. But as things stand today, despite the non-holistic nature of a rational approach (Washburn, 2006), it still predominates in the global workplace. This is possibly because of the logical framework that defines a rationale approach. Managers who follow it believe that a precise end to an objective should be sought through equally precise and calculated means, and that focusing their energies on quantifiable activities that can be observed and measured is the best way forward. Even if not quite, in a sense, the rational approach can be summarised in the famous sentence from the 1987 movie Wall Street, Greed, for the want of a better word, is good. The dynamic approach The dynamic approach to strategic planning is aimed more at smaller businesses that lack the necessary revenue to implement all the complicated strategies that a larger organisation can. It was conceived by Edward Pierce, who was at the School of Business and Entrepreneurship at Nova Southeastern University until he retired in the early 2000s. The need for a new approach that moved away from the traditional rational approach was instigated primarily for the benefit for smaller firms. Apart from a basic strategy that is absolutely essential for a line of sustained credit, anything else is a luxury, not least because strategic managers are usually prohibitively expensive for such firms to hire. Moreover, it is not within the financial realm of these smaller organisations to develop a complicated strategy (which in all possibility only a handful of people in the organisation are competent enough to fully comprehend) and then let it gather dust. Unlike the larger organisations that have the means and the resources to leave strategic planning to the hands of a few select individuals in the executive board, these smaller organisations have a more hands-on approach across all levels of management, with even mid-level managers sometimes given a free hand to take decisions. The common necessity for a vision and mission Whether it be a large scale MNC or a small-scale non profit organisation, each must have a vision for the company. Essentially, the vision of an organisation is the single statement that will be able to guide the enterprise across its several strategic business units (SBUs) (Whats In a Vision Statement, 2003). Talk of SBUs brings us to the consideration of another critically important component of strategic planning a mission. There has been much debate over whether vision is more important that mission and it is not our prerogative to enter further debate here. Instead, we can simply define vision as an enterprise view and mission as an SBU view (Whats In a Vision Statement, 2003). Of course, the vision and mission of a particular company are determined by its positioning in the market context. The larger a company, the more complicated is its vision statement and more tedious is the process of achieving its mission. For instance, if we take LG as an example, the parent company has one single vision, but it is modified to suit the needs of its various SBUs such as those for phones, wireless equipment and other electronic appliances. It would not be feasible to assume that this vision statement would apply equally across all the different SBUs within the company. The same would hold true even in the case of a small company, say one that specialises only in making carpets. The vision statement would remain fundamentally the same, but would be applied in different avatars across the different departments that the company might have, such as carpet-manufacturing, the sales division, the training department and so on. Basic differences between the two approaches As we have seen so far, a maximisation of profits is the founding principle behind an organisations rational approach. It is the more traditional way of functioning, and due to its emphasis on increasing revenues as the most important objective, it finds support and has for a long time in Wall Street. But given the vagaries of the market situation not just right now post the financial crisis, but for a while now, there had been the need for a more theoretical approach to strategic planning than simply a total profit = total revenue total cost way of thinking. This is where, apart from the previously discussed need for a holistic approach, Edward Pierce stepped in with his dynamic approach. The rational approach was an all-encompassing one that looked at business through a one-light prism of profit. The dynamic approach, at least according to me, represents a better view of the complex market scenario that is prevalent at present. Large businesses have taken the biggest hit in 60-o dd years. Small businesses on the other hand are continuing to face the future with a bright prospect. In such a situation, a low-cost, direct-result-oriented approach to strategic planning suits the needs of a market that is thriving more for smaller businesses than for large conglomerates. But even while saying this, the benefits of a rational approach despite its disadvantages are there for all to see, and have been for many years now. The main amongst these benefits are an improvement in sales and profitability. It should follow then