Strategic Diversity Plan For Public Schools - 2295 Words

Strategic Diversity Plan July 29, 2016 Dear teachers, parents and stakeholders, It is my privilege to share with you Trumann Public Schools strategic diversity plan for 2016-2021. It is the mission of Truman Public Schools to educate all students and to that end we have developed a plan to help reach students that we have not reached as well in the past. It is our intent to develop a school that helps to facilitate a more pluralistic society as well as the academic growth of our students and the growth of the community at large. This plan will be used to aid us in implementing researched based methods to improve student achievement throughout the district. It is also our intent to utilize this plan to foster respect for diversity in religion, ethnic background, culture, gender and all other forms of diversity. The plan outlines five goals that we have found for our school district. These goals show our commitment to provide the highest possible standards of education for all students in our district and to ensure the fair and equitable treatment of all members of our community. We consider understanding individual differences in each student and teacher so that we can adopt the appropriate programs of study for them of the utmost importance. Many hours of intensive effort have gone into the development of this plan, but the work is not finished. The district will continue to monitor and adjust this plan according to the changing needs of our school and community to ensureShow MoreRelatedA Letter From District Administrator1569 Words   |  7 PagesA Letter from District Administrator Greetings Parents, Staff, Students, and Community Members, Hazelwood School District is committed to providing an equitable education to our diverse learners with culturally responsive instruction. 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I found these document which supports our vision, the STRATEGIC PLAN OF THE MINISTRY OF EDUCATION, (MOE), (2002-2006). And MINISTRY OF EDU-CATION, EDUCATION POLICY PAPER (1993 - 2003). In the past Trinidad and Tobago has had equity and equality issues (UNESCO, 2003) these were the developing policy that embraces access to equality education for all. And in these documents the government is focusingRead MoreEmployment And Training : Strategic Plan1469 Words   |  6 Pages Broadmeadows Education, Employment and Training Strategic Plan 2016-2026 Contents Introduction Data collection and analysis 1. Profile of Broadmeadows population 2. Profile of labour market and employment 3. 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Problem Review Set Capital Structure and Leverage free essay sample

Managerial Finance Problem Review Set Capital Structure and Leverage If a firm utilizes debt financing, an X% decline in earnings before interest and taxes (EBIT) will result in a decline in earnings per share that is larger than X. True b. False 2) Firm A has a higher degree of business risk than Firm B. Firm A can offset this by using less financial leverage. Therefore, the variability of both firms expected EBITs could actually be identical. 3) It is possible that two firms could have identical financial and operating leverage, yet ave different degrees of risk as measured by the variability of EPS. ) Which of the following events is likely to encourage a company to raise its target debt ratio, other things held constant? An increase in the corporate tax rate. An increase in the personal tax rate. An increase in the companys operating leverage. d. The Federal Reserve tightens interest rates in an effort to fight inflation. We will write a custom essay sample on Problem Review Set Capital Structure and Leverage or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page e. The companys stock price hits a new high. 5) The firms target capital structure should be consistent with which of the following statements? Maximize the earnings per share (EPS). Minimize the cost of debt (rd). Obtain the highest possible bond rating. Minimize the cost of equity (rs). Minimize the weighted average cost of capital (WACC). 6) Which of the following statements isAs a firm increases the operating leverage used to produce a given quantity of output, this will normally lead to an increase in its fixed assets turnover ratio. b. normally lead toa decrease in its business risk. normally lead to a decrease in the standard deviation of its expected EBIT. d. ormally lead to a decrease in the variability of its expected EPS. e. ormally lead to a reduction in its fixed assets turnover ratio. 7) Reynolds Resorts is currently 100% equity financed. The CFO is considering a recapitalization plan under which the firm would issue long-term debt with a yield of 9% and use the proceeds to repurchase common stock. The recapitalization would not change the companys total assets, nor would it affect the firms basic earning power, which is currently 15%. The CFO believes that this recapitalization w ould ikely to occur if the company goes ahead with the recapitalization plan?

