Moods and Emotions free essay sample

And Moods A characteristic (habitual or relatively temporary) state of feeling is mood. Mood is the feeling often is less intense than emotions. Every human beings result of perception, learning and reasoning differs from another Disparity in outcomes serves deflection in moods. Moods are directed from an emotion which does not leave you in your normal state Mood is a feeling but behavior which is not visible There are good and bad moods which in turn occurs in response to some events. Moods effects can be negative and positive which can drop you at nadir and can shoot you at the pinnacle of ecstatic state respectively, Grouping the emotions in positive and negative categories they become mood states High positive affects consists of excited, elated, happy states and also it helps you in being serene High negative affects leaves in nervous, stressed, upset sometimes sad states Low positive affect shines in boredom manner Low negative open the doors for calmness. We will write a custom essay sample on Moods and Emotions or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page Moods are shorter-term emotional states, typically lasting hours, although they can last for days or longer. For example you may wake up feeling a bit down and stay that way for most of the day. We can be sent into a mood by an unexpected event, from the happiness of seeing an old friend to the anger of discovering betrayal by a partner. We may also just fall into a mood. Emotions Emotions are the strong abrupt feeling which is caused by specific events. They are always directed at someone or something. They aren’t specific but occurs in numerous ways in nature Mostly are specific in nature and are accompanied by distinct facial expressions Emotions sometimes occur for short durations however sometimes they live for forever. Types of emotions which can be expressed are frustration, anger, love, hate, joy, grief In organizational behavior emotions plays an important role as every individual mixed up in different emotions work together in hierarchy to maintain company’s goal most prioritized its status. Still It’s a myth or a science that People can’t accurately forecast their own emotions. Emotions as commonly experienced and discussed are different from moods and temperament in several ways. First, emotions tend to last for much shorter periods. The delight at being given a birthday present may subside in minutes as it is replaced by disappointment about a useless gift. Emotions thus tend to replace one another and it can be difficult to be both happy and sad (although we may have a good go at it). Emotions also tend to be more extreme than moods and temperament, with higher highs and lower lows. We can become very angry very quickly, though it is difficult to stay very angry and it may subside into a irritable mood or be replaced by another completely different emotions. Emotions tend to be very specific, triggered by noticeable events and are immediate reactions to these and which drive us to particular actions, for example running away from a snarling dog or going to chat up an attractive other person.

