Work Motivation

Work Motivation Theory and Research at The Dawn Of The Twenty-First Century Based on this journal, the writers examine progress made in theory and research on needs, traits, values, cognition, and affect as well as three bodies of literature dealing with the context of motivation: national culture, job design, and models of person environment fit. They focus primarily on work reported between 1993 and 2003, concluding that goal setting, social cognitive, and organizational justice theories are the three most important approaches to work motivation to appear in the last 30 years.The writers reach 10 generally positive conclusions regarding predicting, understanding, and influencing work motivation in the new millennium. Miner (2003) concluded that motivation continues to hold a significant position in the eyes of scholars. Miner’s conclusion is based on a comparison with other middle range theories of organizational behavior (OB). The question remains on an absolute standard, m otivation theory and research have fared well over the last quarter of a century.In answering this question, we provide a definition of the construct and an assessment of how the field of motivation in the workplace has evolved and progressed since the year in which the last chapter devoted exclusively to this topic appeared in the Annual Review of Psychology (ARP). We selectively review theory and research, emphasizing work published in the past decade, 1993–2003, with special emphasis given to research on contextual effects and mediating mechanisms.Work motivation is a set of energetic forces that originate both within as well as beyond an individual’s being, to initiate work-related behavior and to determine its form, direction, intensity, and duration (Pinder 1998). where motivation is a process resulting from the interaction between the individual and the environment. However, because of space limitations, the writers just focus on national culture, job design cha racteristics, and person-environment fit, omitting reviews of other exogenous sources of motivation.MOTIVATIONAL FRAMEWORK The framework used in reviewing the literature is consistent with Locke & Henne(1986). Needs is followed by a focus on (b) personal traits. An individual difference variable rooted in needs is (c) values. Because context affects the extent to which needs are met and values are fulfilled, emphasis is given to (d) national culture, (e) job design characteristics, and (f) person context fit. Needs and values affect (g) cognition, particularly goals. Cognition plays an integral role in each of these concepts.Although (h) affective reactions need not depend on cognition (Bandura 1997), the two usually are reciprocally related (Lord & Kanfer 2002). Finally, affect is influenced by culture as well as by organizational norms (Lord & Harvey 2002). We close with an (i) assessment of progress in the field since 1977. NEEDS Aslam et al. (2000) presented a process-based anal ysis of need structure and need salience derived from the social identity approach to organizational behavior.When personal identity is salient, needs to self- actualize and to enhance self esteem through personal advancement and growth become dominant. When social identity is salient, the need to enhance group based self-esteem through a sense of relatedness, respect, peer recognition, and attainment of group goals dominate. They stated that McGregor’s (1960) Theory Y assumptions apply when the supervisor and employee share the same identity; Theory X assumptions apply when they do not do so. 2 People are motivated to attain goals that are compatible with their self-identity.Needs associated with a specific group membership are internalized; they serve as a guide for behavior in a specific working context. Need-based theories explain why a person must act; they do not explain why specific actions are chosen in specific situations to obtain specific outcomes. Moreover, they d o not easily account for individual differences. Hence, along with increased attention to needs, there has also been a resurgence of interest in individual differences, particularly with regard to the effects of job characteristics on employee motivation.TRAITS In summary, the importance of personality in predicting, understanding, and influencing choice, affect, and performance has been shown, as well as the importance of job characteristics (e. g. , autonomy) as a mediator/moderator. An issue identified by Locke & Latham (2004) that has yet to be addressed is how general variables such as personality are applied to and are mediated by task and situationally specific variables in affecting performance, or how they are moderated by situations and affect situational structuring and choice.Locke (2001) showed that values and personality work through goals and self-efficacy to influence performance. Yet it is likely that some trait effects are direct and thus are not mediated. Research is needed on if, when, and why this occurs VALUES Values are rooted in needs and provide a principal basis for goals (Locke & Henne 1986). Locke & Henne (1986) argued that values are inherent in most work moti- vation theories. These theories focus on the influence of one or several particu- lar values, such as perceptions of fairness on action or on the effects of values