Management Models :: Business Employee Management

The Industrial Revolution brought about the emergence of large-scale business and its need for professional managers. Modern managers use many of the practices, principles and techniques developed from earlier concepts and experiences. Early military and church organizations provided the leadership models on which the classical/functional model was the first to be developed. It began around the 1900 and continued into the 1920s. Max Weber known as the father of modern sociology analyzed bureaucracy as the most rational and logical structure for large organizations4. Through the years, other men and women like Frederick Taylor, Frank and Lilian Gilbreth, Mary Parker Follet and Chester Barnard, to name a few, tried to come with better models which were all geared towards making organizations more productive and lucrative until in the 1950s, the project management model was developed by Henry Gratt.

Poes Fall of The House of Usher Essay: Gloomy Images :: Fall House Usher Essays

Gloomy Images from The Fall of the House of Usher In Poe’s The Fall of the House of Usher the narrator first views the house of Usher and perceives a mystery incapable of being solved. Foreboding imaginings keep coming into his mind in spite of rational thinking and reasoning. As he says, there are things beyond our ability to rationalize. He rationalizes that if he could look at things differently or in a brighter light, he might be able to change it, but when he looks into the lake he sees, with even more fear before, a mirror image of the house in all its darkness. The eye-like windows of the house reflect back at him. This paragraph is the epitome of the Romantic movement and the story itself makes many direct and indirect references to Romanticism. Poe's references to Van Weber and Fuseli are direct references to European Romanticists. Poe wrote this story when Romanticism was at its height in Europe. The neoclassic world view had given way to the realm of the emotion. No longer was art or life looked upon as a set of rules that if one followed one could rationalize and make a sense of order out of things. Now, one looked at the emotion beneath the rational. And if that emotion was dark and even evil, it was still beautiful because it expressed a truth. Whereas Hawthorne, in Young Goodman Brown, viewed good and evil as something outside of ourselves, such as a witch or a devil, Poe seems to look within the very soul of man. The first element of Romanticism which Poe seems to incorporate into our paragraph and into the story is the moving away from neoclassic rationality when he says that when he looked upon the house he was "forced to fall back on the unsatisfactory conclusion that . . . the reason, and the analysis, of this power lay among considerations beyond our depth." In the story, he also speaks of abandoning reason in his struggles with fear. Reason does not seem to help here. Reason has gone the way of the neoclassicists. In another part of the story, Poe speaks of the sentience, or consciousness of feeling, of vegetable which seems to grow out of the ordered placement or arrangement of the stones. But the consciousness of feeling does not come until the element of decay and fungi is added to the ordered structure.