that productivity would see a similar surge through the rational model. This might have held true earlier more than it does now. Right now, it is possibly the inclusive nature of the dynamic approach that can be best utilised to increase productivity. And this increased productivity today apart from a more harmonious working relationship between the different levels of management would lead to more sales and profitability later down the line. The problem that I have with the rational model is that to an extent, it is behind the credit crisis that we faced as a world a couple of years ago. The greed that operated in Wall Street the same greed that is the basis of the rational approach filtered down to Wall Street. The world at large lost its humane characteristic to a degree and hankered after immediate financial returns and benefits, which is what led to the crisis that we faced. The other problem with the rational approach is its non-inclusive nature. If we take the example of any global financial institution that was affected in the crisis be it Lehman Brothers or the Royal Bank of Scotland how much of it was due to the middle-income banker who sits at his terminal in Canary Wharf for example? How much of an idea did he or she have as to what was afoot in the top rungs of the ladder? More significantly, if such people did indeed have an idea of how harmful the trend of borrowing from mortgage brokers was becoming and were not party to it and had feasible arguments to counter and tackle it were their voices heard? I am guessing not, because it takes a middle-income banker with tremendous guts to walk through the door of, say, the vice-president and tell him or her that what he or she is doing possibly for greed if not on a personal level then on the companys behalf could later have ramifications that the entire world at large would reel under. Another advantage that the dynamic approach has over the rational approach is that because it is more human-oriented than the rational approach, which is more finance-oriented, there is a reduced resistance to change. This is of critical importance since in the rapidly evolving global market scenario, continually changing to adapt to situations is the need of the hour. Moreover, since larger multinationals have been exposed post the financial crisis (which is a necessary standpoint for any study of strategic planning in the present scenario) smaller organisations are seeing the light of day more than in the recent past. This means that evolving approaches to strategic planning should be geared in such a way that it suits the needs of these lesser organisations so that they can play their inevitably crucial role in getting the world back to where it was. That is possible more through a dynamic approach to the problem than a profit-oriented rational approach. In fact, the very word, dynamic, is a literary representation of the zeitgeist of our times.

Is LEED a Worthwhile Investment for Today’s Environmentally Savvy Devel

Is LEED a Worthwhile Investment for Today’s Environmentally Savvy Developer? What is Wrong with the Environment It should not be a surprise to anyone that landfills around the world are filling up. The North American lifestyle is one to which the majority of the undeveloped world aspires. Such a lifestyle is, however, completely unsustainable, today, in terms of greenhouse gas emissions, non-renewable resource consumption, and non-biodegradable waste production, let alone in the future as other countries become developed. As some of the second and third world nations such as China and India quickly jump toward production levels that match those of the developed world this epidemic is destined to worsen. Thus, many different groups have stepped in to develop plans and programs to curb the destruction of our wonderful planet. One of these programs that focus specifically on the construction industry is the Leadership in Energy and Environmental Design Green Building Rating System (LEED). This program is designed to create awareness and try to decrease the environmental degradation created from c onstruction and demolition. When and How Did LEED begin? This program was designed in 1998 by a government funded organization called the United States Green Building Council. This program was created to generate incentive for environmentally friendly contractors and architects to continue pursuing the implementation of environmentally friendly building practices. Soon, that guide became the leading green construction guide in the United States. As commonly occurs when an idea gains acceptance in the American market, there soon became a demand for a Canadian version of that same guide. The American guide was adopted and aug... ...r Toxic Substances and Disease Registry, Benzene, found on April 12, 2007, http://www.atsdr.cdc.gov/mhmi/mmg3.html †¢ http://oce.ncran.gc.ca/newbuildings.cbip.cfm †¢ Canadian Green Building Council, LEED Certified Projects in Canada – Complete Listing, Retrieved April 7, 2007, http://www.cagbc.org/uploads/LEED_Certified_Projects_in_Canada_Updated_070226.p df †¢ Dauncey, Guy. LEEDing the Way; Alternatives Journal, Nov/Dec2004, Vol. 30 Issue 5 http://web.ebscohost.com.login.ezproxy.library.ualberta.ca/ehost/pdf?vid=5&hid=19&sid =323f957c-9796-40e2-a7cd-8a3a5bf34e6f%40sessionmgr2 †¢ Recycle Steel.com http://www.recycle-steel.org/PDFs/2005Graphs.pdf †¢ Terri Meyer Boake, Caroline Prochazka. LEED: A Primer, 2007 from Academic Search Premier †¢ Mark Gorgolewski. â€Å"The Implications of Reuse and Recycling for the Design of Steel Buildings† from Academic Search Premier