In American film noir, female criminality is Essays

In American film noir, female criminality is Essays In American film noir, female criminality is Essay In American film noir, female criminality is Essay ‘In American movie noir, female criminalism is linked to destructive gender. Discuss With the exclusion of the Western, possibly no other genre of Hollywood movie devising is more a merchandise of its clip than Film Noir. As Marc Vernet ( 1993 ) inside informations, Noir has its socio-political roots in post-War Europe and its aesthetic roots in German Expressionism, both illustrations of surroundings that depend and originate out of the polarization and the geographic expedition of double stars ( political in the former, aesthetic and thematic in the latter ) . It is small admiration, so, that Noir’s popularity coincided with the societal paranoia that was bit by bit doing itself felt in America ( and most notably in Hollywood ) in the late fortiess and 50s and that would happen ultimate look in McCarthyism ; a point made by Robert Aldrich, manager ofSnog Me Deadly( 1955 ) and cited by Jon Tuska ( 1984 ) [ 1 ] . Despite a changeless trust on mutual opposition and double star, both in footings of narrative and mise en scene ( man/woman, life/death, light/shadow, law/crime ) , Noir, as we shall see, isasconcerned with their evildoing, every bit long as this is followed by a subsequent reassertion. This paper aims to look at this procedure within the context of both depth psychology and historicism, associating the two together to offer non merely decisions about the dramatic art and semiologies of Film Noir but besides its topographic point in the male orientated regard of post-War Hollywood. Nowhere is the construct of the double star more evident than in the figure of the femme fatale who, as Janey Place ( 1998 ) suggests is â€Å"a male phantasy ( like ) most of our art† ( Place, 1998: 47 ) . The femme fatale, in movies such asThe Big Sleep( 1946 ) ,Double Indemnity( 1944 ) andThe Postman Always Rings Twice( 1946 ; 1981 ) exists non merely as the â€Å"icon of desire† ( Porfirio, 1999: 97 ) but, as the fulcrum upon which the narrative flexible joints. It is the male hero’s desire for the femme fatale that provides the footing for non merely his ain criminalism ( inThe Postman Always Rings TwiceandDouble Indemnity) but besides the misrepresentation that normally consequences in his ruin. The building of the femme fatale as Janey Place suggests is â€Å"expressed visually both in the iconography of the image and in the ocular style† ( Place, 1999: 54 ) . Phyllis Dietrichson ( Barbara Stanwyck ) inDouble Indemnity, for case, encapsulates the semiotic over-coding of the typical Noir femme fatale: her hair is an about white peroxide blond, her apparels are monochromatic and she is illuminated, throughout the movie, in blunt contrast to the shadows that are behind her and that cut the characteristics of the male figures in half. This non merely adds to the concretisation of the subtext of good and evil but besides highlights her topographic point in the narrative as desirable yet, finally, out of range a point made by Place and Peterson ( 1976 ) in their survey of Noir’s ocular motives: â€Å"Far removed from the feeling of softness and exposure created by ( the ) diffused techniques ( of Hollywood characteristics ) , the Noir heroines were shot in tough, unromantic close-ups of direct, undiffused visible radiation, which create a difficult, stately surface beauty that seems more seductive but less come-at-able, at one time tempting and impenetrable.† ( Place and Peterson, 1976: 328 ) As this suggests, a major facet of the Noir femme fatale can be seen to shack in her position as impossible object ; her closet, the lighting, the makeup and the camera focal point all combine to bring forth an image that is iconic instead than realistic, that is a signifier instead than a portrayal of existent humanity. As James Naremore ( 1998: 101 ) suggests, this sense of the iconic, of the sacred, is underlined by the changeless mention to ocular fetishes in connexion with the female figure: a lip rouge inThe Postman Always Rings Twice, an ankle watchband inDouble Indemnityor a baseball mitt inGilda( 1946 ) . These articles are synecdochic non merely with the female herself but with the desire that she represents, in other words they are fetishes for a fetish. Of class, the creative activity of a desirable object in the femme fatale is non merely for the interest of the hero but for the audience and as such provides much of the focal point for the male orientated regard. As feminist critics of the genre have argued ( Gledhill, 1996 ; Humm, 1997 etc ) , Film Noir is mostly, if non entirely, centred around the male witness offering merely either a masochistic designation with a ambidextrous female supporter or a sort of transgendered empathy with the male lead for the female audience. [ 2 ] It is the femme fatal that characterises the male regard of Film Noir, as she is filtered through the festishistic phantasies of the hero that are, themselves, condensed versions of the scriptwriter’s and the director’s. The male regard of the camera, that desires the female along with the hero, is instrumental in making the authoritative Noir experience. The hero, and therefore the male witness, is non merely opposed to the female’s gender but besides her sense of legality as, really frequently, it is the woman’s criminalism that prompts the man’s evildoing, a impression postulated besides by Foster Hirsch in his surveyFilm Noir: The Dark Side of the Screen( 1981: 13 ) . The female felon, so of Noir is one founded upon fraudulence and coercion. As inDouble Indemnity, the femme fatal non merely exists as a form for desire but besides for the evildoing of boundaries of legality, both components of what Lacan termedjouissance[ 3 ] . The construct ofjouissanceis most closely associated with Lacan’sSeminarTwenty: Encore( Lacan, 2000 ) and relates non merely to the construct of pleasance (plaisir) or enjoyment but to its possible to be limitless and destructive, as Jean Michel Rebate ( 2003 ) inside informations: â€Å"Jouissance ( can be seen as ) a impression that translates Bataille s constructs of waste, outgo, titillating surplus, and trangression.† ( Rebate, 2003: 18 ) Jouissancein Lacan is both orgasmic and terrifying ; it functions non merely as a sexual attractant but as the field beyond the symbolic, beyond the Torahs of both the personal and the societal. The Noir femme fatal, as Zizek suggests inThe Plague of Fantasies( 1997: 48 ) is a form for merely such evildoing and for the enjoyment that arises out of sexual and legal freedom, the license to make as one supplications. However, this designation is non simply a merchandise of the relationship between the male hero and the female supporter as much Noir unfavorable judgment might propose, alternatively it is formed out of the psychoanalytic illation that arises from the triangular relationship between the hero, the femme fatale and the symbolic male parent figure. It is the last of these that concretises the Oedipal constructions of Noir and, as we shall see, offers us most in footings of construing the nexus between female criminalism and destructive gender. For Lacan, it is the intercession of the Father, and emasculation, that mediates the destructive power ofjouissancethrough the infliction of regulations ( once more, both personal and societal ) , as Dany Nobus ( 1998 ) inside informations: â€Å"It can be pointed out that emasculation, the operation by which jouissance is drained off from the organic structure, is chiefly a symbolic operation of linguistic communication. It is the infliction of regulations and prohibitions that drains the initial quota of jouissance from the kid s organic structure in the emasculation complex.† ( Nobus, 1998: 13 ) In Lacan, it is the ‘No’ ( or Name ) of the Father that frustrates the desire for the Oedipal Mother and that inscribes the Symbolic jurisprudence onto the topic. In Noir, it is this same symbolic Father ( Sackett ( Lean Ames ; William Traylor ) inThe Postman Always Rings Twice; Keyes ( Edward G. Robinson ) inDouble Indemnityetc ) that intervenes between the hero and the femme fatal, stand foring both the jurisprudence of the land and the psycho-social prohibition of incest. It is of import to observe that it is this character, the symbolic Father, that fixes and sets the psychological place of the other two sides of the trigon. This same Oedipal trigon occurs clip and clip once more in Film Noir and its many off shoots:Double Indemnity,The Big Sleep,Criss Cross( 1949 ) , Gilda, every bit good as Hitchcock’sForeign Correspondent( 1940 ) andDizziness( 1958 ) . It is, we could asseverate, the figure of the Father as jurisprudence that finally links the impressions of female criminalism and destructive gender by transforming the relationship between the two lead supporters from one of heterosexual lecherousness to one of Oedipal incest. In Lacanian and Freudian depth psychology, nevertheless, as David Stafford Clark ( 1965 ) inside informations, this Oedipus inspired emasculation centres the kid within the sexual kingdom and prepares him ( for by and large Freud trades with the male kid ) for maturity: â€Å"the secret passions of the kid for the female parent can non stay either guiltless in the child’s ain head or capable of fulfillment with any grade of completeness. It can non be fulfilled because the kid can non hold the female parent wholly to himself.