Sylvia Plaths poetry

Sylvia Plath’s poetry, as many researchers have pointed out, is strewn with pictures of the holocaust. The influence of her personal life on her poems is self-evident as many of her works are semi-autobiographical in nature.Advertising We will write a custom essay sample on Sylvia Plath’s poetry specifically for you for only $16.05 $11/page Learn More The influence of her father, Otto Plath, in her poetry is unmistakably clear (Butscher 3). Otto’s life and especially his death right before Sylvia’s eighth birthday left a profound imprint on her imagination and nurtured her style as a poet. The presentation and the poetics of torture so evident in Plath’s poetry, I believe, has stemmed from her personal life and her ancestry. The connection between the private and the public that Plath so subtly made in her poetry has been critiqued handsomely in poetics research. Plath used her private live as a medium to make it a publ ic show, where the personal dissolves completely, to form a ludicrous public show of the body (Butscher 11). Therefore, in this essay I will discuss Plath’s poems, Daddy and Lady Lazarus, where she uses death to recreate the self. Both the poems are of confessional nature, are semi autobiographical, and meddle in the private life of the poet. The paper is arranged in three sections. First, it discusses the life and philosophy of Sylvia Plath. Second, the essay discusses the style of Plath’s works. Thirdly, it will discuss two of her poems that demonstrate a public show of the private life. The first aim of the essay is to understand life of Sylvia Plath. She was an American born writer and poet of German origin. She was educated in America and then married the British poet Ted Hughes in 1956 and had two children. Her adult life was strewn with bouts of depression and her inclination to commit suicide. She finally committed suicide in 1963. Plath gave birth to a new gen re of poetry, which has been termed as confessional poetry. Both the poems discussed in the essay are confessional in nature with distinct features of the personal life of Plath being projected in the text. The political and worldview of Plath must be mentioned in order to understand her poetry. Plath worldview was mostly influenced by postmodern philosophers like Nietzschean (Peel 42). Her political and worldview are intermingled not only her direct usage of political stance in her poems especially in Ariel but also demonstrates her fight with the â€Å"Other† in order to establish self-identity.Advertising Looking for essay on american literature? Let's see if we can help you! Get your first paper with 15% OFF Learn More Many critics have viewed this fight as a personal and political battle that is distinctly her political view. The influence of the existentialist philosophy is also apparent in her search for self-identity through nullification of the other. O ne of the biggest influences on Sylvia Plath’s poetry was Otto Plath, her father whose life must also be brought under the microscope to understand how far the influence of her father on her poems was, or were they actually a misinterpretation of too casual reading. Otto Plath was a German born in Polish Corridor. He then migrated to America in 1901 and settled in Boston with a teaching position at the Boston University (Butscher 6). Plath’s mother, Aurelia, was an American of Austrian origin. Both of Plath’s parents grew up speaking German until the First World War when the surge of the patriotic Americans ended this (Travis 278). Both of Plath’s parents lived their adult life in America, especially during the rise of Nazism and the Second World War. He died of a gangrenous toe, and during the process of amputation, he died. These facts of Otto Plath’s life are distinctly suggested in the poem Daddy written in 1962: Ghastly statue with one gray to e Big as a Frisco seal And a head in the freakish Atlantic Where it pours bean green over blueAdvertising We will write a custom essay sample on Sylvia Plath’s poetry specifically for you for only $16.05 $11/page Learn More In the waters off beautiful Nauset. (Plath Line: 9-13) Plath compares her father’s toe with that of a â€Å"Frisco seal† and describes it to be grey in color directly indicating to her own father’s gangrenous leg as well as to his German origin. Therefore, in a strict play of the private incidents such as the death of her father with gangrene and his German lineage are presented in the poem to actually demonstrate Plath’s abhorrence for her ancestry and therefore making a public show of it. There are other distinct references of her father’s German origin in the poem as in stanza eight of the poem we find mention of manifestly Austrian particulars: â€Å"The snows of the Tyrol, the clear bee r of Vienna / Are not very pure or true† (Line 36-37). Germany and Austria are two nations that share a common language, but are distinct. More importantly, Otto Plath does not seem to have any connection with Austria and the relevance of the lines in Otto’s life becomes unclear, as they are not explained further in the poem. Images of oppression and the holocaust are replete in the poem as Plath uses words and phrases to describe the destruction in Nazi Germany: swastikas, barbed wire, fascists, brutes, devils, and vampires. Though apparent reading of the poem with little thought into its inner meaning would suggest that Plath’s poem is a â€Å"runaway train barreling through one psychic nightmare after the other† (Platizky). Plath’s forceful vindictiveness against the father relates as a paradoxical need to return to him: â€Å"get back, back, back to you† (Line 59). However, on closer reading proves to be a conscious attempt to recreate a space for self, creating an identity that breaks away from the psychological imprint the father has on the poet. Clearly, the poet wants to disassociate herself from the memories of her father whom she still loves and misses. This can be seen as a process of creating a self-identity through repeated emphasis of the pronouns such as â€Å"I† or â€Å"my†. In a way Plath clearly demarcates the demonic imagery of the patriarchy through the description of the holocaust and creating an identity of self where the self is the victim – â€Å"I think I may well be a Jew† (Line 40) – of the autocratic patriarchy.Advertising Looking for essay on american literature? Let's see if we can help you! Get your first paper with 15% OFF Learn