Case Research Paper Example | Topics and Well Written Essays - 2000 words - 1

Case - Research Paper Example This case study will explore an actual situation that existed as an illustration of divergent management styles at CD Hotels Inc. This happened during Eddie’s tenure at the company when he was a member of the management team. Kenny was a young and fresh graduate from university with the eagerness and enthusiasm to work. He had studied Business Administration with majors in Management. From the onset, he looked naà ¯ve and vulnerable at times. However, he was ready to listen to what other people had to say. He created an aura of likeness within and around him from the day he started working at the company. He knew how to create rapport with fellow colleagues without creating any tension. When people approached him with issues, he always seemed ready to help whenever there was a need to do so. He made it easy for people to work with him and he was never the type of person that would put his team off. Instead, he wanted input from his colleagues and was ready to listen and reach a consensus whenever there was a dispute. CD Hotels was established in 1981 as a small establishment that used to house middle class people in Washington D.C. It was established by Martin Atkinson as the first of the would-be many worldwide hotel chains. In 1984, the organization began its expansion programs to cover areas outside Washington D.C. During that year, five hotels were established in the United States, which were serving the most clients in the hospitality sector. Over the years, the company has received international status with improved revenue collections as well as financial muscle. It developed an international reputation as one of the finest hospitality industries around the world. The establishment has spread out beyond borders into the East, Europe, Africa, and South America. The company has since grown and witnessed the creation of different departments and divisions that have clear roles and responsibilities. For

Reading reflection Essay Example | Topics and Well Written Essays - 750 words

Reading reflection - Essay Example 16). Current advancements in the disciplines of science and technology are recorded to make the world aware of them. A number of old scriptures linking tales of human development and tales of human life in those intervals have been of wonderful assistance to humanity. The following paper will further my interest in literary works with reference to interpreted details. Why the literary work captured my interest Even though the idea of a conscious literary world led major writers, their works are absolutely most beneficial for clarifying what it truly is. With a comprehension of a human conscious, literary works are able to be applied in life through their facets. So far, studies on such literary works are held inside the referenced book. Majority of old literary works concerning the unconscious are held within language and history. The understanding of dreams apart from a brief description is difficult to stumble upon (Massi, 2001, p. 33). Basically, these writers used to believe that the unconscious is the section of the human mind that is past consciousness. Nevertheless, this section has a well-built influence on our actions. Dreams are a highly crucial technique in researching the unconscious mind. ... The need to explain and record human encounters and inventions outlines the fascination I have for understanding such works. Recently, there has been a fresh insisting in the literature scrutiny of the text arising from a variety of simultaneous theological ideas. It ought to arrive as no astonishment that Form Disapproval, with its emphasis on literary genre and compositional scrutiny, ought to have guided towards even larger emphasis amongst students on the literary features of a text (Iannone, 2005, p. 6). Except from this fresh wave of research, people are less into finding out the beginning and spread of narratives, psalms or predictions. The literary outlines the last form of the text. As a result, the change towards the conventional literary works and research most likely reflects a standoff in the discussions over source condemnations. One of the analytical approaches outlined in the text Freud defines displacement with the use of an example of the Sappho-dream of a patient, rising and plunging. In other words, being up and down is established as the central point. Nevertheless, the dream is concerned with the risks of sexual relations with people of low level. Condensation is viewed since the dream is meager, worthless and concise, when compared to with the variety and copiousness of the dream-judgments (Massi, 2001, p. 50). The literary analysis of the text has been the leading interest of every principal strategy to the study of the Bible. Starting with the ancient literary analytical strategy, the analysis ends with the form critical strategy. Nevertheless, the contributions made by these strategies have been great, and also stained with excessive doubtful subjectivity in opposition to the unity and honesty of the text. Regularly, the literature interests