in general (expectancy theory).CONTEXT As a result of globalization, however, values have been studied within the context of a person’s culture and job as well as person-environment fit. National Culture In an attempt to tie together needs and values, Steers & Sanchez-Runde (2002) stated that national culture determines three key sets of distal sources of motivation: (a) people’s self-concept, including personal beliefs, needs, and values; (b) norms about work ethic and the nature of â€Å"achievement,† tolerance for ambiguity, locus of control, etc. ; and (c) â€Å"environmental factors†.Based on their conceptual model, the authors concluded that these distal factors influence self-efficacy beliefs, work motivation levels, and goals, as well as the nature of incentives and disincentives to perform. Building on research findings of other scholars, Leung (2001) has offered four hypotheses for further research: (a) work teams in collectivistic cultures have higher levels of unconditional benevolence and positive social identity that, in turn, lead to higher levels of in-group involvement than is the case for groups that value ndividualism; (b) productivity and performance levels are more homogenous (not necessarily higher or lower) in collectivistic cultures than in individualistic cultures; (c) motivational strategies by superiors have more effect on subordinates in cultures with high levels of power distance than in cultures low in power distance; and (d) negative reactions from supervisors in high power-distance cultures generate more negative reactions among wor kers than is the case in low power-distance cultures.Job Design Characteristics Gustafson & Mumford (1995) reported that the ability of personality measures to predict performance as well as satisfaction increases when characteristics of a job are taken into account. Job autonomy can facilitate the time necessary for learning and development, which in turn improves job performance (Wall & Jackson 1995).Cordery (1997) argued the necessity of differentiating the importance of three dimensions of job autonomy, namely (a) method control as defined by the amount of discretion one has over the way in which work is performed, (b) timing control in terms of the influence one has over scheduling of work, and (c) discretion in setting performance goals.He found four interrelated dimensions that affect job autonomy, namely the extent to which the supervisor (a) provides clear attainable goals, (b) exerts control over work activities, (c) ensures that the requisite resources are available, and (d) gives timely accurate feedback on progress toward goal attainment. PERSON CONTEXT-FIT The basic assumption underlying these models is that the relationship between person variables (such as needs or values) and both individual and organizational outcomes is contingent upon various features of the environment (such as the job, the organization, or culture).These models originated from Shaffer's (1953). He used Murray’s (1938) needs to develop a goodness-of-fit model that takes into account individual differences in needs as well as the characteristics of jobs. Cable ; DeRue (2002), through a confirmatory factor analysis, found that employees differentiate among three varieties of fit: (a) person-environment fit (in which the focus is on organizational outcomes such as organizational identification and turnover decisions); (b) â€Å"needs-supplies† fit (in which the primary focus is on career-related outcomes such as employee satisfaction) and (c) job demands– employee abilities fit.COGNITION As Locke ; Henne (1986) observed, cognition is inherent in motivation. The sensations of pleasure and pain are informational. Based on needs, values, and the situational context, people set goals and strategize ways to attain them. Goal-Setting Theory A meta-analysis by Zetik ; Stuhlmacher (2002) revealed that negotiators who have specific, challenging, and conflicting goals consistently achieve higher profits than those with no goals. Consistent with goal-setting theory, the higher the goal, the higher the outcome.No effect was found for participation in setting goals. Contextual Conditions Seijts ; Latham (2000b) examined the applicability of goal-setting principles when personal goals are potentially incompatible with those of the group. They found that social dilemmas are boundary conditions for the usual positive effects of goal setting. Self-enhancing personal goals have a detrimental effect on a group’s performance. Audia et al. (2000) found that past success increased strategic decision makers’ satisfaction, and satisfaction led them to increase their past strategies.Higher satisfaction was associated with higher self-efficacy and higher performance goals that increased dysfunctional persistence subsequent to a radical change in the environment. Implementation Intentions and Auto-Motive Goals Gollwitzer (1999) found that goal intentions that are accompanied by implementation intentions on tasks that are complex for people lead to a higher rate of goal attainment than do goal intentions only. An implementation intention is a mental link that is created between a specific future situation and the intended goal-directed response. Thus, it is subordinate to goal intention.Implementation intentions specify when, where, and how