Case of Gamescorp Plc-Free-Samples for Students-Myassignmenthelp

Question: Investigate the Difference among China and Europe. Answer: Presentation Gamescorp plc is a PC programming store situated in the United Kingdom with a high development rate. The association sells limited PC games and comparative items. Physical shops of Gamescorp are running effectively in Paris, Milan and Berlin since three years and in the wake of picking up force in business Gamescorp plans to embrace an extension procedure in different pieces of the world. Gamescorp plans to open retail outlets in China. Notwithstanding, the association has concluded that in China the physical stores will have a great deal of closeness with the stores previously settled in the United Kingdom. Social Difference among Europe and China In Europe correspondence is unequivocal or direct. The Europeans express their genuine thoughts and receive a verbal correspondence style with less non-verbal signs .The Chinese once in a while talk straightforwardly. They don't come to the heart of the matter. In conferences, Chinese utilize formal and circuitous language. Correspondence style in China is derived or inferred and unpretentious. More non-verbal signs are utilized in correspondence style. They center around picking up trust; they uncover their aims simply after solid business connections are created. Individuals holding senior situations in associations by and large talk during conference in China and all inquiries ought to be coordinated to the seniors. The Europeans esteem opportunity and follow autonomous dynamic methodologies, while in China concordance and solidness are esteemed and dynamic procedure is bunch situated. In business connections, the Europeans are very shallow. They offer need to productivity and bus iness connections are legally binding in Europe, while in China business connections are based on trust. The Chinese put stock in building long - term business connections and create connections at an individual level before directing business. The Europeans center around momentary objectives, despite what might be expected, the Chinese spotlight on long haul results. The Europeans think per quarter though the Chinese think years ahead(Brewster, 2008).The Europeans are high daring individuals while the Chinese culture attempts to keep away from dangers. The dynamic procedure in Europe is quick, arranged and proactive and appropriated authority is utilized in dynamic procedure. In China the dynamic procedure is moderate and imprudent; for the most part chiefs settle on a ultimate conclusion. The Europeans for the most part regard riches, accomplishment and achievement though the Chinese individuals have high regard for shrewdness and status. The perspective or thinking style in Europ e is guided by rationale. Europeans are commonly logical while the point of view of Chinese individuals is all encompassing and instinctive. Individuals in China think about the 10,000 foot view and their however procedure is explicit to a specific circumstance. In European culture, reliability is of central significance though in Chinese culture times for arrangement are adaptable. The Europeans are commonly factious and verbal while taking care of contentions yet individuals of China think that its hard to state no and they use non-verbal cues(Chan, 2012). The way of life of a nation decides the qualities that are drilled in work environment. Educator Geert Hofstede contemplated 5 components of culture that can impact the working environment estimations of various nations. These five measurements are power separation, Individualism Versus Collectivism, Masculinity Versus Felinity, Uncertainty Avoidance and Long-Term Versus Short-Term Orientation. Key social contrast among China and Europe Force Distance China scores 80 on Power Distance Index (PDI). This implies in China there is significant force separation between in the middle of subordinates and bosses in China. The European nations exhibit variety in this score. Nations like Ireland, Denmark, Austria, and the United Kingdom have a low force separation score and nations while nations like France and Romania score 68 and 90 on power separation (PDI). Independence/Collectivism (IDV)- China scores 91 on IDV , the Chinese culture is considerably more collectivistic. Gathering believing is energized in China and choice is made with an agreement of gathering individuals instead of individual dynamic. Lion's share of nations follow an individualistic culture in Europe yet there is variety in this social measurement, for example, the United Kingdom scores 89 on IDV measurement while Spain scores 51. Manliness/Femininity (MAS) - China positions 66 on MAS measurement. The Chinese culture and individuals are profoundly determined by accomplishments, rivalry and achievement. Individuals in China want to work and offer significance to needs identified with work than investing energy with families. Vulnerability Avoidance (UAI) China scores 40 in Uncertainty Avoidance (UAI) measurement. This implies Chinese follow an organized methodology and structure, rules and guideline to stay away from vulnerability. Nonetheless, the Chinese are not scared by questionable circumstances and are eager to grasp changes as indicated by the vague situation(Shen Y. D., 2015). Long haul/Short-Term Orientation (LTO) - China scores high on long haul direction (LTO).The 118 LTO score of China plainly mirrors that the Chinese individuals practice tirelessness and constancy to achieve objectives. The Chinese spotlight on aftereffects of long haul instead of concentrating on momentary objectives. The exchange procedure in China is tedious. The Chinese individuals accept to pick up trust and incorporate connections before drawing in with a business deal(Hofstede, 1983). The Effect of Cultural Difference on Business Relations From the examination of the Hofstedes Cultural Dimension, it tends to be unmistakably comprehended that there is noteworthy social contrast among China and Europe. This social contrast will cause distinction in guiding principle, mentalities and way of life of individuals of China and Europeans(Taylor, 2007). Along these lines, the style of working together in China will be totally not quite the same as that of Europe. Along these lines Gamescorp Plc. necessities to consider the social contrast among China and Europe while setting the Human Resource Management Practices for its product store in China. The enlistment approaches and practices for selecting nearby staffs of China in the product store of Gamescorp Plc. will be generously administered by the social estimations of China which is not quite the same as that of Europe(Chan, 2012). The Organization Orientation In ethnocentric staffing, individuals who have a place with a similar nationality as the parent Company are picked as a piece of the parent Company. In polycentric associations, the workforce is recruited from the host nation. In geocentric associations, worldwide destinations just as nearby targets are met. Gamescorp plc needs the corporate culture of its product store in China to have similarity with the product stores of the nation of origin United Kingdom. The physical proof of the stores are relied upon to be spread out and enriched in agreement to the effectively settled corporate style. The supplies of the stores will have comparative sort of stocks as the stores present in the United Kingdom. The solid corporate personality which is as of now settled will be kept up any place a store of Gamescorp Plc is opened (Hofstede, 1983). Since, the loads of the store in China and the physical proof of the store is intended to have likeness with that of the store of the nation of origin of Gamescorp plc., the association is enthused about embracing ethnocentric methodology. Associations embrace ethnocentric way to deal with actualize a more tight control for its auxiliaries and to have a bound together corporate culture. In ethnocentric methodologies, the center skills of Gamescorp plc will be moved to its nation of origin China and since the Chinese auxiliary should agree to the goals and systems of the nation of origin, a decent execution of value factors are normal in ethnocentric methodology. Nonetheless, if Gamescorp plc receives the ethnocentric methodology in China without thinking about the social estimations of the Chinese populace, it may prompt lower efficiency, higher disappointment and turnover in the product store in China.(Schneider, 1988) On the off chance that Gamescorp plc embraces a polycentric direction for its product store in China, at that point there will be a wide social hole between its store of the United Kingdom and the store of China. In this manner a polycentric approach will prompt botch, lower purpose of control and oversight and there may be a drop in nature of stocks conveyed to clients. Consequently, the brand estimation of Gamescorp plc will be in danger if polycentric approach is embraced. Geocentric direction will best suit the goals of Gamescorp plc. The association needs its solid corporate character which is as of now settled in the nation of origin to be received in China. The physical likeness and the loads of the store of China will likewise have similarity with that of the nation of origin. Yet, for employing approaches Gamescorp plc should recruit supervisors and neighborhood staffs both from home nation just as host nation. The aptitudes, information and capacities required for a specific activity position ought to be filled by capable supervisors and staffs independent of the nationality.(Shen J. , 2004).Gamescorp plc ought to embrace a geocentric direction on the grounds that the association needs to enlist neighborhood Chinese administrators who will have the option to propose the administration of the association about the social approaches of China which will decide the human asset arrangements of that Gamescorp plc will receive in China. Likewise, langu age is an incredible obstruction among Chinese and Europe. The enrollment and determination board of Gamescorp plc in China ought to have adequate Chinese supervisors who will have the option to speak with neighborhood Chinese staffs in their primary language and will comprehend their brain science superior to an European chief. The nearness of Chinese directors will help by and large in up close and personal meetings of the nearby Chinese staffs. This is conceivable in a ge