Black Representation in Postbellum Era Art

Black Representation in Postbellum Era Art Heroes in art and imagery in post-bellum 19th century America Following the abolition of slavery in 1865, it took a substantial amount of time for the representation of African-American people in American art to establish itself beyond the grotesque and the caricatured. Before slavery and the plantations were outlawed due to the civil war, American representation of blacks were shown as cartoon caricatures; as generic, racial stereotypes with no individuality of their own. This is demonstrated by a number of artworks prevalent at the time. Blackness was either relegated to the sidelines of the paintings, sculpture and engravings, or else excluded completely from the image. And although the outlawing of slavery was done in order to generate equality and liberty across the United States, racism was still prevalent, and it would also take some time before the actual identity of blackness in the United States managed to transcend that of an oppressed, racial stereotype, and began to take on and represent a history and a culture of its own, instead of merely providing the negative for the representation of whiteness. A great many critics argue that this breakthrough was made ironically by a sculpture made and funded by white people, in the Shaws Memorial by Augustus Saint-Gaudens. Despite Saint-Gaudens obvious inclinations towards racial stereotyping in words (his memoirs justify this statement), thanks to a number of coincidences, his artistic credibility, and the amount of time he was given to produce this sculpture, he managed to represent blackness not as caricatured, but as a disparate but unified whole. But some critics of the Shaw Memorial still uphold the belief that it is inherently racist. In the following essay, I will look briefly at the history of black representation in the art of post-bellum America, than engage in a closer analysis of the Shaw Memorial, in order to see exactly what is being represented and how. Monumental sculpture in particular had a great history in providing people with allusions to the real, held as less of an illusion than the representations made in other arts, such as painting. The representation of Apollo in the famous sculpture had provided people with a benchmark for human aesthetic beauty for thousands of years, and sculpture seemed conducive to the production and the replication of this ideal human form. This has serious implications for the evolution of how Black American slaves in postbellum America were represented. Kirk Savage suggests that: â€Å"Sculptures relation to the human body had always been more direct and intimate than paintings: the sculptors main task was not to create illusions on a flat surface but to reproduce three-dimensional bodies in real space.†[1] Additionally, because of the importance by which public sculpture was held at the time, as a monument dedicated to, rather than imposed upon the community, the development of a realisti c representation of the African American body in the art of the time is not to be underestimated. Savage goes on to say: â€Å"The sculpture of antiquity thus became an authenticating document of a normative white body, a race of white men.†[2] The fair representation of blackness in sculpture was therefore central to the cause of representing blackness as equal in America. However, it would still be some time before the representation of the hero would be anything but white. This white hero occurred on both sides of the slavery divide, as those from the South would paint a picture of the generous, selfless plantation owner, whereas those from the North would paint an equally white picture of figures fighting for the liberty of black slaves. From the Journal of Popular Culture: â€Å"In the postbellum reminiscences, a slaveholders chivalric spirit was manifested through feats of selfless generosity.†[3] Also, representations of the South didnt differ: â€Å"refusing to concede an exclusive grant of heroic title to the friends and relatives of slaveholders, those who had gloried in the 1865 Union victory demanded an equal chance to create their own champions of popular culture. In the manner of their southern counterparts, they sought to rescue from oblivion the true history of an unpretending, liberty-loving and Christian people.†[4] So, despite the liberal intentions of the North, their representations of blacks were still stuck in a post-plantation world: the blacks were to be represented as symbols of otherness – of cartoon caricatures, and only there to represent their emancipation by the heroes of white culture that had freed them. Sculpture is also a particularly difficult medium with which to represent skin colour, because the tone of the skin cannot directly be represented: â€Å"Since sculpture was understood then to be monochromatic, sculptors could not represent skin color directly.†[5] How then, was skin colour represented in the medium? In John Rogers Slave Auction (1859) blackness is represented as a series of facial features. He is identified by his position in front of the stand, but also by his curly hair and his full lips. By representing the Negro as defiant, with arms crossed, â€Å"the work attracted the attention of some local abolitionist newspapers and acquired a limited public reputation.†[6] However, the problem was still unresolved: of how to represent an image of blacks in sculpture that wasnt patronising, denigrating or clichà ©d, which still represented the identity of blackness in what was essentially a monochromatic medium. Savage continues: â€Å"artists after the Civ il War faced the great challenge of representing a society recently emancipated from slavery, that brought to the task various assumptions and images that had been deeply ingrained by the system of slavery and by the long campaign to abolish it.