More Therefore, according to Roger Platizky, the poem can be read as a â€Å"psychological victory of the self over the other† (106). In the end, by metaphorically killing the father, Plath successfully kills the memory of him and creates her independent self. The poem demonstrates the recreation of the self through the death of the father figure. Lady Lazarus too is a holocaust poem. Death again forms an integral part of the poem as has been observed in Daddy. Death in Lady Lazarus is projected like an art that her torturer, Herr Doktor prevents. The poem tells the story of a woman on whom the Nazi doctor was performing experimental medication to resurrect her from death. The image of the doctor is that of the Nazi dictator. Here too we get significant reference to â€Å"foot† and â€Å"Jew†. In a way, Plath identifies with art as a means of prostitution – a means of earning – and death as the way of reviving the self. Theresa Collins points out that P lath uses the holocaust imagery to present the â€Å"controller’/controlled† relationship (156). Mathew Boswell studies both the poems and writes that in both these poems Plath uses the imagery of the holocaust to describe the torture being inflicted on the narrators and it was through death (55). Lady Lazarus is a means of representation of the cannibalistic attitude of the Nazis thorough the strip shows that Lady Lazarus performs and her suicide in the end is a victory over the patriarchal control over the female flesh. The speaker of Daddy internalizes the process of being a victim while externalizing her heritage. The speaker assumes a Jewish identity though there is mention of the mother in the poem. The poem initially sets to show the narrator as the victim of the torturous nature of the father figure and metaphorically compares him to the Nazis. The imagery of the holocaust sets the clear image of a torturous father in the mind of the readers. The narrator takes the position of the victim in this poem, as was seen in case of Lady Lazarus, and talks of the overbearing figure of her father whose presence was crushing her identity. Therefore, there is a clear attempt to segregate the torturer from the victim with persistent repetition of the ‘you’ that recurs in the rhyme scheme of the poem. The narrator addresses Daddy, as the narrator calls to him, while she emphasizes on their separateness (Travis 278). There is no â€Å"we† in the poem it deals in only â€Å"you† and â€Å"I†. Creation of a separate identity, of the self in the two poems is clearly demonstrated through the metaphor of death. Plath wrote both the poems just a few months before she committed suicide, and therefore, the idea of death was used a trope to show that the independent self can only be created by killing either the self or the other. Death becomes the main theme in both these poem through which one realizes the true self-identity. Bibliography Boswell, Matthew. â€Å"‘Black Phones’: Postmodern Poetics in the Holocaust Poetry of Sylvia Plath.† Critical Survey, vol. 20 no 2 (2008): 53-64. Print. Butscher, Edward. Sylvia Plath: Method and Madness. Tuscan, AZ: Schaffner Press, 2003. Print. Collins, Theresa. â€Å"Plath’s Lady Lazarus.† Explicator vol. 56 no. 3 (1998): 156-158. Print. Plath, Sylvia. Daddy. 12 October 1962. Web. https://www.internal.org/Sylvia_Plath/Daddy. Platizky, Roger. â€Å"Plath’s Daddy.† Explicator (1997): 105-107. Print. Travis, Isabella. â€Å"‘I have always been scared of You’: Sylvia Plath, perpetrator trauma and threatening victims.† European Journal of American Culture, vol. 28 no. 3 (2009): 277-293. Print. This essay on Sylvia Plath’s poetry was written and submitted by user Jonathon Mays to help you with your own studies. You are free to use it for research and reference purposes in order to write your own paper; however, you must cite it accordingly. You can donate your paper here.

Whats a Liberal Arts College Should You Attend One

What's a Liberal Arts College Should You Attend One SAT / ACT Prep Online Guides and Tips If you’ve started researching colleges, you’ve probably seen the term â€Å"liberal arts school† thrown around quite a bit without really understanding what it means. What is a liberal arts college, actually? And how is it different from other sorts of colleges and universities? It’s hard to get a straight answer when it comes to defining a liberal arts college. In this post, I’ll dive a little deeper into defining the liberal arts before explaining what it means to get a liberal arts education. Then, I’ll talk about how these colleges differ from non-liberal arts schools and how that may affect your educational experience. What Are the Liberal Arts? To get a good understanding of the origins of the liberal arts, we have to go all the way back to classical antiquity - think ancient Greece in its prime. Participation in civic life was pretty important to many classical philosophers, who thought that a certain fundamental knowledge should be expected of active free citizens. In ancient times, liberal arts included grammar, logic, rhetoric, arithmetic, geometry, and even music and astronomy. The â€Å"liberal† in liberal arts has nothing to do with political liberalism, and everything to do with the original Latin roots of the words: artes liberales translates to subjects of the free person. Modern understanding of the liberal arts has, unsurprisingly, changed from that of ancient philosophers’. When we talk about the liberal arts today, we’re referring to a broad range of subjects: literature, languages, history, philosophy, math, and sciences. What liberal arts don’t include are any sort of vocational, technical, or professional studies. What Is a Liberal Arts Education? Now that you’ve gotten a mini-history lesson, we can get into what it means to get a liberal arts education in modern times. Different cultures sometimes have their own unique twists on what it means to offer a liberal arts education. In general, though, a liberal arts education is one that focuses on producing well-rounded individuals. American schools that provide a liberal arts education might aim to produce â€Å"global citizens†: individuals who are well-equipped to participate in an informed, ethical way in the world around them. One could say that the ultimate goal of a liberal arts education is to teach students how to think critically, and to effectively interpret and analyze new information they encounter as they navigate their environments. These