Translations depicts the cultural take over of Ireland by the British E

Interpretations delineates the social take over of Ireland by the British Realm, yet it can't be supposed to be basically ace Irish.’ Consider this remark. English Literature Coursework-‘Translations delineates the social take over of Ireland by the British Empire, yet it can't be supposed to be essentially expert Irish.’ Consider this remark on the play. The Cultural take over of Ireland by the British Empire is a focal issue in Translations. Friel inspects this issue by portraying the impacts that specific changes have on singular characters; Irish and English. One may figure a play with this issue couldn't resist being one-sided towards the Irish. Be that as it may, Friel ‘did not wish to compose a play about Irish workers being stifled by English sappers.’ In request to determine whether he accomplishes this, we should look to his regularly perplexing characters and how they create all through the play. thus we should see singular characters, as Friel does, to see regardless of whether this play is expert Irish or not. Let us take Hugh O’Donnell as the main model. Hugh is depicted as a scholarly character. He has a wide information on dialects and utilizes a complex selection of words. For example, when he portrays the Irish language he clarifies that specific different societies ‘expend on their vocabularies and language structure avaricious energies and ostentations.’ This is unquestionably a positive trademark and can be differentiated to Lancey and Yolland’s obliviousness. This can be seen when Lancey misjudges the Latin articulation ‘nonne Latine loquitur’ and tells Jimmy ‘I don't speak Gaelic sir’, making it evident that he doesn't speak Latin either. In any case, when Hugh ‘pours himself another drink’ and his liquor fixation is evident the stereotyp... ...land, by and by, to speak to the endeavor of joining two societies together by his relationship with Maire. Be that as it may, this joining is bound to flop simply like the couple’s relationship is as, despite the fact that Maire and Yolland celebrate what they love about each other’s societies, in this manner disregarding their disparities, there is as yet a inability to convey. This can be seen when Yolland and Maire are having a ‘conversation’ with one another, despite the fact that neither talks the others language, and Yolland discloses ‘I’m not going to leave here’, while Maire argues ‘Take me away with you George’. This speaks to the failure for all the characters to impart which brings about the alleged demise of Yolland. This English officer is in this manner seen as a casualty and his flawed killer seems, by all accounts, to be the Irish Manus; in spite of the fact that Friel leaves us to choose this for ourselves.

Temperament and Borderline Personality Disorder

Temperament and Borderline Personality Disorder BPD Print Temperament and Borderline Personality Disorder By Erin Johnston, LCSW Erin Johnston, LCSW is a therapist, counselor, coach, and mediator with a private practice in Chicago, Illinois. Learn about our editorial policy Erin Johnston, LCSW Updated on May 21, 2019 Getty Images/Eric Audras/ONOKY More in BPD Diagnosis Treatment Living With BPD Related Conditions Temperament can be an important factor in the development of borderline personality disorder (BPD). The exact causes of BPD are not known; it is most often thought to be a combination of genetic (nature) and environmental (nurture) factors. Individual temperaments can predispose a person to develop BPD. What Is Temperament? Temperament refers to our inborn personality traits, which are genetic in nature. The different ways infants interact with and react to their environment and experiences are reflective of their temperament, or behavioral style. Efforts to understand individual differences in personality have occurred throughout history. Despite this, there is no clear consensus as to what the specific temperament traits are called or how they should be categorized. However, there have been some efforts to comprehensively describe temperament; one is the New York Longitudinal Study (NYLS). New York Longitudinal Study (NYLS) In 1956, physicians Alexander Thomas and Stella Chess began The New York Longitudinal Study. Involving 185 children over six years, the authors identified nine distinct temperament traits present in every individual at birth. These traits as defined can be helpful in better understanding of how personality is impacted by genetic factors (or nature). According to Thomas and Chess, these traits are areas of behavioral styles found in every individual. Each temperament listed should be seen as having a range or being a spectrum; some infants are going to be very distractible, others less distractible, and others even less. In the end, there are endless combinations of temperaments, making each infant unique at birth. Nine Temperament Traits From The Origin of Personality: AdaptabilityThe ease with which a child adapts to changes in his environmentActivity LevelThe proportion of active periods to inactive onesApproach/WithdrawalThe response to a new object or personDistractibilityThe degree to which extraneous stimuli affect behaviorIntensity of ReactionThe energy of response regardless of its quality or directionQuality of MoodThe amount of friendly, pleasant, joyful behavior as contrasted with unpleasant, unfriendly behaviorPersistence/Attention SpanThe amount of time devoted to an activity and the effect of distraction on the activityRegularity/RhythmicityThe regularity of hunger, excretion, sleep, and wakefulnessSensory ThresholdThe intensity of stimuli required to evoke a discernible response Temperament Throughout Development In general, temperaments exist as they are prior to birth and are a component of an individual’s personality. Although it is thought that temperaments are genetically determined, personalities as a whole are a combination of temperaments and experiences that shape and influence a person’s development.

Ob in Action Case Study Companies Are Trying to Improve...