†[7] Blackness was, in effect, so heavily linking to its white-established origins of slavery, that it was a seemingly impossible task to represent it in any other way, never mind to represent blackness in a heroic light. Due to the uniform way in which blackness was represented, it was impossible to reconcile the image of a black hero with this symbol of the homogenised masses, either there to be emancipated, or else enslaved by the dominant white society that controlled politics, society and the power mechanisms of postbellum America. If blacks were represented at all, they would be seen as stereotypes of a series of white-defined black assumptions concerning black facial imagery. Fryd suggests that: â€Å"It is possible that because of the continuous threat of disunion from slavery, both northerners and southerners felt that they needed to banish blacks from the artworks.†[8] Because of the knotty subject matter concerning black autonomy, it took a while before blacks could be represented as heroic even in the slightest. This representation is epitomised by the painting Cornwallis Sues for Cessation of Hostilities under the Flag of Truce (1857). In it, a black man is seen hiding in the far r ight corner of the painting, his face obscured by a hat, wedged behind two white officials. The dark background, coupled with his dark clothing and dark face disguises his presence in the picture. He is also seen with an earring, curly black hair and thick lips; a typically stereotypical representation of blackness. Fryd suggests that: â€Å"The figure is barely visible given the prominence of the three central figures, and the importance of Washington in this ceremonial painting celebrating the generals astute ploy to force the British surrender.†[9] So, the image of the hero is used here to grab the attention and, while the other white people rally round and bask in the nobility and the light of Washington, the black man is confined to the far right of the page, looking somewhat sheepish, and ostracised from the composition by his colour and his position in the painting. So, postbellum art, in the immediate aftermath of the Civil War, was still primarily concerned with representing blackness as something passive; something to which things had to be done, whether this thing was emancipation or else slavery. The development of Shaws Memorial, and the numerous copies that Saint-Gaudens later made in an attempt to perfect his masterpiece, in many ways marks a turning point in the development of an autonomous series of black characters, noted for their individuality, as well as their allegiance to a particular racial and socio-economic group. However, the presence of Shaw, and the titling of the monument (the Shaw Memorial dictates that Shaw is the most important character), as well as his composition, leads us into thinking about the following question: Is the Shaw Memorial a sophisticated representation of blackness in post-bellum art, or is it simply a similar propagation of the racist values of whiteness held previously? Of course, it is impossible to divorce the Shaw Memorial entirely from perceiving the African Americans as an oppressed group because, historically, they were. Savage argues that: â€Å"The Shaw Memorial introduced the element of black recognition into the more conventional worship of white heroism.†[10] Indeed, the depiction of heroism is intrinsic to the understanding of this piece: although the African-Americans are seen as a group of people, they are also, thanks to the meticulous and painstaking sculptural perfectionism of Saint-Gaudens, seen as individuals, as Saint-Gaudens used models found on the streets of New York to develop a realistic depiction of a great variety of black people. However, Saint-Gaudens choice of developing and individuating the black soldiers at the bottom of the piece was also due to economics and artistic integrity, more than actually consciously trying to represent blackness: he says in his memoirs that â€Å"through my extreme interest in it and its opportunity, [I] incre ased the conception until the rider grew almost to a statue in the ground and the Negroes assumed far more importance than I had originally intended.†[11] The prejudices of the sculptor was also clear, and releases all manner of underlying problems with the authenticity behind how blackness is represented in the piece: â€Å"It is fascinating that this exploration of black diversity came from the hands of a white man who shared the common racial prejudices of the white elite. In his memoirs, Saint-Gaudens writes quite disparagingly about his black models, who are brought into the story merely as comic relief. They come odd as foolish, deceptive, and superstitious, though Saint-Gaudens is careful to say that he likes them for their imaginative, though simple, minds.†[12] Indeed, Saint-Gaudens textual representation of Negroes was as fraught in stereotype as the average member of the white elite, but somehow, due to the nature of his artistic perfectionism, as well as the conditions for producing a statue with the singular intention of promoting racial awareness, he managed to transcend these barriers of personal prejudice and made something that helps not simply to represent blackness as a patronising simulacrum of white values, but represents blacks as they are, in a way that is not patronising or denigrating. It is also fair to assume that the economic conditions of the artwork surpassed the actual intentions of the master sculptor, which was, at least according to early drafts, simply to represent Shaw as a great leader, without any direct or detailed representation of blackness. But, as time passed, Saint-Gaudens became more interested in representing blackness: â€Å"Deciding instead to represent the soldiers as distinct individuals, he became fascinated with the material reality of their own diversity. He wanted the defy military uniformity, on the one hand, and racial caricature on the other; both in their own ways were strategies of standardization. For the sculptor, blackness did not become a leveling trait but a field in which to create a rich interplay of internal differences.