programs tend to be flexible in the sense that there’s not only one career path you could feasibly pursue post-graduation. If you attend a liberal arts program, you might say you have a liberal arts degree.Examples of liberal arts degreesinclude languages and literature, biology and life sciences, philosophy, cultural studies, and psychology. What Doesn’t Count as a Liberal Arts Education A liberal arts degreeis not something you would receive in a vocational, technical, or professional program. These sort of programs exist to educate students with the purpose of preparing them for a specific career - that is, there’s a clear professional end goal. As such, these educations are generally more career-oriented. Examples of non-liberal arts educations include law school, medical school, engineering programs, and architecture programs. Architecture may be considered a form of art - it just doesn’t fall under the heading of liberal arts. What Is a Liberal Arts College? Like I alluded to in the introduction, there’s no set or standardized definition of a liberal arts college. In general, though, they are educational institutions that emphasize undergraduate education (as opposed to producing research) and award at least half of their degrees in the liberal arts fields of study (like I described above). Students generally pick one course of study to focus on, while also taking courses in other diverse subjects. Check out our post on top liberal arts colleges for examples. Liberal arts colleges tend to encourage their students to study a wide range of subjects instead of focusing solely on one field of study. The way schools actually do this varies, however - there are a few different paths that liberal arts colleges can take here: Core Curriculums - Core curriculums are set plans of study that include mandatory courses in different subjects that all students must take in order to graduate. An example would be the core curriculum at Purdue’s College of Liberal Arts within Purdue University. Distribution Requirements - Distribution requirements are plans of study that require students to take courses across a range of different subjects, but they don’t dictate exactly which courses a student must take in order to graduate. At Williams College, for example, students have to take courses in three different â€Å"divisions† (in addition to meeting requirements for their major of choice): Languages and the Arts, Social Studies, and Science and Mathematics. Open Curriculums - Open curriculums mean that students don’t have to meet any course requirements - either in the form of specific, mandatory courses or distribution requirements - in order to graduate. They are free to choose any courses available to them as long as they meet the requirements for their choice of major. An example of an open curriculum is the one offered at Amherst College. How Are Liberal Arts Colleges Different From Other Schools? Liberal arts colleges are often compared to research universities, although some schools exist as hybrids - both pushing to be research powerhouses while also striving to offer a liberal arts education. The traditional liberal arts college focuses primarily on undergraduate education, however, which means that professors tend to be hired and retained for their teaching and not necessarily for their research experience. This tends to affect student/professor relationships and overall student learning experiences. For example: Undergraduates may have more access to professors because there’s less of an emphasis on research and graduate programs. The colleges themselves tend to be smaller than research universities, with smaller class sizes and student: faculty ratios. There may be fewer research opportunities available. Access to research projects is one of the major differentiators between liberal arts colleges and other types of schools. To make this a bit easier to understand, here’s a chart with the typical characteristics of a traditional liberal arts college vs. a traditional research university: Liberal Arts Colleges vs. Research Universities Liberal Arts Colleges Research Universities Degree Program Offerings More limited, but sometimes unique, degree programs Wide selection of degree programs Pre-Professional Options Few (if any) pre-professional offerings More pre-professional degree offerings Research vs. Teaching Professors are generally focused on teaching over research Professors are generally focused on research and graduate students over teaching undergraduates Class Size Smaller average class size Larger average class size Research Opportunities Fewer research opportunities and less exposure to research More research opportunities and exposure to research Public vs. Private Usually private May be public or private Lectures vs. Seminars Many small seminar offerings More lectures, fewer small seminars Mentorship Career Opportunities Easier to form relationships with profs and peers for career professional connections More difficult to form relationships with profs, but more career fairs and recruiting events The issue with the above chart is that many of the top private research universities also pride themselves on providing liberal arts educations for undergraduates - there isn’t a clear delineation, then, between a liberal arts college and a research university in these circumstances. Top research universities may, for example: Have core curriculums, distribution requirements, or even open curriculums that are very similar to the ones you’d see at a traditional liberal arts college (Brown has a famously open curriculum, for example). Offer few (if any) pre-professional degree programs. You won’t find many business or finance degree programs, for example, at many of these liberal arts-minded research universities. Strive to offer smaller seminar-style courses to encourage student participation and class discussion. See Harvard’s freshman seminar program as an example. We can see, then, that there are really three options here when discussing this spectrum of school types: we have liberal arts colleges and research universities, but there are also hybrid options that tend to be pretty prestigious and highly-ranked. It’s important to keep these in mind when researching colleges, but remember that these hybrid options are often top-tier and shouldn’t be considered safe bets if you’re submitting applications. What Sort of School Is the Right Fit for You? If