OB in Action Case Study: Companies Are Trying to Improve Employee Attitudes during the Recession Introduction â€Å"Creating an effective and productive workplace takes a firm commitment from management even in the best of times† (Ballard, 2012). When the recession hit full force, many companies had to make some difficult decisions. â€Å"In a 2009 survey conducted by the American Psychological Association, 68 percent of employed Americans reported that their employers had taken steps such as putting a freeze on hiring or wages, laying off staff, reducing work hours, benefits or pay, requiring unpaid days off or increasing work hours because of the weak economy† (Ballard, 2012). During a period of recession, managers need to understand the†¦show more content†¦In other words, values describe what is essentially important to a person and they form a main part of person’s individual’s identity. 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Supervision And Motivation Go Hand - 1219 Words

Supervision and motivation go hand in hand in their theories. The supervisor needs to follow the theories of motivation to establish themselves as productive supervisors in human services. The supervisor has to recognize the different supervisory roles and apply them in the right situations. I will be discussing the important elements concerning the supervisory process and how they are influenced by the motivation theories. And I will discuss different motivational theories that correlate motivation and supervision. Supervisor roles The position of a supervisor is to have skills and knowledge in areas of evaluating programs, planning, developing human resources, organizing and budgeting. The supervisor has to be responsible for their performance along with the performance of their employees with the services they deliver. 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Pedicure and Dressing Area Free Essays

Client: Excuse me. Where would I find body lotion? Lucy: Body lotion? Have a look in the makeup section, in isle 4. Client: Actually, I did and there wasn’t any. We will write a custom essay sample on Pedicure and Dressing Area or any similar topic only for you Order Now Lucy: I’m sorry. Let me get some from De back. Do you need anything else? Client: Yes. I couldn’t find any nail file. Lucy: Ooh. I’m sorry, but we don’t have any nail file at the moment. Client: Oh, no. Don’t tell me that. Mom is going to kill me. I lost her nail file yesterday, so I need to get new one. Lucy: I’m sorry to hear that. Where is my nail file Let’s see, it will be 80 dollars in all. But you can charge it to your room. Great. Thank you. By the way, how much will the massage and the facial? I don’t have much cash on me. Sure. Let me show you to the dressing area. Mom. That’s a long time. Can I get massage in the meantime? For around 20 minutes. How long do I have to wait? Of course, but you might have to wait. There’s someone ahead of you. Good morning. WSDL it be possible to get facial? Can I help you, Ms’ Mary: I’m Mary. I have a 4 o’clock appointment for a manicure with Lisa. Receptionist: get a facial in the meantime? Receptionist: I’m sorry we don’t have anything until 5. Mary: Oh no. What about a massage. Receptionist: Yes. Please let me show you the dressing area. Mary: Thank you. One more question. Is it customary to tip the staff? Receptionist: Well, that’s up to you. But most clients give one or two dollars. How to cite Pedicure and Dressing Area, Papers

The Crucible Essays (625 words) - Salem Witch Trials, The Crucible

The Crucible The Crucible Essay The story The Crucible takes place during the times of the Salem witch trials in Massachusetts. This was a time of much hypocrisy in the people of the town of Salem. Many people believed anything they heard or saw. Although The Crucible is fictitious, the story depicts the historical information of the Salem witch trials, and blends them with fictitious characters with minds of their own to create a very realistic plot and conflict in this story. This story has a few themes that are shown through the actions and the thoughts of the characters. One theme that I felt had an impact on the outcome of the story is Fear and suspicion can produce hysteria which results in the destruction and breakdown of the people. The thesis of the story is shown by people's actions people can become suspicious of one thing and this leads to an uprising in the town and the people. The story begins with the dancing of the girls in the forest. When the girls are seen they become scared an d run off. This is what leads to the uprising in the town. The Puritans are viewed as being very religious they believe in God and everything he did for them. They believe in an unconditional election in which God has no obligation to save anyone, no matter how little the problem is. The Puritans use this during the witch trials in which they hanged many people that were innocent of witchcraft. These hangings happened because everyone believed everything the girls said and showed. People in the crowd seemed awe struck by the girls and their ability to view people as witches or not. These hangings produced hysteria in the townspeople. In the story because of the dancing of the girls the priests of the town, Hale and Parris believed that the girls called the devil upon their town. Many people are accused of witch craft because of the girls. Puritans also believe in The Supremacy of Divine Will in which god is absolute. When the girls supposedly brought Satan upon their town the people got frightened and the only way to get rid of the demons in the town is through several hangings. The girls was the link between the people they could see Satan and the people that followed his work. Through the stories the girls lied about what they saw this should not have happened. The girls took their fear out on the people of the town and they did not even realize it. The thesis of this story has a large impact on the people and the conflict of the story. The other side of my thesis would have explained that if nobody in the town got suspicious or involved in the witch trials there would not have been hysteria in the people. If this was true there may have been many lives saved including John Proctor and Rebecca Nurse. The other side of the thesis was not used because the opposite of the thesis does not explain the way the outcome of the story was. If nobody got involved in the trials the conflict/outcome would have been different. In conclusion peoples actions and suspicions of one thing can lead to and uprising in the town. Throughout the story the people turned to the girls to rely on who was a witch. The girls were led by Abigail she stunned everyone with her attitude and her ability to see the Devil. Because of what the girls said there was a disturbance in the town. The Crucible is a great example of fictional/history. It also shows that you can not always believe what you hear because it may not be true. Theater Essays

Paper Proposal Research

Paper Proposal Research Paper Proposal Research Paper Proposal Research: Think before Writing Writing of a paper proposal is the first step you should take before getting down to your paper project. You may wonder whether it is really necessary to write this paper proposal. Yes, it is! But it should be noticed that many students do not understand why they have to write any additional papers except their assignment paper. So, lets explain you the issue. Actually, you support your prospective paper project by writing a paper proposal. You should convince your audience that the topic your have chosen is actual. Besides, you should prove that it is not studied completely; that is why your investigation is worth making. Thus, you see that the success of your paper project depends on a paper proposal considerably. That is why you should think over your paper proposal well and make a kind of paper proposal research. That means that you should think over what points you will highlight in your paper proposal and in what way you will put them. Paper Proposal Research Writing Steps Speaking about the paper proposal research one can point out the following steps you should take to write a convincing paper proposal: Topic. It is obvious that any paper proposal research should begin with studying of the topic you are going to write your paper project on. What kind of study should it be? You should answer the following questions:What are the matter points of the topic? Is the chosen topic actual? Who investigated it before? Of course, you should also provide the background information in your paper proposal. So, you should study informational materials on the topic properly. Literature. You should review informational sources that your paper will be based on. State works of researchers who investigated the issue. This part of your paper proposal research should prove that, firstly, your project has the solid basis and, secondly, you have already studied some information on the topic. Research question. What ex actly are you going to study? You should determine a point of the topic that is the most interesting for you and state it in your paper proposal. Methodology. In what way are you going to make your investigation? You should determine what methods you will apply in your study. Forecasts. How can you catch the interest of your audience? Of course, by making some predictions. So, what results of your study do you expect? Giving some forecasts at the end of your paper proposal will make it intriguing. Paper Proposal Research: Get Help! Thus, these are the main steps of the paper proposal research that will help you write a good paper proposal. If you have any difficulties with your paper project proposal writing, you may look for help in any paper project proposal sample placed in the Internet or contact us! We guarantee you professional help!