†[13] It was this rich interplay that served to develop the heroic quality of blackness in art in 19th century American art. As the statue stands, the individuation of blacks serves to treat them as heroes, albeit heroes of a group, rather than a singular hero held in noble esteem. The white officer, however, is still glorified over and above the black soldiers that march underneath. Despite his lowly position in the ranks of the army, he is glorified simply because of his position leading the â€Å"despised race†. This is a problematic issue: â€Å"racial difference [of making Shaw representative of a group of black soldiers] made this idea of representation problematic at best. Could Shaw, a high-born white man, represent a regiment of black troops?†[14] Thus, the position of Shaw as hero, towering above the distinct blacks, renders the usage of the standard equestrian imagery slightly uncomfortable. However, Saint-Gaudens also uses rhythm in a sense to convey that Shaw does not dominate the black soldiers, but leads them instead. Shaw holds a sword that is angled in rhythm to the marching soldiers. The horse is strained, but Shaw holds it back, and the whole image is composed to generate both diversity, and homogeneity. In the representation of blackness, for instance: â€Å"we see the drummer boy juxtaposed with the sergeant behind him, the youngest member of the group with the oldest, smooth skin with beard, short stature with height; but if we read into depth, other more subtle contrasts emerge too, of facial hair, cheekbone, nose and eye shape. [] In this way the overall impression of uniformity – of identically clad soldiers marching perfectly in step, rhyming each others body movements – is changed and enriched by a kind of contrapuntal rhythm of diversity.†[15] In postbellum art, the concern was primarily with establishing the autonomous and individuated identity of a previously oppressed group of people, while maintaining the traditional structures of the depiction of the hero, with respective notions of beauty, leadership and nobility, that proved to be a problematic mix to endeavour to achieve. Thus, the South turned to the plantation owners for their heroes – the chivalric and generous heroes, displaying their generosity towards the blacks, and treating their assumed inferiority with compassion and grace. Similarly, in the North, the contemporary hero of postbellum art was the white emancipator of the blacks, fighting for the freedom of this oppressed race of people. The result was that the hero didnt particularly change race, and that common perceptions of human aesthetic beauty, a notion that went back to Greek times, remained largely the same. However, despite taking on the traditional format of the equestrian hero statue, the Shaw Memorial assists in combining these two glaringly contrasting issues, by depicting both the individuality and the homogeneity of the black cause, as well as preserving the image of the white hero – Saint-Gaudens does this using subtle techniques of composition, by combining rhythm, and by representing a great swathe of meticulously studied, and strikingly different black faces, that ultimately combine to produce â€Å"interplay† in racial profiling. Savage comments that: â€Å"In this monument Saint-Gaudens was able to elevate the white hero without demoting the black troops.†[16] and it is testament to his genius that, despite his personal prejudices, he managed to fully articulate and display through the medium of monumental art, the autonomy, yet the solidarity of an entire race of people, within the context of the traditional white hero monument. Bibliography Berlin, I., Slaves Without Masters, Oxford University Press, Oxford, 1974 Burchard, P., One Gallant Rush, St. Martins Press, New York, 1965 Deburg, W. L. V., The Battleground of Historical Memory: Creating Alternative Culture Heroes in Postbellum America, from Journal of Popular Culture, vol. 20, pp. 49 62 Dryfhout, J. H., The Work Of Augustus Saint-Gaudens, University Press of New England, London, 1982 Fryd, V. G., Art and Empire: The Poltics of Ethnicity in the United States Capitol, 1815-1860, Yale University Press, London, 1992 Saint-Gaudens, A., Reminiscences, Vol 1., Century Co, New York: 1913 Savage, K., Standing Soldiers, Kneeling Slaves: Race, War, and Monument in Nineteenth-Century America, Princeton University Press, Princeton, 1997 Appendix: Images referred to the text: The Slave Auction (1859) by John Rogers Cornwallis Sues for Cessation of Hostilities under the Flag Of Truce (1957) by Constantino Brumidi Robert Gould Shaw Memorial (1897) by Augustus Saint-Gaudens 9 Footnotes [1]Savage, K., Standing Soldiers, Kneeling Slaves: Race, War and Monument in Nineteenth-Century America, Princeton University Press, Princeton, 1997, p. 8 [2]Ibid. [3]Deburg, W. L. V., The Battleground of Historical Memory: Creating Alternative Culture Heroes in Postbellum America, from Journal of Popular Culture, Vol. 20, p 51 [4]Ibid. p. 53 [5]Savage, K., 1997, p. 17 [6]Ibid., p. 17 [7]Ibid. p. 21 [8]Fryd, V. G., Art and Empire: The Politics of Ethnicity in the United States Capitol, 1815-1860, Yale University Press, London, 1992, p. 208 [9]Ibid. p. 207 [10]Savage, K., Standing Soldiers, Kneeling Slaves: Race, War and Monument in Nineteenth-Century America, Princeton University Press, Princeton, 1997, p. 197 [11]Saint-Gaudens, A., Reminiscences Vol. 1., Century Co., New York: 1913, p. 333 [12]Savage, K., Standing Soldiers, Kneeling Slaves: Race, War and Monument in Nineteenth-Century America, Princeton University Press, Princeton, 1997, p. 201 [13]Ibid. [14]Ibid. p. 196 [15]Ibid. p. 201 [16]Savage, K., Standing Soldiers, Kneeling Slaves: Race, War, and Monument in Nineteenth-Century America, Princeton University Press, Princeton, 1997, p. 204