† ( Stafford Clark, 1965: 93 ) Both Freud ( 2001 ) and Lacan ( 1997 ) saw the inability to be inducted into this scenario as a major aetiological ground for the oncoming of psychosis, doing the No of the Father integral to a healthy psychosexual development. What does this state about Noir and, more significantly our hypothesis sing its linkage of female criminalism and destructive gender? As Zizek intimations at inThe Plague of Fantasies, the gender of the Noir can be seen as non merely destructive ( in that desire for the femme fatal leads, really frequently, to the ruin of the hero ) but besides constructive in that it, finally, upholds the Torahs of the society and punishes those that transgress them. It is the emasculation of the hero by the symbolic Father that concretises the boundaries of the Torahs and the societal conventions every bit good as underscoring the place of the male libido in relation to femalejouissance[ 4 ] . This point is related toDouble Indemnityby Claire Johnson ( 1997 ) : â€Å"The split between the Symbolic and Imaginary which structures the text insists in Keyes’ overlapping map as symbolic and idealized male parent, driving the movie towards declaration and closing ( and ) as symbolic male parent Keyes must stand for the Law and manus Neff over to the police.† ( Johnson, 1997: 97 ) As we hinted at earlier, this state of affairs can merely come about through the male regard of the camera and an premise of a male witness. However, this is turn, as Jon Tuska ( 1984 ) invariably reiterates, is a contemplation of the genre’s socio-political roots. As we stated in the debut, Film Noir can be seen to reflect the socio-political political orientation of its clip, as Paul Schrader ( 1986 ) inside informations in his essayNotes on Film Noir: â€Å"As shortly as the war was over†¦American movies became markedly more sardonic – and there was a roar in the offense movie. For 15 old ages the force per unit areas against America’s amelioristic film had been constructing up and, given, the freedom, audiences and creative persons were now eager to take a less optimistic position of things.† ( Schrader, 1986: 171 ) Noir morality is built on evildoing and the crossing of legal boundaries, in many Noir movies it is the hero that is made condemnable, normally through the trickeries of the femme fatale. The audience is made complicit with this because, as we have discovered, through the mise en scene we are made to portion in the adoration of her iconic beauty, we understand why the hero does what he does and we are made to believe we would make the same. Ultimately, so, the Noir movie is mostly conservative ; order is by and large restored at the terminal of the movie and the characters punished, either killed or sent to prison. The No of the Father, merely like in Lacanian or Freudian depth psychology, restores order and allows male Reason and the jurisprudence to enforce themselves on female criminalism and destructive gender. It is easy to see why this motive would be so attractive to the Hollywood of the 1940s and 50s: there is a acknowledgment of complexness, of the presence of both good and evil but there is besides the soothing presence of all seeing symbolic Father who restores the position quo and allows life to go on as it did earlier. There is an obvious linkage between female criminalism and destructive gender in Film Noir, in many ways it is one of the genre’s most abiding cardinal leitmotiv. The femme fatale is invariably held in resistance to the masculinity of both the hero and the symbolic male parent figure and she stands as non so much as a owner but an object of destructive desire. As we seen, nevertheless, in the expansive construction of the Noir existence, this desire is merely destructive to the hero, in footings of the model of the jurisprudence and the symbolic order, it is a constructive, healthy desire because it finally leads to emasculation and the Restoration of legality. The evildoing of the hero, so, becomes what Zizek, inOn Belief( 2001 ) calls â€Å"the obscene supplement† ( Zizek, 2001: 119 ) that upholds the jurisprudence. The inquiry so becomes non is at that place a nexus between female criminalism and destructive desire, but is the desireDelawaresstructive orconstructive. One the one manus, it provides the roots for the hero’s ruin on the other it creates the environment for the Restoration and concretisation of the societal order and, like many things in American Film Noir, the reply to this depends on whose position you are sing from. Mentions Copjec, J ( 1993 ) , â€Å"The Phenomenal Nonphenomenal ; Private Space in Film Noir† , published in published in J. Copjec ( erectile dysfunction ) ,Sunglassess of Noir: A Reader, London: Verso, pp.167-199. Freud, S ( 2001 ) ,The Standard Edition of the Complete Psychological Works of Sigmund Freud, Vol. Twelve, London: Verso. Gledhill, C ( 1998 ) , â€Å"Klute: A Contemporary Film Noir and Feminist Criticism† , published in published in E. Kaplan ( erectile dysfunction ) ,Womans in Film Noir, London: BFI, pp.20-34. Hirsch, F ( 1981 ) ,Film Noir: The Dark Side of the Screen, New York: A.S. Barbes ) Humm, M ( 1997 ) ,Feminism and Film, Edinburgh: Edinburgh University. Johnson, Claire ( 1998 ) , â€Å"Double Indemnity† , published in E. Kaplan ( erectile dysfunction ) ,Womans in Film Noir, London: BFI, pp.89-98 Kuhn, A ( 1994 ) ,The Power of the Image, London: Routledge. Lacan, J ( 1982 ) , â€Å"God and the Jouissance of Women† , published inFeminine Sexuality, London: Pantheon Books, pp.137-148. Lacan, J ( 1997 ) ,The Psychosiss: 1955-1956, London: Norton. Lacan, J ( 2000 ) ,On Female Sexuality, the Limits of Love and Knowledge, 1972-1973, London: Norton. Mulvey, L ( 1999 ) , â€Å"Visual Pleasure and Narrative Cinema† , published in L. Braudy and M. Cohen ( explosive detection systems ) ,Film Theory and Criticism, Oxford: Oxford, pp.833-844. Naremore, J ( 1998 ) ,More than Night: Film Noir and its Contexts, Berkeley: University of California. Nobus, D ( 1998 ) ,Key Concepts of Lacanian Psychoanalysis, London: Other. Topographic point, J and Peterson, L ( 1976 ) , â€Å"Some Visual Motifs of Film Noir† , published in B. Nichols ( erectile dysfunction ) ,Movies and Methods, Berkeley: University of California, pp.325-338 Topographic point, Janey ( 1998 ) , â€Å"Women in Film Noir† , published in E. Kaplan ( erectile dysfunction ) ,Womans in Film Noir, London: BFI, pp.47-68. Porfirio, R ( 1999 ) , â€Å"Whatever Happened to the Film Noir? The Postman Always Rings Twice† , published in A. Silver and J. Ursini ( explosive detection systems ) ,Film Noir Reader 2, New York: Limelight, pp.85-98. Rebate, J.M ( 2003 ) ,The Cambridge Companion to Lacan, Cambridge: Cambridge. Schrader, P ( 1986 ) , â€Å"Notes on Film Noir† , published in Grant, B ( erectile dysfunction ) ,Film Genre Reader, Austin: University of Texas, 169-182. Stafford Clark, D ( 1965 ) ,What Freud Really Said, London ; Penguin. Tuska, J ( 1984 ) ,Dark Cinema: American Film Noir in Cultural Perspective, London: Greenwood. Vernet, M ( 1993 ) , â€Å"Film Noir on the Edge of Doom† , published in J. Copjec ( erectile dysfunction ) ,Sunglassess of Noir: A Reader, London: Verso, pp.1-32. Zizek, S ( 1997 ) ,The Plague of Fantasies, London: Verso. Zizek, S ( 2001 ) ,On Belief, London: Routledge. Bibliography Selby, S ( 1984 ) ,Dark City: The Film Noir, London: St James Press. Spicer, A ( 2002 ) ,Film Noir, London: Longman. Filmography Criss Cross( 1949 ) , dir. Robert Siodmak. Double Indemnity( 1944 ) , dir. Billy Wilder. Foreign Correspondent( 1940 ) , dir. Alfred Hitchcock, Gilda( 1946 ) , dir. Charles Vidor. Snog Me Deadly, ( 1955 ) , dir. Robert Aldrich. The Big Sleep, ( 1946 ) , dir. Howard Hawkes. The Postman Always Rings Twice( 1946 ) , dir. Tay Garnett. The Postman Always Rings Twice( 1981 ) , dir. Bob Rafelson. Dizziness( 1958 ) , dir. Alfred Hitchcock. 1