you’re leaning towards the liberal arts in general (or are even still making up your mind, but don’t know what type of college would be the best fit), these next considerations should help you figure it out. Career Goals Do you know exactly what you want to do after you graduate? Many students don’t know exactly what they want to do professionally when they’re just applying to college. If you’re not sure, it’s not just ok - it’s normal. Liberal arts educations (either at liberal arts colleges or hybrid schools) really encourage students to explore and develop their interests. If this sounds appealing, a liberal arts education will probably be a good fit. A liberal arts education is also a good option if you want a flexible degree that won’t necessarily hinder a variety of job prospects across fields/disciplines. Amherst College doesn’t have official pre-med or business majors, for example, but it still sends quite a few students to graduate programs in those fields. Alternatively, if you know specifically what you’d like to do and know that you need a pre-professional degree to pursue your career of choice, a liberal arts degree may not be the most efficient way to meet your goals. Engineering is a prime example - if you get a non-engineering degree (liberal arts or otherwise), you’d need to double-back to get the specialized education you need before advancing professionally. You also don’t need to attend a liberal arts college or hybrid university to get a flexible degree - many traditional research universities offer degree programs that aren’t necessarily pre-professional (like English, Economics, or Romance Languages). In sum: your career goals can inform whether you want to go the liberal arts route or not, but they don’t necessarily make a liberal arts college better or worse than other school options. Are you sure where you’re headed, or are you still figuring things out? Research Experience Is it important that you get research experience as an undergraduate? If you plan on pursuing a graduate degree in a research-heavy or competitive field (e.g. if you want to go to medical school or get a PhD), it’s important to get good research experience as an undergraduate. It’s easiest to do this at a research university. Some traditional liberal arts colleges offer these opportunities, but you’ll want to scope relevant departments before committing to a liberal arts college. For example, let’s look at Williams College (a top liberal arts college) versus Johns Hopkins University (a top research university that offers a liberal arts education to undergrads): Johns Hopkins University received 939 grant awards in 2014, making it the country’s most funded university by the NIH Williams didn’t make the list of the top 50 most-funded schools Put simply, more grant money = more research opportunities. Research universities tend to get more funding because they invest a lot of resources into producing research. Target Major Are you looking for something more general (e.g. English, Romance Languages, History) or something pretty specific (e.g. Cognitive Science, Integrative Biology, Slavic Languages Literature)? Liberal arts colleges tend to offer fewer and more general majors because they’re just smaller schools. Sometimes, though, they offer some unique and even niche options. For example, Amherst offers general options like American Studies, Economics, and English, but they also offer a unique major called Law, Jurisprudence, and Thought. In total Amherst only offers 28 majors, whereas Arizona State University offers over 300 options. Are you okay with not having a super specialized major (unless you’re into one of a college’s niche options)? You’d do alright at a liberal arts college. Do you want more variety and/or more opportunity for specialization? A traditional research university or a hybrid university may suit you better. Environment Educational Experience This is perhaps the most important consideration. Would you like the hustle and bustle of a big university, with big lectures taught by big-name professors? Or would you prefer something more intimate, with smaller seminars taught by professors who are dedicated to teaching? What really matters is what you are most comfortable with. The only way to really figure this out is to visit a few schools. To give you some examples, most of the top liberal arts colleges are relatively small, whereas the top research universities (hybrid or otherwise) are much bigger: Liberal Arts Colleges: Williams = 2,045 undergrads, Amherst = 1,792, Swarthmore = 1,542, Bowdoin = 1,805 Hybrid Colleges: Harvard = 6,694 undergrads, Princeton = 5,391, Yale = 5,447 Public Research Universities: UCLA = 43,000 undergrads, Texas AM = 49,000 If you want something small and intimate, you would likely be happier at a liberal arts college. If you want something bigger and busier, public universities may be best. If you want something in-between - a bigger campus but with opportunities for smaller classes - you might look into some of those hybrid options. Now would be a good time to think about whether you’re cool with crowds. What’s Next? Need more guidance when it comes to picking the school that’s best for you? We’ve got you covered. Read about whether it even matters where you go to college and how to get into your top-choice college. Set on a liberal arts school? Check out the top-ranked liberal arts colleges. One of the next questions you may have might rise out of a more practical concern - you know how your experience may differ at a private liberal arts college when compared to other types of schools, but should you expect any difference in cost? Learn more about different college expenses. Want to improve your SAT score by 160 points or your ACT score by 4 points?We've written a guide for each test about the top 5 strategies you must be using to have a shot at improving your score. Download it for free now:

Qualitative VS Quantitative Research Essay Example | Topics and Well Written Essays - 750 words