Literary Devices 15 Literary Elements With Examples Tips to Use Them

Literary Devices 15 Literary Elements With Examples Tips to Use Them Literary Devices: 15 Literary Elements With Examples Tips to Use Them All writing is made up of literary devices whether you realize it or not.But what if you could intentionally uplevel your writing, make it better, more impactful, and crafting it in a way to hook readers from the introduction?What would it mean for you if you were able to guide your readers in a specific direction and interpret your words the way you want them to?Using literary devices is exactly how you can do thatand well teach you how with our list of literary devices.Although the term literary devices can be a wee bit intimidating, theyre actually pretty simple.In fact, youre likely using a ton when writing your book that you dont even know youre utilizing- and well touch on which those are in a little bit.Here are 15 literary devices to use in your writing: NOTE: We cover everything in this blog post and much more about the writing, marketing, and publishing process in our VIP Self:Allusion Example 1: Careful, now. You dont want to go opening Pandoras Box.In this example, the allusion is Pandoras Box. Because this is a reference to a real 2: He was a real goodguy ball:Diction Example 1: I bid you adieu.The diction present here is formal diction, as most people dont use bid and adieu regularly in everyday speach.Diction Example 2: I remember her hair in particular, because it was on fleek!Here, fleek is a slang term used to describe a womans hair, which means its slang diction.#3 AlliterationAlliteration is a literary device that uses the same letters or sounds at the beginning of words in a sentence or title.There are many nursery rhymes that use alliteration but this is also useful for creating something memorable within your writing.You can also use alliteration when choosing the title of your book, as it makes it easier to remembe r, as you can see in the example of alliterative titles above.Alliteration Literary Device Example:Alliteration Example 1: She sells sea shells by the sea shore.In this example, alliteration is present in both the sh sound and the s sound.Alliteration Example 2: He was a real goodguy ball:Allegory Example: One of the most famous works using allegory is George Orwells Animal Farm. The perceived story is about a group of farm animals who rise up and defeat humans but the underlying story is about the Russian Revoluation.Using an allegory is often telling a darker story in a way thats easier to understand and for readers to receive.#5 ColloquialismOne way to increase the world building in your book is to use colloquialisms.Colloquialisms are expressions, words, and phrases that are used in informal, everyday speech, including slang.You can use these a couple of different ways. Firstly, you can use these as slang in the real world and secondly, you can even create your books own collo quialisms for their world and culture, and even when writing dialogue.Colloquialism Literary Device Example:Colloquialism Examples:Bamboozle to deceieveGonna going toBe blue to be sadBugger off go awayOver yonder over thereDa bomb the bestYou can create your own coloquialisms within your own world to increase the realism.#6 EuphemismWe tend to think of euphemisms as sexual euphemisms, which is how theyre often used. However, euphemisms are actually any terms that refer to something impolite or unpleasant.We create phrases or other words in order to avoid using the actual term because theyre impolite, rude, or indecent. Those alternatives are considered euphemisms.This is often why we think of sexual euphemisms when we hear of this literary device. Most individuals would rather make a much lighter comment when referring to something as indecent as sex, but the same case is made for when someone dies.Euphemism Literary Device Example:Euphemism Examples:Before I go before I die Do the dirty have sexRear:You can even use flashbacks as a plot device, like in the example below.For example, in Vicious by V.E. Schwab, she uses flashbacks as a recurring element in her book. Every other chapter goes back in time and then back to the present for the next chapter as a way to structure the story itself.So in this instance, Schwab is using this literary device to shape the entire narrative of her story instead of simply using it as a single piece, which is a unique take on flashbacks.#8 ForeshadowingForeshadowing is when the author places elements within the writing that gives clues about what will happen in the future of the story.These can often be small bits and pieces that some readers might not pick up on the first read through. They might even look back and realize that certain elements were foreshadowing once they hit the climax or a big plot twist was revealed.Foreshadowing can be both literal and thematic.You can write a scene where theres a conversation t hat the reader cant fully understand the meaning of until more is revealed.You can also write a scene that has symbolic elements that foreshadow events, like placing a black crow in a scene that foreshadows a death, as crows are symbolic of this.If you really want to up your creative writing, you can even create themes to foreshadow within your own world.As an example of this literary device, you can create a culture in which rabbits are a known sign of change and conspicuously place a rabbit in a later scene.Foreshadowing Literary Device Example:Foreshadowing Example 1:In Back to the Future, one of the clocks in the opening credits has actor Harold Lloyd from the silem film Safety First hanging from the minute hand. This foreshadows Doc Brown hanging from the Hill Valley clock tower later in the movie as he tried to send Marty McFly back to the 1980s.Foreshadowing Example 2: In The Avengers Tony Stark makes a comment about one of the ships engineers playing a game called Galaga as they all get together for the first time. The objective of the game in real life is to defend Earth from alien invaders, which is what happens later in the movie.#9 ImageryThis is one that we briefly touched on above and also one you likely learned in school, though it may have been a while since then so well give you a refresher.Imagery is when you use visually descriptive or figurative language in your writing. Think of it more like showing versus telling in writing where you use more sensory language versus blunt, plain words.You would also use stronger verbs in order to present stronger imagery in your writing.Get Your FREE Strong Verbs List HereOver 200 strong verbs and the weak ones they replace! Imagery Literary Device Example:Heres an example of imagery from Hannah Lee Kidders anthology, Little Birds:Notice how Kidder uses visuals to bring life to her words. Youre very easily able to picture where this scene takes place and exactly what those rocks look like.#10 PersonificationPersonification is a literary device where you give human:Imagery Example 1:The wind whistled past my ears like a familiar tune Id long forgotten.Imagery Example 2:The moon yanked a blanket of silver light over the forest.Imagery Example 3:Squatting in the corner was a felt chair covered in the dust and damp of abandonment.#11 Juxtaposition Juxtaposition means placing contrasting elements next to one another in order to emphasize one or both, including words, scenes, or themes.This literary device can sound overly fancy but its quite simple.Many times, authors will use juxtaposition in order to create a stronger emotional reaction from readers.Think of when a happy moment in a movie or book is follo wed by a sad, heart:Juxtaposition Example 1:It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness. A Tales of Two Cities by Charles Dickens.Juxtaposition Example 2:I hate loving you.Juxtaposition Example 3:You will soon be asked to do great violence in the cause of good. The Yellow Birds by Kevin Powers#12 Metaphor/SimileThis is the most popular literary device that has to be used with caution because if used too much, metaphors and similes can reek of cliches and amateur writing.Metaphors and similes are comparisons used to create better clarification and understanding for readers. While these are similar, theyre quite different.MetaphorA metaphor is a comparison between two things that are NOT alike and replaces the word with another word.SimileSimiles are comparisons between two things that are NOT like a nd replaces the word with another word but uses like or as within it.Metaphors VS Similes Examples:Metaphor Example 1:She was drowning in a sea of her own despair.Simile Example 1:It was like she was drowning in a sea of her own despair.Metaphor Example 2:His heart was lead, weighed down by the memory of what hed done.Simile Example 2:His heart was as heavy as lead, weighed down by the memory of what hed done.Literary devices are used to make your writing stronger. However, you dont have to use every single device out there. These are the best to strengthen your writing.#13 OnomatopoeiaWhile its name may be confusing, this literary device is actually easy to understand once you get past its difficult spelling.An onomatopoeia is a word or phrase that shows you the sound something makes. Since we cant hear books, this literary device is best used to paint a clear picture and include the sense of hearing in your writing.When using this literary element in writing, the correct formatti ng is almost always to have the word italicized to show emphasis of the sound.Onomatopoeia Literary Device Example:BuzzZapSplatBoomSplashZingCrankWhooshBangCreak#14 SymbolismEvery story uses symbolism in some way. This literary device is the use of a situation or element to represent a larger message, idea, or concept.Many times, authors use symbolism as a way to convey a broader message that speaks to more readers. You can also use symbolism to foreshadow what will happen later in the story.Symbolism Literary Device Example:Crows are used to symbolize a bad omen, like deathThe color purple symbolizes royaltyThe color red can symbolize death, struggle, power, passionSpiders can symbolize spying, sneaky, or untrustworthiness#15 ToneThe tone of a book is something that conveys the narrators opinion, attitude, or feelings about what is written.This literary device has the power to shape the entire narrative. For example, if you want to catch a reader off-guard when something traumati c or intense happens, keeping the tone light and humorous before the event can increase the sensation of shock and tension.Tone can guide your readers right into the emotion you want them to feel in a particular scene.Ready to start your book?Writing a good book is much harder than it may seemAnd its not just about the book, either- not if you want it to sell and do well, that is.