1959, The Year That Changed Jazz

1959, The Year That Changed Jazz The year 1959 was marked a monumental year in American music history. Many American jazz artists made recordings that influenced society profoundly and left a lasting impact that still is present to this day. Musical experimentation during this year is considered the apogee of American jazz achievement, and jazz reached new heights that were characterized by innovation, creativity, ingenuity, magnificence, groove, and much more. In essence, four major jazz albums were created that changed music forever: Miles Davis’ Kind of Blue, Dave Brubeck’s Time Out, Charles Mingus’ Ah Um, and Ornette Coleman’s The Shape of Jazz to Come. Miles Davis’ Kind of Blue has attracted more people to jazz than any other jazz recording, even after being released more than fifty years ago. The album developed a new, powerful, and grand jazz musical statement. The Kind of Blue album typifies a modal jazz style, which is music based on the extensive repetition of one or two chords or music based on modes instead of chord progression. Kind of Blue’s â€Å"So What† improvised, no time-referenced, and without a clear beat opening with the bass and the piano sets an unclear and cloudy idea in where the song was heading, with a grand riff setting the energy and Jimmy Cobb performing an incredible cymbal crash following the introduction. So what’s main characteristic is Miles’ hippy and haunting trumpet sound, which was unique and special and was developed from his playing during the bebop era with musicians such as Charlie Parker, the main alto saxophonist of the bebop era. Kind of Blue is so importa nt when it comes to American jazz history because it has exerted a prodigious influence on jazz music and on the legacy of its band members. Moreover, it opened up to a new direction in jazz music, along with a more thoughtful viewpoint on creating jazz compositions. Three interesting facts about Kind of Blue is that it is the biggest selling jazz album ever made, shifting over five million copies, it regularly tops best jazz album polls and is featured high in lists of greatest albums of any category, and that it took Miles and the group seven hours to record Kind of Blue, with all but one of the tracks being first takes. A funny story about Miles Davis and the quartet was that when they are recording Kind of Blue the first time, an engineer told Miles Davis and the band that the drums were making a surface noise, and Miles Davis hollered back at him and told him that it was a part of the album while recording. Dave Brubeck’s Time Out album is known for the rhythmic experimentation of pianist Dave Brubeck. The style of Time Out is cool jazz, in which the music was not as jagged, unpredictable, and sophisticated in comparison to bebop, and was subtler and incorporated classical harmonic devices in composition. Take Five, one of the tracks in the Time Out album, was composed in 5/4 time, and was written around a drum solo. Time Out is so important when it comes to American jazz history because it was so easily accessible to the average citizen because it was not too complicated and appealing as the group represented America’s middle class. Three interesting facts about Time Out is that each track is written in a different time signature and tempo, it rose up in the pop charts and became one of the bestselling jazz recording ever released, and that it took Dave Brubeck several years to build the line-up of his quartet that recorded the album Time Out. An interesting story about D ave Brubeck’s quartet is that when the quartet added African-American bassist Eugene Wright and were touring universities in the southern states of America, the president of a college the quartet visited was concerned because the students were getting wild and loud and asked Dave Brubeck to place Eugene Wright in the back of the stage to avoid being noticed. However, during the second tune, Dave Brubeck asked Eugene Wright to come play his solo in front of the stage, and Eugene Wright performed in front of the whole audience, unaware before heading to the front of the stage that Dave Brubeck was plotting this move. Charles Mingus’ Ah Um album is known as a grand jazz musical statement that was incredible and influential around America. Charles Mingus, a bass player and composer, believed that time was alive at the same moment and wanted freedom in playing, writing, and encouraging his musicians to improvise in any musical style, and did not view jazz as a development of new styles as the years passed by. The style of Ah Um is post-bop, where it incorporates a variety of styles such as modal jazz, avant-garde, free jazz, and hard bop all together. Several tracks in the Ah Um album include â€Å"Better Git It In Your Soul,† which is known as the incredible opening track of the Ah Um album and Self Portrait In Three Colors,† which is known as a composed, multi-faceted composition without any solos. While Charles Mingus was known to be a temperamental, aggressive, and demanding musician and composer, he was an extraordinary player and improviser, and used music to express emotio ns and feelings, such as passion, tenderness, spirituality, and much more. Ah Um is so important when it comes to American jazz history because it expressed socioracial struggles and other political beliefs that served as an influential message against racism in America, which helped create an atmosphere which led people to respect a person beyond the distinctions of color. Three interesting facts about Ah Um is that it was one of four albums Charles Mingus had made that year, Charles Mingus allowed for the other musicians to incorporated different musical elements during improvisation in a colorful and provocative way, and it featured the track â€Å"Fables of Faubus,† which was based on an event in 1957 in which Arkansas Governor Faubus ordered the National Guard to prevent African-American teenagers from entering Central High School in Little Rock, Arkansas, and did not want to allow integration, despite a court case being settled on in the Supreme Court. An interesting st ory about Charles Mingus and the group is that one night in a little club on West 4th Street in New York City, Charles Mingus got furious in an argument with the pianist and yelled â€Å"You’re not playing yourself, you’re playing notes,† and put his arm inside the piano and grabbed the strings and pulled them out with one fist. Ornette Coleman’s The Shape of Jazz to Come is known as a spectacular and bold musical statement unlike any jazz album every recorded before. One of The Shape of Jazz to Come’s tracks, Lonely Woman, is considered one of the greatest jazz compositions every written, which blended and brought Ornette Coleman and the quartet together as one. The Shape of Jazz to Come album exemplifies a free-jazz, a classification of the avant-garde style, where the music contains improvised solos which are free of preset chord progressions, and sometimes also free of preset meter. Ornette Coleman’s The Shape of Jazz to Come is so important when it comes to American jazz history is was influential in such that the way that people looked at jazz and interpreted the style and sound of jazz music changed. Three interesting facts about The Shape of Jazz to Come is that Ornette Coleman used his signature plastic saxophone when the quartet recorded the album, the quartet did not feature a chordal instrument such as a piano or guitar while recording the album, and it featured Ornette Coleman’s â€Å"harmolodic† philosophy, where the group simultaneously improvises around the melodic and rhythmic pattern in a tune, rather than one musician improvising on a underlying harmonic pattern while the other musicians play the accompaniment. An interesting story about Ornette Coleman is that he had trouble finding any musician who was interested in his unorthodox musical technique, and one day he entered a club by MacArthur Park in Los Angeles, and following that night, bassist Charlie Haden tracked Ornette Coleman down, which eventually led to the creation of the quartet that recorded The Shape of Jazz to Come. In conclusion, the year 1959 was a monumental year for jazz. The influential music played by some greatest jazz musicians in America reached all corners of the country and many parts of the global world. Each of the jazz musicians prominently helped shape the American society in many ways: the political statements made through Charles Mingus’ playing, the demand for respect by Miles Davis, the tour by Dave Brubeck as part a program of cultural dà ©tente to spread the word of American freedom in countries around of Soviet Russia such as Poland, Turkey, Afghanistan, Pakistan, India, Iran, and Iraq and how jazz serves as a voice of freedom despite how the chains of segregation had divided the American society, and how Ornette Coleman’s playing changed how people viewed and interpreted jazz, despite the paranoia in the nuclear age. Miles Davis’ Kind of Blue helped open up the horizon for jazz expression, Dave Brubeck’s Time Out was the acme for jazz innovatio n, Charles Mingus’s Ah Um spread his emotions about life and spread a message to always be yourself, and Ornette Coleman’s The Shape of Jazz to Come served as the foundation for new forms of jazz music and defied the status quo.

Hackers Tools and Techniques Term Paper Example | Topics and Well Written Essays - 250 words

Hackers Tools and Techniques - Term Paper Example Hackers gain access to vulnerabilities through tools such as malware and locate the backup of the system. PayPal is a web-based application which provides secure transfer of funds between members. It uses advanced fraud prevention technologies to enhance the security of the transactions (SearchSoa, 2005). Nevertheless, the members do receive spoof mails and unless the members are aware of such mails, they become easy prey to such hacking techniques. While it has become essential to keep tab on the professional hackers, the banks are facing huge losses due to constant evolvement of the hacking tools and techniques. The malicious hacker will use whatever information available to them. The security professionals, in turn, need to keep abreast of the latest hacking tools by monitoring certain websites of researchers (Skoudis, 2003). It is hence proposed to conduct a study into the hacking tools used by the hackers in the banking and financial services industry, with focus on PayPal. The study would also look into the security strategy employed by the sector and particularly by PayPal. SearchSecurity. (2009). Hacker attack techniques and tactics: Understanding hacking strategies. Retrieved September 8, 2010 from

Leadership and Financial Goal Setting of Top SMEs Dissertation

Leadership and Financial Goal Setting of Top SMEs - Dissertation Example ExplanationIt is good to study on this subject because there will be additional knowledge on how SMEs try to adapt some changes in the leadership process as their way to integrate financial stability with their daily business operation. Research aim:The overall purpose of this dissertation is to find out the link between leadership and financial goal setting of top SMEs in the UK. This has to be found out from ten of the best 100 SMEs in the UK. Thus, at the end of this study, the proponent will achieve concrete information about the role of leadership activities and its form in the financial goal setting of top SMEs in the UK. The business world is always looking forward to increase revenue and minimise expenses in order to ensure either profit or good business performance (Liu and Wang, 2008; Abi and Shimizutani, 2007; Ingene and Parry, 1995). The very activity of achieving this is focused on maximising financial concerns in order to achieve the bottom line.Trying to come up with s omething new in the business is focused on many aspects but financial activities and business performance seem to be at the top priority (Hallin et al., 2011; Liao and Rice, 2010). Therefore, it is important to bear in mind that there has to be other considerations when it comes to other significant activities on how to maximise business performance.Considering that business is dependent on human resource as one of its best assets, it is important to consider that people have to be redirected to perform the vision.