Homeschooling: Academics, Socialization and College Admissions Prospect

Homeschooling: Academics, Socialization and College Admissions Prospects Homeschooling is probably one of the least known and least understood issues in education. Many people tend to think that most homeschoolers are religious conservatives or extremists. However, the truth is that people from all walks of life are joining the homeschooling bandwagon (Ray, 2004). The main misconception is that homeschooled children don’t get the same academic and social education as traditionally schooled children. Contrary to popular perception, homeschooled children have the same, if not better academic opportunities, social opportunities and college admissions prospects than traditionally schooled students have. According to Mary Griffith, author of the book The Homeschooling Handbook, the concept of homeschooling is nothing new to society. It is only in the past 150 years that public school system as we know it came into effect (Griffith, 1999). Prior to that, â€Å"†¦the family was the basis for social life†¦the home was where children learned what was necessary to function in their community† (1999). By the mid-1970s, there were barely any people practicing homeschooling (Ray, 2004). However, over the past twenty years there has been a resurgence in people choosing homeschooling (2004). There has been a 500 percent increase in homeschooling from the 1990-1991 school year to the 2002-2003 school year (2004). The National Home Education Research Institute (NHERI) estimates â€Å"that between 1.7 and 2.1 million students were being homeschooled in the U.S., in every grade level from kindergarten through twelfth grade†¦Indications are that the growth rate is between 7 percent and 15 percent per year † (2004). People choose to homeschool for a var... ...s and traditional school graduates. Journal of College Admission, Spring 2004, p17. Klicka, Chris (2002) Socialization: homeschoolers are in the real world. Issue Analysis, Home School Legal Defense Association. Retrieved April 10, 2005 from www.hslda.org. Kochenderfer R, & Kanna E. (2002). Homeschooling for success: How parents can create a superior education for their child. New York NY: Warner Books. Ray, Brian D. Ph.D (2004). Worldwide guide to homeschooling: Facts and stats on the benefits of home school. Nashville TN: Broadman & Holman Publishers. Saba L., & Gattis J. (2002). The McGraw-Hill homeschooling companion. New York NY: McGraw-Hill Publishers. Zehr, Mary Ann. (2003). Home school students adjust to new homes on college campuses. Education Week, Vol. 23, Issue 2, p6. Retrieved April 22, 2005 from Academic Search Premier database.