Summary Essay Example | Topics and Well Written Essays - 250 words - 77

Summary - Essay Example The Gallop Poll of 2011 shows just 26% for handgun ban. The issue with the thinkers is whether gun control can stop tendencies for violence. Whereas the arguments and counterarguments continue amongst various bodies concerned with controlling gun and violence, the measure does not get the legal support. â€Å"With a 5-4 decision in the District of Columbia v. Heller case heard by the Supreme Court in 2008, the court’s new reading of the Second Amendment indicates that handguns cannot be banned even at the local level because there is an individual right to handguns in the home for self-defense.†(Ryan, n. p.) This seals the issue in favor of keeping the handguns. The other method suggested is health screening of the people and the background check from the â€Å"federally licensed dealers.†(Ryan, n.p.) This suggestion is good in theory but its implementation is not practicable. One can easily buy the â€Å"gun from a private seller.†(Ryan, n. p.) But the suggestion to ban AR-15 type assault rifles merits consideration, as these types of weapons have role for civilian purposes. Congress did ban 9 types of semi-automatic weapons in 1994 and the â€Å"ban expired in 2004 and was not renewed.†(Ryan, n.p.) Going by the General Survey there is a marked reduction in gun related crimes all over the country in the last 40 years. But the Church is deeply concerned about gun trafficking and suggests that the members of the community should exercise moral authority to educate the people about the gun culture and finally guns should have no place in a society governed on moral principles. The faith community has the responsible and c onstructive role to play in this

Data Interpretation Practicum Statistics Project

Data Interpretation Practicum - Statistics Project Example A regression procedure would further help in predicting the injury rate based on working hours. However, discriminant analysis cannot be used. The average working hours in the three states is 2183.07 hour while the average injury rate in the three states is 2.4446. The true population mean for average working hours in the three states is bound between 45575.96 and 54345.61 while true injury rate mean for average working hours in the three states is bound between 10.26 and 20.09. From this output, the correlation coefficient between hours worked and injury rate is -0.636. This implies that as work hours increases, injury rate reduces (p-value ~ 0.000). The test is significant, hence we reject the null hypothesis and conclude that the two variables are correlated. This value is consistent with the observation from a scatterplot of the two variables shown above. A possible explanation for the observation made is that only a few injuries are normally witnessed, hence, increasing the hours worked does not necessarily lead to an increase in the number of injuries. Since injury rate is obtained by dividing the number of hours worked by the number of injuries, the values reduces as hours worked increases. The value of the correlation coefficient does not imply that increasing the number of working hours results into less