Critics of the immigration law Essay Example for Free

Critics of the immigration law Essay The topic I have chosen is â€Å"Illegal Migration on the U. S. Border† since this is currently a significant issue as reflected by the heavy media coverage depicting the allegedly alarming rate by which the number of illegal immigrants has risen in the United States since 2004. The Washington Post, for instance, reports that approximately half a million immigrants have poured in last year, outnumbering the number of legal immigrants. (Cohn A13) The concern over illegal immigration has therefore drawn out varied responses and put immense pressure on the Government, including President Bush who is reported to be proposing granting temporary working visas to foreigners as part of the legal remedies to the situation apart from the proposed wall to be built in the borders between the U. S. and Mexico and heavy personnel enforcement in patrolling the borders. (BBC News) Its nearest neighbor, Mexico is logically the foremost source of both legal and illegal immigrants in the country. I have so far been able to check online sources of information such as the news networks mentioned above. I would like to peruse additional materials such as previous studies on the issue and other materials such as those printed by the advocates and critics of the immigration law in order to gain a deeper understanding of the topic mentioned. From my perspective, there is indeed a clear need to strictly enforce the immigration laws to address concerns on homeland security and other threats posed by illegal immigration, including the syndicate groups that have obviously been taking advantage of both the laxity of the State in patrolling its borders and the desperation of Mexicans and other nationals who are after the supposedly greener pastures offered by the United States. I therefore see no harm in the President’s proposal for the issuance of temporary work visas to immigrants. On the contrary, it would help make the monitoring easier for immigration officers and therefore also help control the influx of illegal immigrants in the country. Works Cited: Cohn, D’Vera. â€Å"Report Details Growth in Illegal Migration. † Washington Post. 28 Sept. 2005:A13 â€Å"Viewpoints: U. S. Illegal Migration. † 23 May 2006. BBC News Online. 1 July 2007. http://news. bbc. co. uk/1/hi/world/americas/4989248. stm

Use of Imagery in Jean Toomers Cane Essay -- Toomer Cane Essays

Use of Imagery in Jean Toomer's Cane Dusk. It is that darker side of twilight when the sun has just set, but the moon has yet to take full charge. It is a time of mergings, of vagueness and ambiguity, when an end and a beginning change places. The sun steps aside and lets the moon and stars take over for a while. As the most pervasive image in the first section of Jean Toomer's Cane, it is the time of day when "[t]he sky, lazily disdaining to pursue/The setting sun, too indolent to hold/ A lengthened tournament for flashing gold,/Passively darkens" ("Georgia Dusk," 15). It is also a reflection of the souls of the characters, like Karintha, "perfect as dusk when the sun goes down" (3). Dusk and its smoky, dreamlike derivatives form the connective imagery joining light and dark, day and night, black and white. It is the kind of imagery that most closely articulates what George Hutchinson called Toomer's dream of a new "American" race in his essay "Jean Toomer and American Racial Discourse" (227). He says, "To omer's vision of a coming merging of the races makes perfect sense within the framework of the first section of Cane: the dystopia of the contemporary South implies a corresponding utopia" (234). While Hutchinson's theories rely heavily upon miscegenation and Toomer's use of racially mixed characters, the more compelling evidence seems to lie in the murkiness of both the mystic-like atmosphere of rural Georgia and the half created characterizations of its people. Through his distinctly modern use of imagery, Toomer creates a new iconography that defines a vision of the future where colors merge and race is no longer the harbinger of identity. To call Toomer's agenda and use of imagery modern implies ... ...on, George. "Jean Toomer and American Racial Discourse." Texas Studies in Literature and Language. 35, 2 (Summer 1993). 226-245. Reuben, Paul P. "'Chapter 9: Harlem Renaissance - Jean Toomer.' PAL: Perspectives in American Literature - A Research Guide. URL" http://www.csustan.edu/english/reuben/pal/chap9/toomer.html Toomer, Jean. Cane. New York: Norton, 1988. Toomer, Jean. Selected Essays and Literary Criticism. ed. Robert Jones. Knoxville: UT Press, 1996. Whyde, Janet. "Mediating Forms: Narrating the Body in Jean Toomer's Cane." Southern Literary Journal. 26, 1 (Fall 1993). 42-52. Williams, Scott. "A Jean Toomer Page" http://members.aol.com/bonvibre/toomer0.html Yeats, William Butler. "Into the Twilight." The Norton Anthology of Modern Poetry. eds. Richard Ellman and Robert O'Clair. New York: Norton & Company, 1988.