Juno film Essay

Juno The film I have chosen for this paper is the drama-comedy Juno directed by Jason Reirman. It is a domestic comedy with anarchic elements. In the film, you get to follow Juno MacGuff, a 16-years-old girl, as her life changes when she finds out that she is pregnant. It’s a realistic film told from Juno’s point of view. The film touches several controversial, populist themes, but manages to do so without being clichà ©. The most obvious being the teen pregnancy, but other topics such as the curiosity of sex among teenagers, the constant questioning of whether abortion is okay or not comes along with it. A big part of the film takes place in Juno’s home, which is typical for a domestic comedy. The main plot of the movie touches themes common to family life. There is the â€Å"modern family† core with stepmothers and half-siblings, the complicity in being a teenager as well as raising one. The more or less ordinary family life is displayed with a lot of humor. The questioning of stereotypes and prejudices play a big role in this film, as do contrasts. Instead of the cheerleader getting pregnant with the quarterback, as many would expect, it is the tomboy and the geeky runner who end up in that situation. As most teens portrayed in films, Juno has a close girlfriend. The odd thing in this case is that it is not a girl considered stranger than Juno herself in terms of norms, it is the cheerleader. In many other of these teen films, usually the cheerleader bugs the â€Å"odd girl†, as for example in â€Å"Mean Girls†. The most prominent contrast in the film is the home of the MacGuffs VS. the home of the adoptive parents Mark and Vanessa Loring. The two homes are set like two different worlds. In the MacGuff house, it s eems like it is impossible to have too many lamps, ornamental dogs or photo frames. The color scale goes in earthy brown tones. Meanwhile, the Loring house does not seem to ever be perfect enough. As Vanessa and Mark are introduced to the story, Vanessa is putting the photo frames in order and arranging the flowers until they are perfect. The dominant colors in the Loring house are clean bright colors as beige and white. The houses become symbols for how different the two families are. The easygoing, messy MacGuffs, and the uptight, stiff Lorings. For the opening scene of the film, there is a long shot of Juno standing in front of an armchair. The armchair is going to be a symbol throughout the movie. The camera cuts to a close up of Junos face and her empty eyes staring at the chair, delivering a message of frustration and hopelessness. She has a monolog where she tells the viewer about the chair, that it was in a chair everything started, where she got pregnant. A â€Å"film inside the film† of Junos memories from that moment is shown for the viewer. A dog barks and the camera makes a quick cut back to reality, Juno and the chair. She leaves the chair behind and the camera follows her as she goes to the local corner shop to get a pregnancy test, the third for the day. She is dressed in a red hood and blue jeans, the red symbolizes her strong, colorful personality. Red is also a symbol for life and vitality, a color symbolism very suitable for the scene. She takes the pregnancy test in the store’s narrow restroom, which has a dim low-key lightning. The setting reinforces the feeling of Juno being â€Å"painted into a corner†. As she takes the test, the camera cuts between close-ups of Junos legs as she sits down, the pregnancy test and her face. These close-ups make the relationship between Juno and the viewer intimate and one gets to feel sympathy for her. It is important to anchor the sympathy for Juno in the beginning of the film since the viewer will get to follow her during her journey. Juno leaves the store and walks home, the camera follows her from behind. Darkness has fallen and Juno has put the hood over her head as a way to alienate herself from the surrounding world. As she walks, a group of guys from her school comes running towards her. They are out of focus and run by her on both sides, creating like a tunnel for Juno to walk through. To me the runners are a metaphor for the thoughts running through Juno’s head and the difficult repressed situation in which she has ended up. Juno is portrayed as a stubborn, cocky girl who takes her own way in life. She has dark hair that she wears in a ponytail and her clothes are far from what typically are considered â€Å"girl clothes†. She wears loose fitted jeans, t-shirts, pullovers and hoods. Her best friend, Leah, on the other hand is a cheerleader with long blond hair who dresses in skirts and is much of a â€Å"girly-girl†. As the Leah is introduced to the audience, the contrasting personalities between the two friends are shown trough the mise-en-scene. When Juno calls Leah to tell her about the pregnancy, the camera cuts between the two girls and their bedrooms. Junos room has a shoebox feeling to it. There are photos of her friends, posters and dif ferent paintings all over the walls as well as the ceiling. She has plectrums laying all over her desk and a miniature electric guitar that  gives away her interest for music. The dominating