Realism And Grotesque In Gullivers Travels English Literature Essay

Realism And Grotesque In Gullivers Travels English Literature Essay Gullivers Travels is a pivotal work in the history of the novel as it exhibits the ways the novel inherits and develops Menippean satire and grotesque aesthetics. Gullivers Travels has rarely been regarded as a proper early novel like Robinson Crusoe or Pamela largely due to two conventional understandings of genre and aesthetics. The first common understanding is that the novel and Menippean satire are mutually exclusive genres. Critics have turned to Menippean satire as if to argue that the genre of Gullivers Travels is kind of a prose fiction that is not the novel. Northrop Frye, for instance, begins his discussion of Gullivers Travels by mentioning that most people would call Gullivers Travels fiction but not a novel. It must then be another form of fiction, i.e. Menippean satire (308). In turn, critics who claim Gullivers Travels as a novel tend to ignore the Menippean tradition of the work; Maximillian Novak asserts that once we consider Gullivers Travels as a work of fiction, we cannot shunt it off into a meaningless category such as anatomy or Menippean satire, in his reading of the work as a picaresque novel(35). The second conventional idea is that the grotesque and realism are also two disparate aesthetic realms, and that grotesque aesthetics in Gullivers Travels- from its use of the fantastic, metamorphosis, or the mad man theme to its excremental vision-does not fit into the realistic aesthetic of the novel. The seeming generic instability of Gullivers Travels mostly derives from our preconceived notion of the novel as a genre of probable realism with verisimilar characters and plausible plots. In fact, even the most acute critics of Swift are not entirely free from this prevalent given notion of what the novel should be. Brean Hammond, who appropriates Bakhtins conception of novelization to explain the cultural shifts of the long eighteenth century toward a hybridization that breaks down traditionally observed generic boundaries, surprisingly turn s to a conventional notion of the novel when he argues that Gullivers Travels is not a novel like Robinson Crusoe partly because Gulliver is not a character like Crusoe, a character who is a credible approximation of a human being,-i.e. a verisimilar character-but a device that can be exploited for satiric purposes(250, 270). Hammond is right that [Gullivers Travels] is ideologically opposed to the set of attitudes and beliefs that was fuelling the development of the novel as a genre; part of the intention of the work lies in the parody of Robinson Crusoe or the stuff of 1720s romanceby Haywood, as he remarks(270). That does not mean, however, that Gullivers Travels is not a novel. Swift might have intended his Menippean work partly as a Scriblerian satire that attacks modern hack writings. Paradoxically, or according to the process of novelization, however, Gullivers Travels turned out to be a significant addition to the novelistic tradition; the novelistic energies that Swift desp ised and denigrated boomeranged and informed his satire, and transformed it into a novel. Gullivers Travels is not exhaustively explained by our conventional notion of the novel, but it does not mean that it is not a novel. Rather, Swifts work characteristically challenges our common notion of the novel, and reveals the rich tradition of Menippean satire that is absorbed in the novel. In a similar vein, the grotesque aesthetics of Gullivers Travels belies our confined notion of realism, or realistic aesthetics. It manifests that (novelistic) realism is not limited to probable realism, a mixture of empirical episteme and the modern transformation of classical mimetic aesthetics, but also involves low realism-crudely put, an antonym of idealism or classicism. At a superficial level, the grotesque and realism could look like two separate or almost opposite notions. Geoffrey Harpham and Mikhail Bakhtin, however, illustrate that the grotesque and realism are compatible notions at a fundamental level, and that the history of the grotesque is also the history of the recognition of that compatibility. Harpham provides a useful account of the shift of the notion of the relation between the grotesque and realism. According to him, while the Renaissance regarded grottesche as pure fantasy, in the eighteenth and nineteenth centuries we find [the grotesque] associated with car icature in.. .Rowlandson, Hogarth, Goya, most of whom we would not associate with fantastic art, and by the beginning of the twentieth century.. .Thomas Mann commented.. .that the grotesque was properly something more than the truth, something real in the extreme.' According to this narrative, the history of the grotesque is a gradual recognition of the fundamentally realistic characteristic of the Grotesque, which is distinct from the mimetic realism of the Classical (xviii-xix). Bakhtin offers another powerful narrative on the history of the grotesque, or the intricate relation of the grotesque and realism. The grotesque and realism are almost synonymous for Bakhtin, as is epitomized in his core term of grotesque realism. Grotesque realism, which lower[s] all that is high, spiritual, ideal, abstract and is opposed to severance from the material and bodily roots of the world, is culminated in the literature of the Renaissance after the medieval culture of folk humor(19-20, 32). As starkly opposed to classical aesthetics, grotesque realism is closely linked to some other central concepts of Bakhtin, like the carnival spirit, the material bodily principle, folk humor, or the ambivalent and regenerating laughter of the people. Bakhtin also historicizes the concept of the grotesque, confining grotesque realism to the Renaissance grotesque, although he underscores the living tradition of Renaissance grotesque realism in world literature. He explains that the Renaissance grotesque is reduced and transformed in later periods, and thus the Romantic grotesque (and the modernist grotesque) is more like an individual carnival, marked by a vivid sense of isolation, losing laughters regenerating power.(37). One notable element in Bakhtins historicization of the grotesque is, however, that the eighteenth-century grotesque is almost invisible between the Renaissance grotesque and the Romantic grotesque. One reason would be, as Bakhtin implies, that the eighteenth century directly inherited the Renaissance grotesque but also embedded the elements of classicism or cold rationalism: a time that the positive bodily hyperbole of Rabelais and the bourgeois disciplined body were uncomfortably commingled and intensely struggled with each other. Thus the eighteenth-century grotesque was the space in which the Renaissance struggle between the Grotesque and the Classical was continued in a displaced form of the struggle between the lingering force of the Renaissance grotesque and now ascending bourgeois rationalism, classical bourgeois reason. The Augustan formal verse satire of Dryden, Pope, or Swift played out the unprecedentedly intense contention between the classical-rational and the grotesque through an odd mixture of refined, sophisticated forms and disorderly, brimming-over contents. Swift also embodies the bitter conflict of the classical-rational and the grotesque through (the relation of) the Houyhnhnms and the Yahoos in Gullivers Travels, a Menippean satire and a novel, which remarkably displays the peculiar characteristic of the eighteenth-century grotesque. Although critics have increasingly acknowledged that Gullivers Travels is a Menippean satire, there are few detailed readings of the work in the Menippean tradition, particularly in relation to Bakhtins concept of the genre as an authentic precursor of the novel. While scrutinizing the relation of the Houyhnhnms and the Yahoos as a privileged locus of the Swiftian grotesque, the political dimension of the grotesque will be revealed, which is embedded in the Yahoos as an allegory of the Irish, or colonial subjects, and then briefly examine the political dimension of (low) realism. The Menippean fantastic usually generates three effects, which are fully used in Gullivers Travels. First, the fantastic adventure provides a new, non-human perspective that defamiliarizes our accustomed world, or debunks our habitual, human-centered way of thinking. As Bakhtin describes, it provoke[es] and test[s] a truth by using the observation from some unusual point of view, from on high, for example, which results in a radical change in the scale of the observed phenomena of life(116). Secondly, the Menippean fantastic engages popular imagination or a comic, carnivalesque spirit; the popularity of Gullivers Travels, particularly as a classic childrens book, is considerably indebted to this folkloric imagination embedded in the fantastic. Thirdly, the fantastic offers an occasion to critique the authors (and the assumed readers) contemporary reality, usually by imagining an upside-down world or a Utopian society. In the imagined spaces of Lilliput, Brobdingnag, Laputa, or Houyhn hnmland (or Yahooland), Swift cuttingly criticizes the domestic policies of England as well as the overall imperialism of Europe. Gullivers first meal at the Brobdingnagian farmers house illustrates how the three levels of the fantastic-ultimate questions, popular laughter, and a critique of contemporary reality-are simultaneously generated in Gullivers Travels. When the farmers wife gave him something to eat and drink, Gulliver says he: made her a low bow, took out my knife and fork, and fell to eat, which gave them exceeding delight .1 took up the vessel with much difficulty in both hands, and in a most respectful manner drank to her ladyships health, expressing the words as loud as I could in English, which made the company laugh so heartily, that I was almost deafened with the noise. (85). To imagine Gulliver taking out his fork and knife from his magic pockets, in which he seems to have everything necessary wherever he is stranded, is certainly hilarious. Apart from that, why is this scene full of humor, and why does the reader participate in the Brobdingnagians delight and laughter at Gullivers actions? To use knife and fork in eating is a common custom in eighteenth-century Europe, and to drink to her ladyships health in a most respectful manner is also a well-mannered behavior. Yet from the perspective of the Brobdingnagians, to whom Gulliver is like a small dangerous animal or a strange animal at first (83, 90), his socially tailored and overly polite behaviors could look affected or ridiculous mostly because of the incongruity