Belief in Black Magic and Witchcraft

The sources of magic are to be found in passion and ignorance – which make up the greater part of man. Desire, ever reborn, never capable of being sated in the ordinary conditions of life, inspires in the mind the dream of an irresistible power whereby every appetite may be satisfied; and ignorance of the inflexible laws which govern nature suffers one to believe that she can be mastered and modified in conformity with that dream, which, when it has reached a certain degree of intensity, tends spontaneously to transform itself into action.Love, hatred, the desire for health, for riches, for power, for knowledge itself, are the causes which produce magic, and they are its perpetual incentives; whence it comes that we see magic practiced wherever men are found; in the most remote antiquity, during the Middle Ages, and at the present time; not only among barbarian or savage peoples, but also among those races which call themselves civilized. Magic is, therefore, a social phenomen on. This work will show what place black magic and witchcraft holds among the other social phenomena, for example religion.The ideas related to a concept of the sacred, as the basis of magic and witchcraft, will be considered. Why do people believe in the powers of black magic and the fearful power of Satan in black magic? How are these practices performed? Here is nothing else that can give so adequate answer as does the history of the witches and black magic and their place in Holy Mother Church. Witchcraft is a complex subject, and has evoked complex responses from many disciplines (Glucklich 391).There are theological, historical, philosophical, anthropological, legal, literary, pharmacological, and psychological theories of witchcraft, to name some of the major ones. That is the reason why few people today can agree on what witchcraft really is, or was, or what witches really did, or what they do. During the height of the witchcraft scare in Europe, the sixteenth and seventeent h centuries, almost anything strange and fearful was attributed to witchcraft. A good example is the phenomenon called the poltergeist.Witchcraft would seem to be a European term of opprobrium which has been used in scattergun fashion for all sorts of threatening manifestations, whether at home or abroad. It is appropriate, and inevitable, that our inquiry should have brought us to the Bible. For while it is false to say, as some writers have, that the witch persecutions were carried on solely by the church, it is nevertheless undeniable that historical witchcraft received its definition from the church. In a sense it may be said that witchcraft as a system was created by the church.Convenience may be cited: it was convenient for the church to lump its own heresies, rival systems of faith, inexplicable spiritual phenomena – in fact, almost all the threats to its own primacy – into a single opposition, which in the slow course of many centuries took on the shape of a ho stile conspiracy and the name of witchcraft. The church had, after all, ready to hand the Supreme Enemy of Man, Satan, acknowledged as the father of all error, the prince of the world's vanities, and arch rebel against God (Butler 96). There was no fault of logic involved in placing him at the source of trouble.This is the classical definition of witchcraft: a literally diabolic plot against mankind. For long ages it was almost universally accepted. Running concurrently with it was what we may identify as the skeptical position: that the whole thing was nonsense, and an outrageous calumny on the loving nature of the Deity. This is an honorable and attractive position, and one which is still dominant today. It can trace its origins to a tiny handful of brave men during the Renaissance, men like Reginald Scot and Johan Weyer, who were in considerable danger for their beliefs.These ideas however gradually won out, by the eighteenth century, and were elevated almost beyond argument by t he busy and progressive nineteenth. Today they are coming under renewed question. There are then at present at least seven major schools of witchcraft thought, some of them frankly hostile to the others: the orthodox, skeptical, anthropological, psychological, pharmacological, transcendental, and occultist. The image is to the object as the part is to the whole.In other words, a simple object, outside all direct contact and all communication, is able to represent the whole. This is the formula which is apparently used in black magic. The image, the doll or the drawing is a very schematic representation, a poorly executed ideogram. Any resemblance is purely theoretical or abstract. Black magic is essentially an individualistic affair. It finds regular and constant use by men and women who work deliberately, by means of the spells they utter, the charms they manipulate, and the rites they perform, to bring misfortunes upon their fellows.So used it may be licit, reputable, and even pra iseworthy, for instance, if the same magical arts that have slain a man are resorted to by an avenger of blood against the slayer. As a rule, however, sorcery is carried on more or less secretly, in defiance of public opinion, and those who practice it are objects of constant suspicion, fear, and enmity. In spite of this radical monotheism, Islam, like Judaism and Christianity, makes allusions to other supernatural entities.In the case of Islam, these entities are known as jinns and angels (Glucklich 136). Satan also plays an important role in Islam, but is counted among the angels, albeit the most disobedient. The jinns, according to the Qur'an, are not quite angels, but a form of consciousness between human and angels that are also especially prone to disobedience. Given that a basic idea of Islam is â€Å"submission† or â€Å"obedience† to God, the very act of disobedience is taken very seriously in Muslim teaching as a major form of bad, even sacrilegious, behavior (Brain 241).The jinn are genii, made out of fire; unlike the angels, they eat, drink, copulate, and die; some are good, and listen to the Koran; most are bad, and spend their time getting human beings into mischief. The leader of the evil jinn is Iblis, who was once a great angel, but was condemned for refusing to pay homage to Adam. The success of Islam in propagating itself, particularly in its Sufic and maraboutic versions, in regions where a direct assault by conquest was impracticable was largely due to its truly catholic recognition of the multiplicity of mystical power.In the voluminous Quranic store-house of angels, jinns and devils, whose number is legion, many of these traditional powers find a hospitable home; and passages from the Quran are cited to justify their existence as real phenomena. So long as Allah's lofty pre-eminence was not compromised, many local cults could be accommodated within the realm of alghaib, the ‘unseen' or ‘hidden' world (Brain 258) . The supreme deities which exist in many pagan traditions could be assimilated to Allah. Lesser local deities could be Islamicized or explained away as vernacular terms for God's attributes, or as the jinns or spirits of Quranic folklore.Orders of devils are spoken of in the so-called Book of Enoch, which antedates Christianity; and they are spoken of, later, in the New Testament. Saint Thomas makes express mention of higher and of lower devils, and of systematically established ranks among them; without, however, entering into details on the subject (Waite 356). But such reserve, though it might well become theologians in general, did not at all suit those who were especially classed as demonographers or those who gave attention to the study and practice of magic.For all these, it was of the utmost importance to become thoroughly acquainted with the diabolic hierarchy and, at the same time, with the condition and the activities of each rank included therein, – nay, as far a s might be possible, with those of each individual demon. Furthermore, the principles of their organization were not understood in the same way by all; and while some of the Fathers thought that their rank was determined according to the various kinds of sins that the demons fostered, others believed that this was done according to their degree of power and method of action.Those who made pacts with the Devil very often did so in order to be able to practice the forbidden arts of magic; but the pact did not always imply this power and the power might be exercised without a pact. There were cases where the Devil voluntarily obligated himself to do whatever the magician should demand of him, on condition that the latter give him his soul in exchange; there were also cases where the magician by virtue of his own art forced the Devil to do what the fiend, of himself, would have been neither obliged nor willing to do.There were then, as we see, two kinds of magic, which have not been suf ficiently distinguished by writers on the subject, but which in their origins, if not in their effects, were entirely distinct; the one produced by a voluntary subjection of the diabolic power to the will of a human being, the other springing from an actual mastery acquired over that power by the human being, and acquired not through divine permission, but through a science and an art which had their own canons, which were learned through a sort of apprenticeship, and which could be more or less fully possessed – the science and the art of black magic.The theologians and the doctors declare, it is true, that the inventor of this wicked and deceptive science, of this pernicious art, was none other than Satan himself, who was wont to make use of them for the attainment of his own ends; but we begin to suspect that there is some error in this opinion of theirs, when we see this science and this art employed against their supposed inventor in such fashion that he cannot keep from obeying any one who commands him through them (Stave 196).A great part of magic presupposes the existence in nature, and the knowledge on the part of man, of hidden forces which have power to move the demons and to bind them. But in whatever way the magician had acquired his formidable power, the exercise of it was sinful and unlawful and brought the transgressors in the end to Hell. Speaking generally, and observing the results they produced, we may consider magicians and witches as allies and coadjutors of Satan.The first of the magical operations, which opens the way for all the others, is evocation, whereby Satan or one of his subordinate devils is compelled to appear – not a difficult operation if one understood the method, but dangerous to any who undertook it carelessly and without having observed all due precautions. This operation is more commonly performed at night, at the exact hour of midnight; but it could also be performed at high noon, this being the hour at w hich the noonday demon possesses the greatest vigor.It takes place where two, three, or four roads meet; in the depths of gloomy forests; on deserted heaths; amid ancient ruins. The evocator seat himself inside a circle (or, for greater safety, three circles) traced on the ground with the point of a sword; and he has to exercise the greatest care not to let the slightest portion of himself project beyond this limit and not to agree to any bargain the Devil might seek to make with him. Many and strange are the formulas of evocation, some very lengthy; some more, some less efficacious; nor are all of them addressed to all the devils.The slightest omission might suffice to render them entirely ineffective if the demon happened to be tired or in a bad humor. An observation is not out of place here. The Devil presents himself willingly and without much importuning, even to one who summons him informally and in every-day language, and that he often presents himself when one has not even t hought of calling him. Magicians and witches are not all of equal cleverness or equal might; as in every other condition of men, in theirs also there existed disparities of power and of rank (Dickie 325).Notwithstanding this, there is no sorceress so insignificant, no wizard so discredited, that with the aid of their art they could not accomplish marvelous things, of a sort far beyond all human power and all human knowledge. Should one care to make a list of all the varied operations of the magic art, he would need to produce a volume; and even then he would not succeed in telling everything, for by this art could almost anything be done that might suggest itself to the imagination or become an object of desire.With potent philters or by employing the aid of clever demons, the magician could awaken love, transform love into hatred, snatch the loved one from her lover, or cause her to fly by night through the air to her lover's arms. He avenged himself on his enemies, or on such as b etook themselves to him for help, causing fire to consume their houses, bringing down the storm-wind on their fields, sinking their ships in the sea; or he brought about their death, by thrusting into waxen figures made to resemble them a needle.Now we turn to the last portion of our study, the new witchcraft cult. Two characteristics seem to identify modern British witches: their love of ceremony and their inherent schismatic tendencies. Both points hold true for witches in America and elsewhere. There seem to be hundreds of contending cults, most of which sooner or later make their professions in print, under such titles as The Real Witchcraft, The Truth About Witchcraft, and Witchcraft From the Inside. Indeed, witches, deprived of the unifying force of persecution, are fighting among themselves as never before.Meanwhile there are as many different kinds of witchcraft in this country, apparently, as there are covens. All these groups publish industriously. One of the partisans of the modern witchcraft cult is Hans Holzer, the well-known psychic investigator. His book The Truth About Witchcraft was brought forward with much din of publicity. And certainly he has penetrated to the heart of the contemporary cult; he has eye-witnesses' accounts of initiation ceremonies, rites, celebrations, dress, incantations, and every other detail of witchcraft as it is presently practiced, especially in England and the United States.With the growth and strengthening of the belief in Satan, magic was destined to acquire new credit and new vigor. Everything that was known or thought to be known about the Devil, about his habits and his purposes, naturally tended to produce this result. He was the ever-living, ever-restless force that surrounded and penetrated all things; the prince of this world; the dominator of perverted nature; he was in every place; he had under his orders an innumerable host, always ready for any undertaking.With the help of his power, there was no task s o hard that it could not be accomplished, no miracle that could not be performed; and this help he rendered without excessive solicitation. It was a well known fact that he would cheerfully join forces with a human being in order to reach more easily the fulfillment of his own designs. The majority became wizards or witches merely by entering his flock and enjoying those benefits and powers in which he was willing to make them sharers. Beside this lower magic, the result of a kind of delegation of power, the