colors are earthy tones of brown, red and orange. Leah’s room on the other hand is dominated by light colors such as pink, white, yellow and dim blue. She has stuffed animals on a shelf and big windows with thin, light curtains. Juno decides that the way to tell the baby’s father, Bleeker, about the pregnancy is to set up a living room setting in his yard where she can break the news. When darkness falls, Leah is helping to move everything that is needed. They help each other to lift a heavy armchair into the trunk of Junos car. In this scene, the armchair is a symbol for the pregnancy, something that only the girls know of so far. It is still a complex, heavy secret kept in the dark, just like the chair. Reirman uses color values in a broad way through the film, especially when it comes to the characters clothes. In the loading of the armchair scene, Juno wears a red hood while Leah wears a blue. This highlights the different personalities of the two young girls even more. As the pregnancy progresses the color of Juno s clothes changes from the bright red hood to earthier, duller colors in green and brown shades. This color change reinforces Junos situation and the effect the pregnancy has on her life. Another example of color value being used is when Vanessa gets to see her son for the first time. She is then wearing a yellow sweater, symbolizing the joy she feels after finally becoming a mother. A task she feels she has been born to. During a visit to the prospective adoptive parents Juno finds out that Mark is going to divorce Vanessa, sad and frustrated she heads back home. The camera is shooting from the backseat as Juno is driving; she is placed to the left of the frame and the long, empty road ahead of her to the right. This creates a movement from left to right, giving the viewer a feeling of optimism and that everything will work out for the best. The camera cuts to a panning shot as Juno parks the car by the side of the road. A cut to a low angle is made, showing a close up of Juno as she cries. The gray seat, ceiling and the steering wheel creates a tight frame around Juno. There is a claustrophobic feeling through the setting, which emphasizes the fragile state Juno finds herself in. Juno decides that if Vanessa is still willing to be a mom, Juno is willing to give her the baby. The majority of the film is shot in high key lightning, typical for comedy movies. This goes for the scene at the hospital when the baby is born as well. However, in the next scene this will change. The camera shows a  close up of Mr. MacGuff as he pats the head of his daughter who just gave birth. The lightning has gotten softer, giving the yellow color of the walls a warm soothing glow. There is calm and a balance over the scene, giving the feeling that everything is going to be okay from now on. The camera then cuts to a shot from Junos point of view showing Bleeker standing in the door opening. The walls behind Bleeker are blue and contrasting to the goldish colors in Junos hospital room. The colors and the separating walls become a metaphor for the â€Å"cold† reality Bleeker is just coming from, and the warm future that he is about to step into with Juno. A reality more suitable for two 16-year-old kids, where they do not have to be parents. Juno is a realistic film anchored in reality, there are several references to modern culture to underline this. Films and â€Å"hobbits† are mentioned, but the main thing is the music. Music is a big part of Junos life and her personality. It also becomes a key element when Juno and Mark are bounding. They burn CD’s to each other and discuss music by Sonic Youth, Iggy Pop and Patti Smith among others. To convey that the film is told from Junos point of view, Reirman uses her voice over as rapid cuts are made of what she is talking about. This technique is used when Juno introduces her family. As she talks about her mother, who is living in Arizona, the camera cuts to long shot of a desert house in the middle of a beige field. The tone of Juno’s voice says that the mother’s absence does not bother her that much, as to the dullness of the colors in the shot. The camera then cuts to extreme close-ups of the smiles of her mother’s new family, the husband and their three â€Å"replacement kids†. To show the viewer that the mother has been out of the picture for a long time the camera cuts to a close up of numerous cactuses in a window. Juno’s voice over is explaining that her mother sends her one cactus every valentine’s day. In Juno, the mise-en-scene is frequently used to strengthen the message of the film. By using color values, lightning keys and symbolism Reirman captures the contrasts of the story. I do not know if I would call Juno my favorite film, but it is definitely one of my favorite â€Å"feel-good† films. No matter what mood I am in, I always feel much happier and more positive after watching this film. I love the sarcasm in the film and I can see much of myself when I was 16 in Juno. I like how the film takes up such a controversial and taboo topic with as much humor as it does. To me it mak es the film appealing instead of  feeling as a â€Å"moral message to teenagers†.