Qualitative VS Quantitative Research - Essay Example When we think about research, things that come to our mind are e.g. facts & figures, science, observation, logic, evaluation, etc. etc. Adopting the scientific approach and adhering to a focused approach to come-up with certain findings do not contain values, passions, politics and ideology of the researcher. Using this kind of research methodology is called a â€Å"positivistic† approach and it is the most commonly used approach in general public. In short, the qualitative research refers to the existence of reality which is analyzed and understood with less rigorous methods and procedures while the quantitative research is aimed to reach to an objective (quantified) solution on the basis of cause & effect and examining theoretical relationship into a practical scenario. However, the emerging social changes and globalization are posing ineffectiveness of traditional deductive approach and forcing social researchers to opt for the inductive approach. Assessing qualitative research through a social constructionist lens, however, is premised upon the belief that research findings are always already partial and situated; that they actively construct the social world which is itself an interpretation and in need of interpretation. If we reject the very notion of an empirical world untouched by the social and the political, how are we to assess the research claims we make? If we concede that â€Å"truth† and â€Å"objective knowledge† cannot be invoked unproblematically, upon what grounds are we to say one research claim is better (i.e., valid) than another?. It is a kind of cold war between the old and new generation qualitative researchers. The latter reject the quantitative, positivist methods and assumptions. Having poststructural and/or postmodern sensibilities, they argue that positivist methods are nothing but all about telling stories about societies. Many new qualitative researchers are of the opinion that these methods do

Business Continuity Mnagement Essay Example | Topics and Well Written Essays - 1500 words

Business Continuity Mnagement - Essay Example This study will evaluate the events or the reasons, which led to the businesses seeking more than recovery of data; it will highlight the key elements that differentiate BCM from Disaster Recovery. Recovery implies to recover something that has been lost; the recovery may be in part or in full. Continuity, on the other hand suggests business carries on as usual and the impact of failure may be minimal, if at all. BCM deals with the threats that confront any business. Insurance may cover the cost of the fixed assets but cannot cover the opportunity loss or the market share that any business may lose (Smith 2002). The September 11 terrorist attack on the US, the cases of Anthrax virus infiltrations, frequent hackers breaking into the corporate systems, and natural disasters like Tsunami and Hurricane Katrina, may capture the headlines, but almost 90% of the crises are â€Å"quiet catastrophes† according to Smith. It is these catastrophes that damage the organization’s brand and reputation. Research too indicates that the shareholder price value increased of those companies who managed to successfully handle the crises compared to those who could not handle the situ ation well. In 1989, a large volume of case studies were published, covering mostly crises that had occurred in the 1970s and 1980s. Throughout this period, as the two fields gradually consolidated, the formation of three mindsets was developed. Namely, the technology mindset during the 1970s, which was limited to assuming that crisis, was initiated solely to computer systems and facilities. Moreover, in the 1980s organizations adopted an auditing approach which was broader in scope but did not comprehend the full picture. The inauguration of the following decade saw the development of the value based mindset, which is concerned less with compliance, regulations, or technology failure than with the needs of the business itself. The success of a company lies in its ability to continue business

Victor Frankenstein Essay Example for Free

Victor Frankenstein Essay His horror at how playing God has backfired is exemplified more by associating his creation with Dante and hell, whilst also referring to him as a demoniacal corpse, showing tremendous contrast from his original intentions. Because the reader doesnt yet know what (if anything) is going through the mind of the monster, it is only natural that they can sympathize with Frankenstein, and pity him in his fear and disappointment whether they believe him to be foolish and arrogant or not. After him being occupied with nothing but his work for so long, the arrival of Clerval serves as a reminder to the reader and Frankenstein of his family back home, bringing back an element of normality in Victors thoughts. When he falls ill, he is cared for and written to, showing that no matter how much he may have neglected his family he is still lucky to have them to care for him, whereas his monster has nothing and nobody. The next time we hear from the creation is when Victor encounters him on his way to Geneva. Without any real evidence, he immediately blames his fiend for the murder of William and is no less than degrading with his description of him. Saying that a flash of light illuminated the object quickly gives us an impression of the creature being sinister, as we normally associate lightning with being threatening. The fact that Victor objectifies his creation also shows how he is looked upon by his creator as a simple thing that only resembles a living being. Throughout the next few chapters, Shelley makes us feel sorry for Victors family and possibly Victor himself by using the death of Justine and William effectively. When it seems clear to Victor that these two people have died because of his actions, he has an epiphany-like moment. Besides from the initial thrill and enthusiasm he first felt; Victor knows that his dream has caused him nothing but pain. He says that his guilt hurried [him] away to a hell of intense tortures, such as no language can describe, this is certainly giving us the impression that he feels sorry for himself. He becomes angry at his creation: I gnashed my teeth, my eyes became inflamed even though he has no proof that the fiend had anything to do with the murder, he curses him for it without any doubt. However he also reflects that I , not in deed, but in effect was the true murderer. This is showing how Victor is coming to take responsibility for his actions and suffering in shame for them. Having walked into the mountains and met his creature, he threatens and insults him; labeling him as a vile insect and stating his desire to trample him. He condemns the monster in such a way, although if there were other people who knew about his experiments and