between a strange animal and his pretense to be a perfectly civilized man. Their giant perspective makes us see Gullivers pride in his being a gentleman who acts according to the social code, and by extension, the pride of all humankind in his or her exclusive claim to high civilization. Moreover, a non-human view renders the European manner of using knife and fork or making a gallant compliment on the hostess not so much absolute social etiquette but one cultural custom among many cultural possibilities. To Brobdingnagians, it makes little difference whether a small animal like Gulliver uses knife and fork (as in Europe) or his fingers (as in some other cultures), although using fingers for food is an unequivocal sign of barbarism from a European perspective. Likewise, a humble showing of gratitude for food would be as good as a showy display of a toast for the hostess in a Brobdingnagians view. The Olympian perspective of the Brobdingnagians, which almost innocently exposes the limited view of human beings, also serves as a device of a severe attack on human folly or pride. When Gulliver finished his talking of[his] own beloved country, the Brobdingnagin king could not forbear taking [Gulliver] up in his right hand, and stroking [him] gently with the other, after an hearty fit of laughing, asked [him] whether [he was] a Whig or a Tory. Then turning to his first ministerà ¢Ã¢â€š ¬Ã‚ ¦ he observed how contemptible a thing was human grandeur, which could be mimicked by such diminutive insects as I (100). What makes the kings rhetorical question incisive does not derive from any political considerations but from the sheer size difference between the king and Gulliver; the kings gesture of stroking [Gulliver] gently with his left hand nullifies a pressing problem in eighteenth-century England into a trivial or meaningless one. The exorbitant pride and atrociousness of humans, w hich the king points out repeatedly, looks more preposterous in the frame where giants are human and Gulliver is a diminutive insect. We humans become the most pernicious race of little odious vermin or an impotent and groveling an insect (123, 125) from a Brobdingnagianss view. Laughter is reduced to the level of bitterness here. The fantastic convention of Menippean satire is entangled with another main convention of the genre: metamorphosis. Gullivers travels into fantastic lands are coextensive with his experiences of metamorphosis into a strange, monstrous, unnatural or grotesque being. Metamorphosis, like the fantastic, holds a formal generic significance as opposed to the classical aesthetics of high genres. It destroy[s] the epic and tragic wholeness of a person and his fate: the possibility of another person and another life are revealed in himà ¢Ã¢â€š ¬Ã‚ ¦ he ceases to coincide with himself, as Bakhtin notes. To compare Gullivers fantastic travels and Odysseuss epic journey around their encounter with a monster and its effect on their identities is illuminating. When Odysseus confronts a savage monster, Polyphemus, it is his fate and his character to defeat the Cyclops by using his wiles, as is evidenced in Polyphemus later recall of the prophecy. Throughout his long journey, Odysseuss identity nev er changes, despite his varied disguises, with any encounters with monsters, like Charibdis, Scylla, or Circe. The boundary between a hero and a monster, or the self and the other, cannot be blurred in Odysseus. In contrast, Gullivers encounters with giant Brobdingnagians, which he understandably regarded as monsters at first (seven monsters like himself came toward him 82), shakes his identity to the core. While the Brobdignagians regard themselves as humans, it is Gulliver who becomes a monster, or an unnatural anomaly among those humans. The scholars of Brobdingnag unanimously conclude that Gulliver is Lusus Naturae, or a freak of nature (98). Metamophorsis assumes a permeating line between a hero and a monster, and Gullivers experience of being transformed into a monster among the pigmy Lilliputians or the giant Brobdingnagians (as far as to see himself as a freak) manifests a different concept of self and the other in Menippean satire from that in high genres like The Odyssey. While Odysseus unfailingly defeats various monsters in his way home to reestablish his (social) identity, Gulliver suffers being transformed into grotesque figures in his fantastic adventures only to be mad when he is back home. Gullivers experience as a grotesque being is not only significant in the frame of the fantastic but also holds a strong social resonance-to people in the margin or periphery, a metaphoric transformation into a grotesque being is neither rare nor bizarre, anyway. Gullivers odd trials in Brobdingnag or Lilliput not only involve becoming a symbolic monster, like a diminutive insect or Man-Mountain, but also signify being thrown into a socially abject, precarious position, like a slave or a highly vulnerable courtier. In Brobdingnag, Gulliver has to go through the ignominy of being carried about for a monster, till [he is] half dead with weariness and vexation since now he is [his] masters slave (92, 93, 95). Likewise, despite the high title of Nardac in Lilliput, Gulliver is notified of his friends generous proposal to get him blind and eventually starved to death as an alternative to capital punishment, on which Gulliver says having never been designed for a courtier either by my birth or educationà ¢Ã¢â€š ¬Ã‚ ¦ 1 could not discover the lenity and favor of this sentence (69). Gullivers denial of his own identity, or the denial of his monstrosity among the normal inhabitants of Brobdignag, certainly anticipates his total conversion in Houyhnhnmland, his ardent wish to be like the Houyhnhnms and the insistent denial of his Yahooness. And as much as the fantastic lands are overlapped with the real world, Gullivers denial of his abject, grotesque identity so as to be like his dominant masters comes to signify the split identity of a colonial subject. In fact, Gullivers shifting and conflicting subject positions (as a colonized and a colonizer) throughout the whole narrative prepares him for his ultimate madness, a total split identity between his Yahooness and his desire to be a Houyhnhnm. The eventual madness of Gulliver, who always keep[s his] nose well stopped with rue, lavender, or tobacco leaves to avoid the [offensive] smell of a Yahoo (271), or converse[s] with [his horses] at least four hours every day to improve his virtue (266), reflects not so much Swifts stark misanthropy but a common Menippean experiment with a split self. As is typical of Menippean satire, Gullivers madness contains a comic element. Even the most serious reader would smile at the moments like as soon as I entered the house, my wife took me in her arms, and kissed me, at which having not been used to the touch of that odious animal for so many years, I fell in a swoon for almost an hour (265), or I feel my spirits revived by the smell [the groom] contracts in the stable (266). Scattered throughout Bakhtins works, we can find references to Swift as a central author in the eighteenth century, who inherited and developed the Renaissance grotesque and Menippean imagination: the contents of the carnival-grotesque elementà ¢Ã¢â€š ¬Ã‚ ¦ were preservedà ¢Ã¢â€š ¬Ã‚ ¦ in the work of Swift; this line of experimental fantasicality continuesà ¢Ã¢â€š ¬Ã‚ ¦ in Rabelais, Swift, Voltaire and others. Yet there seem to be some notable differences between the Renaissance or Rabelaisian grotesque (that Bakhtin stresses) and the Swiftian grotesque. A conspicuous example of this difference is the peculiar image of the body in Swift, his excremental vision, or the hallmark of his scatological imagery. Bakhtin explains that in Rabelaiss grotesque realism, the bodily element is deeply positive it is opposed to severance from the material and bodily roots of the world (19). As any reader would remark, however, the body image in Gullivers Travels is hard to be described as deeply positive. Swifts body is rather full of filthy, despicable, ugly, burdensome, obscene, or scatological images. Gullivers description of the monstrous breast of a nurse in Brobdingnag ( the hue both of [the nipple] and the dug so varified with spots, pimples and freckles, that nothing could appear more nauseous 87), or of a woman beggar in the country with a cancer in her breast, swelled to a monstrous size, full of holes (105), is only a couple of memorable examples that display negative images of the body in Gullivers Travels. Swifts body also does not involve the image of brimming-over, ambivalence, or regeneration, which Bakhtin asserts are the core principles of the material bodily lower stratum in the Renaissance grotesque. In Gullivers Travels the exaggerated bodily image becomes deplorable repletion, from which all diseases arise (233), or the ultimate culprit of bodily diseases. Human beings are sick because we eat when we were not hungry, and drank without the provocation o f thirst (233), as Gulliver mentions to his master Houhynhnm. Gullivers Travels embodies the intimate relation of the grotesque-allegorical and realism in its own peculiar manner. Gullivers Travels is a crucial work in the discussion of realism in the novel partly because it illustrates how grotesque aesthetics, a crucial part of low realism, positively invokes the authors bad contemporary reality. If realism still matters, one reason lies in that it evokes the embroiled relation between text and world, the real world in which all kinds of oppression, constraints, or injustice-i. e. the objects of Swifts satire-are still happening. It is not surprising that the definition of realism is so various as to seem nearly meaningless, for the definition of reality is so much different as that of realism, depending on each individual or each period; terms like psychological realism, fantastic realism, or historical realism, already imply what the user of the term thinks is the fundamental reality-psychology, fantasy, or history. The political dimension of realism constitutes an integral part of it since realism involves an inevitable question of whose reality is at sta ke. Houyhnhnmland is also Yahooland, according to whose reality is dominant. The Houyhnhnms have had debates for ages about the extermination of the Yahoos, but the Yahoos in turn seem to be ready to have rebellion or mutiny, given a provocation, like the inhabitants of Lindalino. Swift gives a most horrible form to the Yahoos, and even does not give a voice to them: they only howl. However, he makes the reader see that Houyhnhnmland is also Yahooland, not explicitly nevertheless, but still powerfully and disturbingly.