Dehumanization and Alienation Essay

For generations society has been separating and categorizing mankind into stereotypes. Everyone and anyone on earth has been placed within a prospective category. If not by race, then appearance, income, or by social standing. Although sometimes mankind takes these separations to an extreme, like trying to dispose of a thousands of people, just because of their religion and beliefs. These separations and categorizations can wreak havoc on the human mind. Some even hallucinating in order to cope with the stress of what everyday life has caused them. Feeling trapped in a label you can’t seem to shed no matter how hard you work to change can be infuriating, and that constant battle of back and forth within the mind can do dangerous things. Although Wiesel writes a memoir and Kafka writes an expressionist novella, both stories use symbols to further their themes of alienation and dehumanization. Night is a memoir by Elie Wiesel. Within his enthralling narrative he depicts his period spent within Auschwitz during World War two, and how he managed to endure and outlive the camps ill-treatment. He describes his first experience in Auschwitz, upon his entrance into the camp. â€Å"Men to the left! Women to the right! Eight words spoken quietly, indifferently, without emotion. Eight simple, short words†¦ I didn’t know that this was the moment in time and place where I would be leaving my mother and sister forever† (Wiesel, 29). As soon as you step foot in that appalling camp it is no longer of any St. Germain 1 importance that you have a family. The guards don’t concern themselves with the inseparability of you and your loved ones. All that is of any concern to them is that they dispose of the weak. They determine who is deemed fit to  live and will be of appropriate use to them. The S.S soldiers alienate the weak from the rest of the camp in order to uphold the highest level of functionality. After spending months in Auschwitz, Elie and his fellow prisoners are relocated. While on the train transporting them to their unknown location they are forced to fit 100 prisoners per car for days, without food or water. During a stop at a local train station the German citizens amuse themselves by throwing crumbs of bread onto the train and watching the prisoners fight for any scrap of bread they can obtain, for one scrap of bread ensures one more day of survival. Elie watches in horror as a man attacks his elderly father in order to steal his bread. Elie recalls the terrifying events â€Å"Meir, my little Meir! Don’t you recognize me†¦You’re killing your father†¦I have bread†¦for you too†¦The old man mumbled something, groaned, and died. Nobody cared. His son searched him, took the crust of bread, and began to devour it† (Wiesel, 101). Being in the camp dehumanizes you. Not just in the sense of stripping you of your basic rights, but also of your basic morals. Being dehumanized is more than your lack of human rights, it’s also about the numbing of your feelings and emotional connections. The only thing that separates humans from any other animal on earth is our ability to form emotional bonds with others and to allow our morals to come before our basic instinct of survival. Being in the situation where you kill your father without hesitation shows the true magnitude of the dehumanization within the camps. Still within the tightfisted hands of the S.S soldiers, Elie and the other prisoners are forced to run involuntary to a new hidden camp. Elies father has aged a great deal so the strenuous and demanding route to the new camp is more exertion than his body can handle. Once they made it safely to the camp St. Germain his father’s health began to diminish rapidly. It wasn’t long until his father drew in his last laborious breath and died in his sleep. Upon waking the next morning Elie was alarmed to find another inmate sleeping on his father’s bed. He soon discovered that his father had died the night before and was taken to the crematorium. By this time, he had already endured so  much that he says â€Å"I did not weep, and it pained me that I could not weep, but I was out of tears. And deep inside me, if I could have searched the recesses of my feeble conscience, I might have found something like; free at last†¦Ã¢â‚¬  (Wiesel, 112). Elie had already experienced so much turmoil within the confines of the camp, that he was unaffected by the death of his own father. He was relieved that he no longer had the responsibility of keeping his father and himself alive. Elie had once been appalled at the men who abandoned their loved ones in order to ensure their o wn survival. He had watched in horror as a man killed his elderly father for a crumb of bread, and vowed he would never become one of those appalling men. Yet when he thinks of his father’s undeserved death, he feels relief. In The Metamorphosis by Franz Kafka, a successful business man named Gregor awakens one morning and finds himself transformed into a giant roach bug. He responds to his change in appearance relatively calm, for his biggest concern is being late for his door to door salesmen job. While trying tirelessly to get out of bed Gregors mother knocks on the door to remind him of his tardiness to work. He assures her that he is okay and that he’ll be out soon. When Gregor fails to come into work his manager arrives at his home in order to find the explanation for Gregors absence. While demanding Gregor come out of the room, for he cannot miss a day of work he says â€Å"Your job is by no means rock solid†¦ frankly your recent work has been highly unsatisfactory† (Kafka, 7). The manager treats Gregor as though he is a means of making money and nothing more. Gregor is pushed around and mistreated by his manager each and every day, and that kind of emotional and mental abuse can only be endured for so long. Thus explaining Gregors hallucinations of becoming a giant roach, and isolating himself from the rest of  society. Being told you are nothing but another cog within the machine of life by your superior makes you believe that you contribute nothing to society. Therefore the manager threatening Gregor with his job is a symbol of the abuse Gregor was put through every day that made him feel like a useless vermin, that he then ha llucinates himself to be when he â€Å"turns† in to a roach. After Gregors family discovers that he has become a roach they lock him away in his room and refuse to acknowledge what has happened to him. His sister slowly begins to become more comfortable with his new appearance and decides to leave food out for him. Since Gregors sister Grete decided to take the position as the main care giver for Gregor, his mother never sees him. One day Gregors mother decides she wants to visit Gregor and help Grete move his furniture out of his room. While they are transporting and relocating Gregors furniture to another room, Gregor decides he doesn’t want a poster on his wall taken away. So he lays himself on top of the poster on the wall, with the hopes that Grete would realize he wants it to stay. When Grete enters the room with Gregors mother, the shock of seeing her son as a giant bug causes her to pass out. While the mother remained passed out in another room Gregors father comes home. He is outraged when Grete informs him that seeing Gregor caused the mothers troubling state. He immediately assumes Gregor tried to attack them and begins to attack Gregor as punishment. Kafka describes it saying â€Å"Gregor halted, petrified, any more running would be useless, for the father dead set on bombarding him†¦a weakly thrown apple grazed Gregors back sliding off harmlessly. Another one, however, promptly following it, actually clung right into his back. Gregor wanted to keep dragging himself along as though this startling and incredible pain would vanish with a change of location, yet he felt nailed to the spot†(Kafka,26). Gregors father attacking him with the apples and injuring him is a symbol of Gregors strained and problematic relationship with his father, it shows that Gregor never felt good or worthy enough. The apple actually causing injury to his back  represents the emotional turmoil Gregors father has put him through and the betrayal he feels as a result.  Since Gregor is no longer able to support the family and their lavish life style anymore, Gregors father decides to allow three men to rent out rooms within their home for extra money. The men are vile and self-righteous so upon hearing Grete playing the violin in her room, demand she come and play for them. Grete does as she is told and begins to play for the men. Gregor  is watching from his cracked door as Grete plays and is utterly captivated by it. It’s the first time Gregor remembers being happy in a long time. Although he is outraged when he looks around the room and sees the awful men sitting there looking as if they would like nothing more than to leave the room. Gregor wishes Grete would play for only him because he is the only one who truly appreciates her talents, Gregor states â€Å"He was determined to creep all the way over to the sister, tug at her skirt and suggest that she take violin and come into his room, for no one here would reward her playing as he intended to reward it. He wanted to keep her there, and never let her out, at least not in his lifetime† (Kafka, 34). Gregor enjoying Grete’s violin playing symbolizes what little hope he has left, and that he is still human. After all that Gregor has been through, and all that his family has out him through he still loves Grete and wants her to feel appreciated in the way that he never did. He wishes to hide her away from the cruel world that emotionally and mentally scarred him, and alienate themselves from the rest of society by staying together in Gregors room forever. Throughout both of the writers novels the theme of alienation and dehumanization are thoroughly represented. They depict the hardships and struggles of being wrongfully labeled, and how it affects your life. What may seem like a completely unnecessary and irrelevant sentence in the novel actually has a much great meaning than originally thought. Within those sentences are symbols that help to further the themes in the novel. Although Wiesel writes a memoir and Kafka writes an expressionist novella, both stories use symbols to further their themes of alienation and dehumanization. Work Cited Wiesel, Elie. Night. New York: Hill and Wang, 2006.Printed Kafka, Franz. The Metamorphosis. Columbis, Ohio: The McGraw – Hill Companies, 2000.Printed