results, it could be that he would be condemned too. The creation replies that as long as they both exist they are bound together and that Victor has a duty towards him as a creator even if he has been so far abandoned. Not really acknowledging what his creature said, Victor becomes then so angry that he throws away an amount of dignity and begins attacking his creation in vain. His enraged turn to physical violence while the creation only wishes to talk shows a darker side of Frankenstein and is an interesting comparison as the monster doesnt want to set himself in opposition. He likens himself to Adam and the fallen angel; again hinting at Victors old desires of playing God, as well as the fact that he greeted his creation with the word devil. Likening Geneva to Eden, and the Creation to be the forbidden fruit, Victor also plays the role of Adam, who lived in paradise before the temptation for more caused him to lose what he had. The monster uses words like abhor, spurn and detest frequently, which embellishes his anguish further. The creation asks Victor: Will no entreaties cause thee a favourable eye upon thy creature, who implores thy goodness and compassion? This is clearly a rhetorical question, and it tempts the reader again to doubt Victor and consider how he seems to be selfish and doesnt recognize his creature as a being capable of thought and emotions. You accuse me of murder; and yet you would with a satisfied conscience, destroy your own creature. This gives the impression that the monster knows Victor sees him as sub-human, and not allowed regular justice as is given to normal people. Here Frankenstein uses the word wretched to describe himself rather than his creation, which leaves the reader to compare these two characters further still. Defeated in knowing that if he did not listen to the fiend, his life would most certainly become more miserable; he finally accepts responsibility and lets the creature tell his story. It is likely that Shelley uses the oxymoron-like term odious companion to express the start of Victor having mixed feelings other than hatred towards his creation. Although superhuman in abilities and monstrous in appearance, the Creation is shown to have all of the emotional traits of a human being. As mentioned previously, after he is first brought to life his mind resembles that of a child and he learns and develops knowledge the hard way. When he is talking about the time directly after he was created; although it is not said directly, Shelley uses short phrases fragmented frequently by commas to give a sense that the creature is bewildered. I was a poor, miserable, helpless wretch I sat down and wept. Because he doesnt understand anything and is left to roam outside with only whatever thoughts instinctively occur within him, he is incredibly frightened and like a teething child; he can only weep. As he becomes accustomed to the world he grows to be curious about nature, which he doesnt yet know that he is contrasted against, and this natural beauty inspires him initially to do good things. When he attempts to imitate birdsong, he realizes that the sounds he makes are uncouth and inarticulate; he is frightened by the sound of his own voice. He is shown to have a likeness to prehistoric man in that he has to learn everything himself. His first encounter with a human other than his creator is an anonymous old man. Upon seeing the creation, the man flees immediately, afraid. This happens again on a larger scale, when he enters a village he is rejected and chased out with weapons purely based on his appearance. This gives the creation a skewed view on humanity and leads him to start questioning himself and what he is. Soon after him being driven from the village he first sees the members of the DeLacey family, and is shown to have yet more human characteristics and emotions. I felt sensations of a peculiar and overpowering nature: they were a mixture of pain and pleasure such as I had never experienced. When he beholds the music played by the old man to the young girl, he is overwhelmed by the beauty of what he sees and displays empathy. It is here that he also experiences a desire to have friends and later suffers from pangs of guilt when he secretly takes food from the family in order to feed himself. The creation shows his sympathy and willingness to do good things when he gathers firewood for the family. His behaviour is altruistic, with him gaining nothing except to be able to watch how happy he has made the family by helping them. While staying around the house of the DeLacey family, his personality changes according to experience, whilst he slowly realizes the extent to which he is different from them and everyone else. He begins to refer to them as my cottagers, feeling a human sense of attachment to them, even though they are oblivious to his being there. His deformity betrays him when he makes out his reflection in a pool of water, and he realizes why people have fled from him, but still wonders what it would be like if he could keep the family in high spirits. As well as Shelley using these kind deeds to elevate him above Victor, it is noticeable how the creation constantly admires natures beauty, whereas when Frankenstein is building him, the creator simply ignores the scenery and environment around him. His aspiration to do kind things drives the monster to learn to read, and when he finds several books in the woods, he is led by them to ask himself whether or not he has an ultimate purpose, or any purpose at all. This ongoing existential crisis could be debatably the same for humans also, but it has a great effect on the creation because he knows he is different from anything within the books he has studied. He declares himself as a blot upon the earth and curses his creator whom he realizes he did not ask to create him. The main turning point for the monster is during his brief meeting with the blind old man of the DeLacey family. By this point in the novel, Shelley has shown us how his need for emotional warmth has swelled hugely, much as Victors anxiety that almost amounted to agony, shortly before he was to become heavily disappointed also, and drawing yet another comparison between the two protagonists. The creation is well spoken when he finally comes to have a conversation with a member of the family, showing how much effort he has put into his quest for company. The fact that to the blind man he seems like