How to Handle the Charge Volume of a Ball Mill or Rod Mill

In physics, the charge of a volume is commonly described by a quantity called the charge density or the charge distribution. When the electric field that arises from the charge distribution exhibits a volumetric symmetry, a handy relationship known as Gauss's Law may be used to calculate the charge distribution of the volume. The charge volume of a ball or rod mill is expressed as the percentage of the volume within the liners filled with balls or rods. When the mill is stationary, the charge volume can be quickly obtained by measuring the diameter inside the liners and the distance from the top of the mill inside the liners to the top of the charge. The percentage loading or change volume can then be read off the graph in Figure 3 or can be approximated from the following equation: % loading = 113 – 126 H/ D where H is distance from top of mill inside of lining to top of charge and D is diameter of mill. Maximum power is drawn by a mill when the charge occupies approximately 50% by volume. However, as seen in Figure 4, the power curve becomes very flat in the range above 45%. As a result, mills are seldom run with charge levels greater than 45%. In rod mills, the charge is swollen by particles of feed which separate the rods. If the mill is shut down immediately after the feed is shut off, the charge level will be greater than if the mill had been â€Å"ground out† prior to shutdown. Because of this, rod mills are normally operated with a 32 to 40 percent charge by volume. In operation, this becomes a 40 to 50 percent charge, with a bulk density considerably lower than that of stacked rods. Ball mill charge becomes measurably swollen only when there is a buildup of large unground material in the ball mill or when the density of the pulp in a wet mill is extremely high. Although these conditions are seldom encountered, it is recommended that ball mills be ground out prior to shutdown for measurement of the charge level. Ball mill: http://www. hxjqchina. com/product-list_34. html ball mills: http://www. hxjq-crusher. com/50. html vibrating feeder: http://www. hxjq-crusher. com/44. html jaw breaker: http://www. hxjq-crusher. com/1. html sand washer: http://www. hxjqchina. com/product-list_29. html

Essay About an Injury

My Injury Name: Pleun Fijneman Class: 2H Teacher: Nugteren Name: Pleun Fijneman Class: 2H Teacher: Nugteren What happened? I’m going to tell you about the fracture me brother got. It happened one day before we went on wintersports. He was playing soccer with his friends, and one of them thought it was funny to make him stumble, so he went leg hooking at my brother. My brother felt and he had a lot of pain in his leg. He couldn’t walk on it anymore, so they all helped my brother to the house of one of them. The mother of the friend where they were, brought my brother to our house.My brother looked very pale. Then my mother brought him to the emergency room, and he was sent to the hospital. When they arrived at the hospital they had to wait for a long time. He said to me he had never felt so much pain as then. Then a doctor came and took him to the plastery room. First, he was laid down in a chair, and then the doctor tried to put his leg in the right position. My brother was dying of pain when the doctor touched it, and certainly when he was putting his leg in right position. After that the doctor made a X-ray of his leg, so he could see what was wrong.The doctor told my mom that he had a crack in his tibia (shin bone). The doctor was telling about fractures, but my mom didn’t know what it meant, so the doctor explained the meaning: â€Å"it’s a crack, break, or shattering of a bone, and Toots (my brother) has a crack in his bone. He has a tibia stress fracture. It’s an acute traumatic injury. which usually involve a single blow from a single application of force. † The joints which were involved: knee joint, ankle joints (and hinge joints). He couldn’t move them for 6 weeks, because the plaster was wrapped around it. RecoveryDuring recovering my brother did go with us on wintersports, but he said it was very boring for him. Because he did not go skiing or snowboarding. He had to stay at the house which we had hir ed, or go with us to the snow mountain range where we would go skiing. Most times he stayed home, because it was not very handy to always bring a wheelchair. When we got back home, the friend who made him stumble came over to apologize. Now it happened 4 years ago, but my brother is still a little bit mad at him. Because it was our first wintersports vacation and he couldn’t go skiing.When school started, he stayed most of the time at home, or he came to school at middays. He was at home for 6 weeks. After 3 weeks, he got new plaster. The plaster helped to keep the bone in the same place, so it could cure well. after 2 weeks with the new plaster he got walking cast and crutches, so he could go back to school again and learn how to walk. When he was at school, all his friends started writing sweet things on his leg. My brother was very happy that he could go to school again. Then finally his plaster could go off. His leg was very thin, and it looked a little bit scary, but aft er one week it looked normal again. Photo