Irans Past and Future :: Iran Social Change History Essays

Iran's Past and Future â€Å"Does this look like love?!† Janet yelled at her mother-in-law, shoving the dented gold bracelet towards her. Her mother in law didn’t notice; she was talking as well, â€Å"He even threatened me, saying that if I or anyone else asked him about his personal life, they wouldn’t be allowed to come to his house any more.† Neither woman was listening; Janet just kept talking, â€Å"Last week, I caught him burning his hand with a cigarette in the basement.† Both women were talking about Ben, Janet’s husband. A few minutes before, he had left their six thousand square foot home in the foothills outside Tehran, Iran while Janet lay unconscious on the floor, bruised from the latest of his beatings. While Janet continued yelling about her husband to her in-laws who lived next door, he was headed to her parent’s house for reasons that would take her years to understand. Janet wasn’t actually at the scene of the crime, but she remembers the stories and the court testimonies later. She knows what happened. She knows that her parents got in the car with Ben after he drove to their house. She knows that he told them that he had beaten their daughter to death with his bare hands and she knows that her father reacted as most fathers would, he was angry beyond words. He pulled his knife and let it fly. She knows that her mother tried to stop him; her hand was sliced and bandaged later. And she knows that the car wrecked and that it was her father that called the police. She knows all of this because she spent too much time living it and too much time thinking about it. But what she doesn’t know is why it all had to happen to her. A lithe, middle aged Armenian woman whose smile overshadows her worry lines, Janet Lelham was unable to handle her story, her nightmare, until just a few years ago. Now she can tell you as much as you’d like to know. She can tell you the five minute, abbreviated version, focused on the horrors of running from her home and hiding in foreign countries as a refugee. Or, if you have the time, she can tell you a little bit more of the story, this time replete with images of the death of both her husband and her father.

NTFS filing system Essay

NTFS is the newer filing system from Windows only Windows 2000 and higher use NTFS and FAT32. Which file system is intended primarily for use in large USB flash drives? I think it would be NTSF it a little more better an newer when it comes to the new OS out there like windows 8/7/ and maybe Vista XP just in case you have application that might run better on vista and XP. Plus since USB didn’t come out until Windows 98 well that when I first saw a USB port Which file system provides support for larger hard drives and better security in the form of encryption and permissions that restrict access by unauthorized users? NTFS is use for security encryption. FAT32 has no security encryption that one reason why Microsoft made NTSF so people can some type of security encryption. It is available in all versions of Windows developed for business environments from Windows 2000 onwards. Encryption is the process of encoding messages or information in such a way that only authorized parti es can read it. Encryption does not of itself prevent interception, but denies the message content to the interceptor There is also the Encrypting File System EFS on Microsoft Windows is a feature introduced in version 3.0 of NTFS that provides file system-level encryption. The technology enables files to be transparently encrypted to protect confidential data from attackers with physical access to the computer. EFS is available in all versions of Windows developed for business environments from Windows 2000 onwards .By default, no files are encrypted, but encryption can be enabled by users on a per-file, per-directory, or per-drive basis. Some EFS settings can also be mandated via Group Policy in Windows domain environments. Cryptographic file system implementations for other operating systems are available, but the Microsoft EFS is not compatible with any of them. Why FAT32 is preferred over NTFS file system? I didn’t know people like FAT 31 over NTFS until I took this class.so when I look it up in my text book to see why would someone would preferred FAT32 over NTSF in its because it is recommended for hard disks only if the hard disk must also be accessed by dual- booting with an older version of Windows like Windows 95, 98, or Me. Then I understand since NTSF is not supported by Windows 95, 98, and Me. As with most old software it won’t support new technology unless the new tech is made for the old software but I see people preferred NTFS since it more up to date if someone ask me which one is better FAT32 or NTFS I would tell then to get NTFS.