any other normal person helps Shelley to create more sympathy when he is eventually driven away. The creation tells the old man how he tenderly loves the cottagers, confirming the feeling of attachment which has only been hinted at before. But they believe that I wish to injure them, and it is that prejudice which I wish to overcome. This quotation shows how the monster has learnt exactly why he is rejected by human beings, but still hopes that he can salvage some friendship from them. The old man says to him how there is something in his words that persuades him that he is sincere, embellishing further the point that the creation is perfectly capable of passing as a human without his visual deformities. When the two young members of the family return, however, the creation is clinging to the legs of the blind man in a desperate flail for help. The aforementioned prejudice against him causes his actions to be misinterpreted much like earlier in the novel when Victor thinks that the fiend wished to detain him. With his hopes destroyed, the creation grows incredibly angry with human beings and declares an everlasting war against them. After how he has been treated this decision seems like a fair one, as they seem to be the source of all his anguish. There is a strange balance between him and humanity in that although to him they appear to be beautiful creatures that he only wants to interact with; their actions toward him are always negative. Whereas the creations actions toward mankind are at first positive, and to them he appears to be a vile and hideous monster to be scorned and avoided. He insinuates this himself when he finds the locket containing a picture of Elizabeth. I was ever deprived of the delights that such beautiful creatures could bestow in regarding me, would have changed that air of divine benignity to one of expressive disgust and affright. This is exemplified again when he rescues a young girl from drowning and is shot in return; again only trying to do good but seeing his own benign actions misinterpreted. This then leads him firstly to attempt to kidnap William, who even as a young child is shown to be prejudiced against him. To the reader his decision to kill who he knows to be a relative of Frankenstein seems less shocking because of his miserable story so far. Being kind to humans has only resulted in their rejection of him, and so it seems almost justified that he should take the opposite direction. After the deed is done, he tells how his heart swelled with exultation and hellish triumph and goes on to mention how he will enjoy punishing his creator further. Here is the creations transformation into the vengeful being that he is seen as to other characters. When the creation asks for his own companion it is no surprise due to his attitudes toward the creation so far that Victor initially refuses. It is easy for us to be compassionate toward the monster, because he only wants what we has humans mostly want, and that is to not be alone. He does not ask for much, and is willing to be banished and cast away by humankind if he can only have an Eve for him as Adam. As the story in this segment is told from Victors point of view, it contains much less sympathy and we see the creation again from the prejudiced human point of view: his face was wrinkled into contortions too horrible for human eyes to behold . However, Victor eventually softens to the creations plea, and sees good logic in keeping him contented, accepting responsibility for what he has created. I sometimes felt a wish to console him; but when I looked upon him, when I saw the filthy mass that moved and talked, my heart sickened This shows consideration for the monster but this time from Victors point of view. It is again reiterating how other than his appearance and strength, the monster is just like a human, and is capable of feeling emotions and receiving pity. Doubts about the benefit of creating a companion begin to manifest themselves in Victor as he grows nearer to creating his second creature. Unlike the first time he carried out this task, his heart is not in it as he knows that what he creates will be nothing like his original intentions that he had years ago. Just as now all Victor wishes to do is to settle down with Elizabeth, the creations only desire is to have a partner also. It is ironic that after Victor destroys what was to be the monsters companion, the creation says how despite Victor being his creator, he is his creators master. The creation is clearly mortified and crushed by Victors actions, knowing that he has been condemned to suffer alone, even after enduring incalculable fatigue, and cold, and hunger. Victor remains inexorable despite all of the creations threats and in the heat of the moment doesnt seem to care that this choice will probably be his own undoing. Strangely, when being tortured by the fiend, as well as being consumed by guilt, Victor is faintly selfish. He says no creature had ever been so miserable as I was although to the reader it is glaringly clear that the monster has been lonely much longer than he has, and that if the creation is trying to prove a point to his master, then Victor is stubbornly refusing to take note of it. When everything dear to him is lost, he sees that his only remaining duty is to destroy what he has unleashed on the world. His dedication to his final quest is shown at the beginning of the novel, where Waltons description of him shows us how he has driven himself to death. His limbs were nearly frozen, and his body dreadfully emaciated by fatigue and suffering. I never saw a man in so wretched a condition. Here the word wretched is used again, this time to describe Victor, and not the creation, and yet another time Victor has become emaciated by his obsessive want to achieve something, compared with how he became as he was building his creature. Not long before his death, Victor shows us how despite his stubborn nature, he admits that he has failed, and tries to teach Walton that he should avoid ambition. Even if it is too late, this shows a great change in Victors character and his view of the boundaries of humanity before he passes away. The creation boards the boat and recounts some of his point of view to Walton when he discovers his creators demise. In his closing speech, the creation talks about all of the death and destruction that he has wrought. Think you that the groans of Clerval were music to my ears?