Emotional health Essay

Since I am going into the field of psychology, community psychologists have interest in promoting systems change to improve the lives of individuals and communities. Systems change efforts frequently involve the implementations of reforms across a wide variety of organizations that make a system, as well as reforms with the individuals that compromise those organizational settings such as medical providers as well as individual. Domestic violence has increasingly been seen as a health care issue, beginning with immediate and long term physical and emotional health and well-being. Ideally, health care settings can provide an avenue for enhancing domestic violence intervention by reaching women with abusive partners and offering appropriate assistance. In many studies there has been evidence that domestic violence survivors support the practice of having physicians ask them privately about their abuse they have experienced. Screening for domestic violence typically begins with asking female patients about current or past experiences with physical or sexual abuse at the hands of their spouse, partner, or ex-spouse or ex-partner. National organizations such as the American Medical Association endorse routine domestic violence screening. Although screening has the potential to play an important role in successfully identifying and supporting victims, efforts to keep consistent screening by health care providers is often unsuccessful. Domestic violence is an issue that carries significant social stigma and has only recently been defined as a health care issue. Providers sometimes have a problem in their beliefs about domestic violence as a health care issue and screening as a health care practice. Providers may feel that screening is an invasion of patient privacy or that screening is unlikely to result in positive outcomes. Providers have indicated that they lack sufficient knowledge and skills to do routine screening. So if I would want to initiate help it would be with the medical community and community law enforcement, giving them the training to understand to help victims of violence. And I would definitely want to start with families, maybe in social services and in schools, in helping them to break the cycle of violence that has almost become mainstream America. Since this is a widespread epidemic all population should be made aware of this problem, it isn’t really a problem for just the poor or the rich. Reference: Rappaport, J. (1977). Community psychology: Values, research and action. New York, N. Y. : Holt, Rinehart & Winston.