Lab Report 2 Essay Example | Topics and Well Written Essays - 2250 words

Lab Report 2 - Essay Example Short tandem repeat or STR is polymorphic DNA loci present on chromosome containing repeated nucleotide sequence having two to seven nucleotides repeat. The number of repetition of this nucleotide is unique to particular individual and hence can be use as signature for that particular individual. After realization of STR profiling assay many companies have come out with commercial kit for easy analysis and reproducibility. AmplSTR COfiler PCR kit developed by applied biosystems is one of them. It amplifies 6 somatic STR loci along with one sex determination or amelogenin STR loci. Kit also includes positive and negative standard and amplified STR directly load in to 3100 Avant genetic analyzer and STR profile will be obtained by given software. In case of unknown criminal STR profile is matched with CODIS database to search for probable suspect. Crimes and criminal has become an integrated part of human society and the constant evolution of criminal procedure and sophistication used by criminals makes it huge task for crime investigators to identified criminals. The science used in crime investigation is known as forensic science which utilizes various scientific methodologies to identify the criminals and establish the links between crime and criminals. The biggest challenges in front of forensic experts includes very little sample at crime site, mixing up of evidences, and many in many cases completely burn victims etc. Development of DNA based identification system has revolutionized the way forensic science was operated. The biggest advantage of DNA based techniques is the requirement of very small amount of biological samples which includes blood, hair, semen or any body parts etc. Similarly, one can obtain DNA sample from highly decomposed or burned victim’s bodies. There are several reports where DNA based tec hniques are employed to

The Role of women in Kuwait Research Paper Example | Topics and Well Written Essays - 2000 words