Dixons Hrm Brief

Human Resource Management Functional Brief Dixons Group’s decision to reorientate the business around serving the customer has had far reaching implications for Human Resource Management (HRM). The emphasis on first-class customer service is intended to help Dixons differentiate itself from its online competitors. The decision to stress personal, face-to-face interactions is clearly something that online competitors will be unable to replicate and if this can be turned into a source of competitive advantage for the company then it represents a sound strategic move.The strategy does, however, hinge on Dixons being able to deliver this excellent customer service. The very face-to-face nature of service delivery means that it can only be provided through the employees of Dixons group which, in turn, means that human resource management is pivotal. This shift in emphasis is best illustrated by the two delivery drivers in the video of the customer plan who comment that when deliver ing goods ‘we shouldn’t just be saying â€Å"sign here† and then running off. We should give them [the customer] that experience’. http://www. dixonsretail. com/dixons/templates/modules/video. jsp) Aligning HRM strategy with this shift in business strategy has considerable implications for Dixons employees. With employee turnover at 15% – a low level for a retail organisation – the majority of employees affected by the change have spent time working under the previous system. This means that a significant amount of retraining is necessary to ensure that employees both know and are able to implement the new strategy.At the heart of the new strategy is the idea of solving problems for the customer. As Group Chief Executive, Sebastian James points out ‘When customers come in and say they want a television what they actually mean is that they want to do something – they want to watch the game, entertain the kids†¦Ã¢â‚¬â„¢ Traini ng Dixons staff to help solve the customers’ problems involves ensuring that they not merely have excellent product knowledge but also the know how to provide ancillary services around the product.Dixons achieves this through a mixture of techniques, for example workshops and e-learning. Techniques to help the employees remember the key features of particular products are also employed. Through a clear, customer orientated approach, Dixons hopes to be able to help solve their customers’ problems, rather than simply sell them a box. This training has cost Dixons a great deal of money, with all staff having been through at least three cycles of retraining.These efforts, however, appear to be bearing fruit with significantly improved customer advocacy measures. The percentage of customers who are ‘very likely to recommend’ Dixons has risen from 43% to 73% since 2010 (Dixons Annual Report and Accounts 2011/12, p. 9). The Dixons case illustrates how the alignme nt of business strategy with people strategy is important in achieving organisational objectives. The customer metrics appear to be improving and it will be interesting to see how this impacts on the financial performance of the business.

Ethics, Intellectual Property, And Piracy - 1379 Words

Personal and business ethics in an ever-expanding technological world are challenged in many different ways. Multiple communication methods and the availability of the Internet have made a large world much smaller in the context of information sharing, so the importance of understanding and utilizing measures to protect intellectual property and copyrights is vital to business success, ethical understanding and acceptance. In the following, I will specifically discuss the concepts of copyright, intellectual property, and piracy. Copyrights are a form of intellectual property, and the concepts of piracy and plagiarism threatens the viability and integrity of both. Understanding these concepts helps shape individual and business codes of ethics. Copyright and Intellectual Property Copyrights are defined by the United States Copyright office as â€Å"original works of authorship including literary, dramatic, musical, artistic, and certain other intellectual works† (Copyright Basics, n.d.). The laws protect these works whether they are published or not. Copyright laws protect these works from their time of inception and are not required to be registered, though registration assists notifying the public about the work and makes it easier for original owners to lay claim to the copyright if it has been infringed upon. Copyright laws can be traced all the way back to the early 1700’s when the first laws were enacted to protect the works of individuals. According to the IntellectualShow MoreRelatedA Professional Code Of Ethics1283 Words   |  6 Pagesdistribute intellectual properly and pirate electronic content has increased with the advancements in technology and globalization. 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Schizophrenia And Its Effects On Schizophrenia - 815 Words

The person I chose came from a famous novel and has schizophrenia. According to Mayo Clinic â€Å"Schizophrenia is a severe brain disorder in which people interpret reality abnormally. Schizophrenia may result in some combination of hallucinations, delusions, and extremely disordered thinking and behavior. Contrary to popular belief, schizophrenia is not a split personality or multiple personality. The word schizophrenia does mean split mind, but it refers to a disruption of the usual balance of emotions and thinking. Schizophrenia is a chronic condition, requiring lifelong treatment.†(Schizophrenia, August 2014). The individual would start showing signs of reduced pleasure in life, difficulty participating in activities, barely speaking,†¦show more content†¦Larry Stein has said that a cause could be hyprdopamine increase causing nerves fibers destroyed in the brain. With the psychodynamic approach of schizophrenia is the breakdown of the person’s ego. Ego con trols the id’s impulses and the compromise of the id and superego. It can cause the person the loose touch with reality and no longer associate with others. The start of hallucinations and not knowing what is imagination from reality. According to post-Freudians â€Å"The therapist attempted to bring about a regression to early childhood and then would take on the role of parent/nurturer, thereby coaxing the patient to develop for a second time, the return to adulthood bringing with it a corresponding redevelopment of the ego and reconnecting them with reality.† (Schizophrenia). Next with behavioral theorist according to psychiatric times, â€Å"The therapeutic techniques used for patients with schizophrenia are based on the general principles of CBT (Cognitive Behavioral Therapy). Links are established between thoughts, feelings, and actions in a collaborative and accepting atmosphere. Agendas are set and used but are generally more flexibly developed than in tradit ional CBT. The duration of therapy varies according to the individual s need, generally between 12 and 20 sessions, but often with an option of ongoing booster sessions. CBT for psychosis usually proceeds through the following phase’s assessment and engagement stage.† (Schizophrenia). During the ABC