Laertes and Ophelia as Character Foils in Hamlet Essay

â€Å"The spirit that I have seen May be the devil: and the devil hath power To assume a pleasing shape; yea, and perhaps Out of my weakness and my melancholy, As he is very potent with such spirits, Abuses to damn me:† (2.2.58) In William Shakespeare’s classic drama, ‘Hamlet’, the titular protagonist, Hamlet, is a dynamic, round character with constantly evolving traits. The character Hamlet, himself, interestingly, is not noted for what he does, but rather, is noted for his indecisiveness and lack of taking action throughout the play. Despite Hamlet having a ulterior motive throughout the play, he is constantly seen to be deliberating as to whether or not he should act on his actions. Through his numerous soliloquys, Hamlet’s innermost reflections are seen, many of them contemplating existence, and the nature of the task which he has taken upon himself to carry out: the task of killing his uncle, the current King of Denmark. In ‘Hamlet’, there are numerous characters, many of whom belong to either one of two families focused upon in the play: there is the royal family, consisting of Hamlet, his mother Gertrude, the Queen, and his stepfather Claudius, the current King of Denmark; and there is the family of the King’s chief counselor, Polonius, which includes his daughter, Ophelia, and his son, Laertes. In both families, the parent-child relationship is heavily focused upon. Compared to the other ‘children’ of the play – Laertes and Ophelia – Hamlet’s slow, deliberate thinking is brought to the forefront, with both Laertes and Ophelia acting as character foils to Hamlet. Hamlet and Laertes may both be defined by their fathers, and how they react to them, as well as the way they are viewed by the public. Hamlet and Laertes are seen to be in similar situations: both of them are sons, and students who were studying abroad at the time of old King Hamlet’s death. Both of them appeared to have shared a relatively close relationship with their fathers. After his father’s death, Hamlet dressed in black, in grief and mourning. When the Queen asked why Hamlet seemed to be so affected by  his father’s death, he replied, ‘†Seems,† madam? Nay, it is.’ (1.2) Polonius, meanwhile, had been hesitant to let Laertes return to France, stating that Laertes had â€Å"wrung upon me my slow leave by laborsome petition, and at last upon his will I sealed my hard consent.† (1.2) Both Hamlet and Laertes are juxtaposed when their respective fathers are murdered, contrasting them – while both feel wronged by their fathers’ deaths, the means with which they take action are different. Hamlet did not consider revenge until the Ghost told him to â€Å"revenge this most foul and unnatural murder†. (1.5) Even then, Hamlet took action slowly, carefully and deliberately planning out the steps of his plan with which to get revenge. Laertes, however, upon hearing of his father’s death, returned to Denmark, smashing the doors to the Elsinore castle open, demanding that the â€Å"vile king† should â€Å"give (him his) father†. (4.5) Their moral compasses, too, are exceedingly different. Hamlet had had the opportunity to murder Claudius while Claudius was praying, but chose not to, thinking that if he killed Claudius then, he would â€Å"this same villain send to heaven†, showing that he still believes in a higher power, and demands that justice be paid. (3.3) Conversely, Laertes, when asked by Claudius what he would do to prove that he was â€Å"in deed (his) father’s son more than in words†, Laertes stated that he would â€Å"cut his throat i’ th’ church†. (4.7) Through this comparison, it may be seen that while Hamlet is uncertain about committing murder to avenge another murder, Laertes has no hesitation about it. How Hamlet and Laertes are viewed by other characters, too, shows the similarities between both of them, despite the differences in how they act. Both of them are loved by the public, and are competitors for the throne of Denmark. Claudius himself states that â€Å"the great love the general gender bear (Hamlet)† is the reason that he does not prosecute Hamlet. (4.7) Laertes, too, has the affection of the public, evidenced by their cries of â€Å"‘Laertes shall be king, Laertes king!'† (4.5) Due to this popularity, the king naturally has reason to be wary of both of them, a trait which is reflected in his chief counselor, Polonius. Polonius is seen to be spying on various characters, including Hamlet and Laertes – he requested that Reynaldo, a servant, should go to France and spy on Laertes; he himself  spied on Hamlet. This may be interpreted as meaning that neither Hamlet nor Laertes are completely trustworthy. The other member of Laertes’ family, Ophelia, however, is loved by both Laertes and Hamlet, and Ophelia’s death results in their confrontational duel, which in turn results in their respective deaths, both indirectly killed by Claudius. Ophelia herself is a foil to Hamlet. While Laertes as a foil to Hamlet was a contrast in their actions after their father’s deaths, Ophelia and Hamlet contrast in their emotional well-being, and the kind of madness that they face. Both have been disappointed by someone whom they love – Hamlet being