The Role of women in Kuwait - Research Paper Example This assessment is conducted with respect to three distinct time periods in Kuwaiti history that is the Pre-Oil Kuwait, the Post-Independence Kuwait and Modern Kuwait. The Traditional Role of Women in Kuwait Before the discovery of oil in Kuwait, the country’s economic situation was at its worse. This is reflected in the fact that during the Pre-Oil period, the nation was classified as one of the poorest countries in the world (Shelash, 1985). The traditional Kuwaiti society was essentially diversified in its sustenance, with dependency upon several industries such as fishing, while, agriculture did not play a significant role in the country’s GDP. In this simple setup, gender roles were highly stereotypical, where the male member of the house acted as the head of the family as well as the provider and economic caretaker of the house. Shelash (1985) noted that the man of the house also enjoyed complete authority over other members of the family, especially women in matt ers relating to marriage and other important decisions pertaining to the affairs of the household. Therefore, in the traditional Kuwaiti society, women had no participation whatsoever in the arrangements and affairs of the family either economically or socially. Moreover, male dominance in the attribution of roles was so stringent that any woman who was caught violating the rules faced serious and severe repercussions. Shelash (1985) concluded that such practices reflected the existence of immense discrepancies and inequalities between the rights of men and women. Men, in traditional Kuwaiti society enjoyed freedom to choose their wives while, women had no say in matters relating to marriage. This further stems the notion that the role of Kuwaiti women has traditionally been limited to accommodating to the needs and wants of the men of the society which for commentators such as Shelash (1985) is reflective of the submissive role of women in pre-independence Kuwait. Several commentat ors have sought to explore the relationship between the roles of women in countries of the Arabian Peninsula such as Kuwait, the cultural implications of their status in their countries and Islam. Shelash (1985) concludes that the seemingly passive role that Kuwaiti women were traditional expected to abide by in the Pre-Oil era of the country was a result of culture rather than the teachings of Islam. The Kuwaiti culture expected women to be docile and submissive citizens, whose roles were limited to that of mother, wife, daughter and sister (Keedie and Beck, 1978:26). Educational opportunities in traditional Kuwait were also limited and highly restricted for girls; it was not until three years before the country’s independence in June 1961 that the female population was able to go to school, significant discrepancy in the gender-based percentage of students attending school in Kuwait remained till the period of 1961-1962, as male attendance in educational institutions greatl y surpassed the percentage of female students in the classroom (Shelash, 1985). Rizzo (2005) asserts that in the case of Kuwait, the role of women has been traditionally associated with her family along with the cultural and religious values of the country. This view postulates that despite of the progress that Kuwait has experienced as a consequence of the discovery of its oil-reserves and even with its subsequent transformation into an industrialized and modern society, past, present and previous Kuwaiti governments have

Engineering Behaviour of Perth's Soils Research Paper - 1

Engineering Behaviour of Perth's Soils - Research Paper Example The determination of the engineering behaviour and properties of soil such as its grain size distribution, relative density, angle of repose and permeability is one of the most fundamental aspects of geotechnical engineering. Although most previous researches have focused on in situ determination of soil properties, the current research uses laboratory analysis of soil properties to investigate and the engineering behaviour of soils in Perth area. The experimental approach involved collecting soil samples from four different locations namely, North- Yanchep, West- Scarborough, South- Southern River, and East- Swan Valley. Various soil classification tests such as sieve analysis, relative density, and angle of repose and permeability tests were them performed on the collected in order to determine their compositional properties and engineering behaviour. The results were then analysed and compared to the findings of the literature review in order to effectively predict the engineering behaviour of soils of soils in Perth area. I wish to acknowledge my project supervisor, Professor Sanjay Kumar Shukla for the valuable assistance, suggestions and positive criticism throughout this project. My sincere thanks also go to my lab supervisor, Dr. Mohamed Ismail, for his tireless efforts in helping us succeed in our experimental tasks. Finally, the work presented in this report would not have been possible without the cooperation and invaluable support of my project partner, Chushu Deng. Perth region is vast area located within the expansive Swan coastal plains, which lies between the Indian Ocean and the Darling Scarp in the South Western parts of Western Australia. There exist different types of soils in Perth area with the main types being sandy, clay soils. The Western region of Perth area, particularly towards the coast, is mostly characterized by sandy loam soils. On the other hand, the Eastern sides including the upper Swan to the