Siberian White Crane Facts

Siberian White Crane Facts The critically endangered Siberian white crane (Grus leucogeranus) is considered sacred to the people of Siberias arctic tundra, but its numbers are rapidly declining. It makes the longest migrations of any crane species, up to 10,000 miles round trip, and habitat loss along its migration routes is a major cause of the cranes population crisis. Fast Facts: Siberian white crane Scientific Name: Grus leucogeranusCommon Name: Siberian white craneBasic Animal Group: BirdSize: Height: 55 inches, Wingspan: 83 to 91 inchesWeight: 10.8 to 19 poundsLifespan: 32.3 years (female, average), 36.2 years (male, average), 82 years (in captivity)Diet: OmnivoreHabitat: Siberias arctic tundraPopulation: 2,900 to 3,000Conservation Status:  Critically Endangered Description Adult cranes faces are bare of feathers and brick-red in color. Their plumage is white except for the primary wing feathers, which are black. Their long legs are a deep pink color. Males and females are identical in appearance except for the fact that males tend to be slightly larger in size and females tend to have shorter beaks. Juvenile cranes faces are a dark red color, and the feathers of their heads and necks are a light rust color. Younger cranes have mottled brown and white plumage, and hatchlings are a solid brown color. EarnestTse/Getty Images Habitat and Range Siberian cranes nest in wetlands of the lowland tundra and taiga. They are the most aquatic of the crane species, preferring open expanses of shallow, freshwater with clear visibility in all directions. There are two remaining populations of the Siberian crane. The larger eastern population breeds in northeastern Siberia and winters along the Yangtze River in China. The western population winters at a single site along the south coast of the Caspian Sea in Iran and breeds just south of the Ob River east of the Ural Mountains in Russia. A central population once nested in western Siberia and wintered in India. The last sighting in India was documented in 2002. The historic breeding area of the Siberian crane extended from the Ural Mountains south to the Ishim and Tobol rivers, and east to the Kolyma region. Diet and Behavior At their breeding grounds in spring, cranes will eat cranberries, rodents, fish, and insects. While on migration and at their wintering grounds, cranes will dig roots and tubers from wetlands. They are known to forage in deeper water than other cranes. Reproduction Siberian Cranes are monogamous. They migrate to the Arctic tundra to breed in late April and early May. Mated pairs engage in calling and posturing as a breeding display. As part of this calling ritual, males draw their head and neck back into an S shape, says Animal Diversity Web. The female then joins in holding her head up and moving it up and down with each call in unison with the male. Females usually lay two eggs in the first week of June, after snowmelt. Both parents incubate the eggs for about 29 days. Chicks fledge at about 75 days and reach sexual maturity in three years. It is common for only one chick to survive due to aggression between siblings. Visage/Getty Images Threats Agricultural development, wetland drainage, oil exploration, and water development projects have all contributed to the decline of the Siberian crane. The western population in Pakistan and Afghanistan has been threatened by hunting more than the eastern, where the loss of wetland habitat has been more detrimental. Poisoning has killed cranes in China, and pesticides and pollution are known threats in India. Conservation Status The IUCN lists the Siberian crane as critically endangered. Indeed, it is on the brink of extinction. Its current population is estimated at 3,200 to 4,000. The largest threat to the Siberian crane is habitat loss, especially due to water diversions and conversion of wetlands to other uses as well as illegal hunting, trapping, poisoning, pollution, and environmental contamination. The IUCN and other sources say that the Siberian crane population is declining sharply. The Siberian crane is legally protected throughout its range and is protected from international trade by its listing on Appendix I of the Convention on International Trade in Endangered Species (CITES). Conservation Efforts Eleven states in the cranes historic range (Afghanistan, Azerbaijan, China, India, Iran, Kazakhstan, Mongolia, Pakistan, Turkmenistan, Russia, and Uzbekistan) signed a Memorandum of Understanding under the Convention for Migratory Species in the early 1990s, and they develop conservation plans every three years. The United Nations Environment Program (UNEP) and the International Crane Foundation conducted the UNEP/GEF Siberian Crane Wetland Project from 2003 to 2009 to protect and manage a network of sites across Asia. Protected areas have been established at key sites and migratory stopovers in Russia, China, Pakistan, and India. Educational programs have been carried out in India, Pakistan, and Afghanistan. Three captive-breeding facilities have been set up and a number of releases have been made, with targeted efforts to reestablish the central population. From 1991 to 2010, 139 captive-bred birds were released at breeding grounds, migration stopovers, and wintering grounds. Russian scientists started the Flight of Hope project, using conservation techniques that have helped boost Whooping Crane populations in North America. The Siberian Crane Wetland Project was a six-year effort to sustain the ecological integrity of a network of globally important wetlands in four key countries: China, Iran, Kazakhstan, and Russia. The Siberian Crane Flyway Coordination enhances communication among the large network of scientists, governmental agencies, biologists, private organizations, and citizens involved with Siberian Crane conservation. Sources Grus  leucogeranus Siberian crane. Animal Diversity Web.â€Å"The IUCN Red List of Threatened Species.†Ã‚  IUCN Red List of Threatened Species.International Crane Foundation. savingcranes.orgPariona, Amber. Population Of Siberian Cranes: Important Facts And Figures.  WorldAtlas, 26 July 2017.

Finance for Managers Essay Example | Topics and Well Written Essays - 5000 words

Finance for Managers - Essay Example Based on the analysis of the finances a set of recommendations have been set down to assist the company make improvements. The paper also deals with the role of the finance manager, i.e. David Green, and the discussion includes a detailed analysis of his position in the company in relation to the planning, control, performance management and also financial decision making. Finally, the paper will deal with the sources of finance with a focus on loans. Here two alternatives will be provided which are most suitable for Jools. However before moving into the current financial position of the company, it is important to provide a brief overview of the company. Overview of Jools: The birth of Jools Furniture was in 1990 when Julius Smith – Brown invested in Huddersfield based Sandy Furniture. Then the company specialised in kitchen and bedroom furniture. However by 2005 the company went on to grow and offer as many as 150 different furniture products to the customers. The company wa s focused on providing various designs and also targeted the middle and higher income buyers. As time passed the company went on to develop several divisions which include the office supplies, and also the quality products divisions, the quality products development focusing on the high income groups. Presently the company has grown to have four main divisions, i.e. Kitchen, Bedroom, Quality and Office and the company employees over 500 people (Jools Furniture, 2011). The company follows the laissez-faire form of management, and the division controllers are given a free reign to manage with the only condition to aim at a target return of 10 % return on investments. Current Financial Position Quality Products Division: In order to completely comprehend the financial performance of the division, the financial ratios over the years are computed and presented in the table below: Quality Products Division Year 2009 2008 2007 Profitability          Net Profit Margin 3.36 % 1.98 % -9 .90 % Return on Equity 9.99 % 5.63 % -26.30 % Efficiency          Return on Assets 13.33 % 12.58 % 1.83 % Asset Turnover 1.03 1.00 0.87 Liquidity          Current Ratio 1.33x 1.09x 1.13x Acid Test Ratio 0.63x 0.47x 0.59x Stock Turnover 114 days 100 days 105 days Debtor Days 43 days 28 days 44 days Creditor Days 36 days 47 days n / a Financial Structure          Gearing 61.91 % 60.83 % 62.24 % Interest Cover 2.11x 1.53x -1.32x The division had acquired another business in 2004 and it was completely sourced by debt. Hence the gearing ratio has been relatively high over the three years. The company aims at constantly maintaining a 50 % gearing ratio, however this is much higher which in turn simply implies that the company is more risky. Moreover, the division also incurred a loss in 2007. This loss can be attributed to a number of factors, including reduced turnover (low return on assets – 1.83 %), high interest paid and increased expenses (Berman, Knight, & C ase, 2006). However the division has managed to turn

Attitude of the Socrates towards the gods in Euthyphro Essay

Attitude of the Socrates towards the gods in Euthyphro - Essay Example "But I will not change the definition to say that what all the gods hate is unholy, and what they all love is holy and what some of them love and another hate is both or neither" (Biffle 14).This paper seeks to analyze the attitude that Socrates has over the gods in Euthyphro. The discussion concerns the virtue that is usually considered as a manner of the living that helps to complete one's role either at the individual level or to God. It is of a specific interest as far as the fate of the Socrates is concerned even though he has been charged with impiety, and he is almost facing trial before the court to determine whether he is guilty or innocent. He is quite sure that most of the Athenian people has little understanding of the very nature of piety or impiety and thus forcing Socrates to ask Euthyphro a question about his understanding of the piety. He has a good reason for doing this: he wants to justify if Euthyphro is really wise as he usually claims to be, and if he is not Socrates is very ready to expose the depth of his claim. Euthyphro has a good reputation amongst his people of being very wise, a soothsayer, and he is also known to be a diviner. On his role as a teacher, he instructs his people on both political and moral issues and even on the practical problems of the daily life.