disappointed by Gertrude’s â€Å"o’erhasty marriage†, Ophelia by Hamlet’s rough treatment of her during his supposed madness. (2.2) While it is revealed several times by Hamlet that he is faking madness, saying that he â€Å"essentially (was) not in madness but mad in craft,† Ophelia’s madness seems less forced – after Polonius’ death, she appears to have slipped right into insanity. (3.4) Hamlet, conversely, had gone through a mourning period before appearing to be mad. Interestingly, the contrast in how they act when they are mad – Hamlet being deliberate, Ophelia to have seemingly been truly mad – provides an even bigger contrast as to how each of them die, with Hamlet’s death occurring in a violent situation, while Ophelia’s death is shrouded with the calming natural imagery of flowers and trees. Hamlet dies due to a poisoned sword during his duel with Laertes, played out in front of an audience. The circumstances behind Ophelia’s death, however, is more unknown and ambiguous. It is implied that her death was accidentally. According to Gertrude, that â€Å"on the pendant boughs her coronet weeds clambering to hang, an envious sliver broke,† (4.7) implying that Ophelia’s death was accidental. However, as Ophelia’s death is not shown, it is possible that she had decided to commit suicide instead. Should she have decided on death by her own hand, a powerful foil is brought in, contrasting against Hamlet, who, while seen to be contemplating suicide on several occasions, never kills himself, instead wishing â€Å"that the Everlasting had not fixed His canon ‘gainst self-slaughter†. (2.5) While Ophelia is commonly portrayed to be weak, her choosing to take her own life implies that she is of a stronger  will than Hamlet, who is eventually killed by Laertes. Ophelia, like Hamlet and Laertes, seeks revenge for her father’s death, but her form of revenge is not violent in the way that Hamlet and Laertes’ confrontational duel is. Rather than choosing to blame a single person for Polonius’ death, Ophelia instead passes judgement on the other characters in the play in a much more feminine way – by handing out different types of flowers, saying, â€Å"There’s fennel for you, and columbines.-There’s rue for you, and here’s some for me. We may call it â€Å"herb of grace† o’ Sundays.-Oh, you must wear your rue with a difference.-There’s a daisy. I would give you some violets, but they withered all when my father died.† (4.5) Ophelia’s way of retribution for her father’s death contrasts strongly with Hamlet’s – his is a single-minded focus on killing Claudius, whom he holds personally responsible for his father’s death. While Ophelia could have gone down the same path as Laertes, demanding justice for Polonius, she does not – rather, she blames everyone in the play for what has happened. However, her way of doing this, too, provides a similarity with Hamlet – the flowers were deliberately chosen in the same way that Hamlet deliberately staged the play – in order to â€Å"catch the conscience† of those around them. (2.2) The flowers that Ophelia chooses to hand out raises the question of her madness – has she truly lost her mind, as some characters believe, or is she just mad in certain ways, while retaining her logic in some other ways? The flowers that she chooses to hand out each conveys its own meaning: fennel is thought to mean flattery, columbine meaning foolishness, daisies portraying innocence, violets showing faithfulness, rosemary â€Å"for remembrance†, pansies for thought, rue meaning regret. (4.5) The meanings of these flowers all seem to have some connection with the characters in the play. Rosemary may be meant for Hamlet, who, to Ophelia, may seem to have forgotten who he is in his state of madness, pansies, for thought, may be meant for Laertes, to consider his actions. Fennel may be paired with the King, a reflection of how his words are often deceiving and manipulative; columbines may be paired with Gertrude, a criticism on her actions. Daisies and violets, interestingly, do not appear to be given to anyone. Daisies, a symbol of innocence, may be a statement that Ophelia does not believe that anyone is  worthy of having the flowers. That Ophelia does not hand out violets may be a portrayal of herself, a particularly interesting note, as she leaves on the note that all violets had withered when Polonius died, perhaps showing her lack of faith to anyone left. Secondary characters in Hamlet seem to mostly be a foil of Hamlet himself – while he is slow, deliberate, and carefully plans out what he wishes to do in order to exact revenge for his father’s death, other characters reflect and contrast these traits. By choosing to place Laertes and Ophelia in similar positions as Hamlet, but making them react in different ways, Shakespeare emphasises the usage of character foils in Hamlet. All of them are the children of noblemen in court, all of them have lost a father, but all of them react in contrasting ways to each other. It may be seen that the characters of Laertes and Ophelia do increase our understanding of Hamlet, a dynamic character who is not easily understood, by providing foils against him, adding emphasis to the ways in which he acts in certain situations.