behavior is likely to lead to goal attainment. By forming implementation intentions, people strategically switch from conscious effortful control of their goal-directed behavior to being automatically controlled by situational cues. Bargh ; Ferguson (2000) summarized research findings that show that automatic or nonconscious goals produce the same outcomes as conscious goal pursuit in information processing, memory storage, social behavior, and task performance, as well as in self efficacy, self evaluation, and mood state. FeedbackAshford et al. (2003) stated that the processing of feedback likely involves monitoring the environment in an automatic preconscious fashion through visual, auditory, and relational cues. In their enumerative review, Ashford ; Black (1996) also suggested three primary motives for feedback seeking: instrumental to attain a goal and perform well, ego-based to defend or enhance one’s ego, and image-based to protect or enhance the impression others have of oneself. Self-Regulation Goal setting and feedback seeking in relation to goals are the core of self-regulation (Latham ; Locke 1991).Self-regulatory processes supporting goal impleme ntation were examined by Gollwitzer ; Bayer (1999). They offered a time perspective on goal striving and self-regulatory processes as mediating the effects of intentions on behavior. The latter consists of four phases: predecisional (choosing among competing wishes, based on expected value); preactional (forming implementation intentions in the service of the goal intention); actional (bringing goal direct actions to a successful end); and postactional (evaluation as to whether further action is necessary)Expectancy Theory After reviewing the literature, Ambrose ; Kulik (1999) concluded that little or no advances have been made in expectancy theory research in the past decade. Ambrose ; Kulik concluded that there are few theoretical or applied reasons for additional research on the application of this theory to organizational behavior Social Cognitive Theory SCT research shows empirically that the effect of environmental antecedents and consequences are mediated by cognitive variabl es.SCT emphasizes dual control systems in the self-regulation of motivation, namely a proactive discrepancy production system that works in concert with a reactive discrepancy reduction system (Bandura 2001). Thus, people are motivated by the foresight of goals, not just the hindsight of shortfalls. A specific high goal creates negative discrepancies to be mastered. Effort and resources are mobilized based on anticipatory estimates of what is necessary for goal attainment. AFFECT/EMOTION Mowday ; Sutton (1993) argued against an overemphasis on cognition in the study of motivation.This is because moods and emotions influence the attainment of complex long-term goals (Lord ; Kanfer 2002) and are interrelated with the other constructs we have discussed. Erez ; Isen (2002) showed that people with higher levels of positive affect exhibited higher levels of persistence, effort, self-reported motivation, and performance on two different tasks. Positive affect was associated with higher lev els of valence and expectancy beliefs at these tasks as well as higher levels of instrumentality beliefs at one of them. Organizational JusticeA significant body of research on work motivation that has appeared since Korman et al. ’s 1977 review is conceptualizations of organizational justice (Greenberg 1987). These studies, based on sociolegal research of disputants’ reactions to a conflict resolution, supplement Adam’s equity theory, the fundamental idea of which is that individuals develop beliefs about the inputs they provide in their employment relationship as well as about the outcomes they receive in return, and they form attitudes about the ratio between inputs and outcomes in relation to the corresponding ratios they perceive among comparison others.The premise of organizational justice is that fair procedures enhance employee acceptance of organizational outcomes. second premise, namely that in addition to being fair, leaders must be perceived as fair with regard to outcomes and processes that serve an important psychological need (Greenberg 1990). CONCLUSIONS First, three theories dominate the motivation literature: goal-setting, social cognitive, and organizational justice. Second, whereas theory and research in the third quarter of the twentieth century focused almost exclusively on cognition (Latham ; Budworth 2004), this is no longer true.Third, the ability to predict, understand, and influence motivation in the workplace has increased significantly as a result of the attention that has been given to all rather than only a few aspects of an employee’s motivation. Fourth, whereas the dependent variables historically studied were limited to traditional measures of job performance and satisfaction, today’s dependent variables range from citizenship to counterproductive behavior. Fifth, Cronbach’s (1957) plea a half century ago for experimental and correlational psychology to combine forces has been heeded.S ixth, the importance of context to motivation has been recognized much more in recent years than in the past; so much so that an additional chapter could be devoted to it. Seventh, these advances in the study of motivation may reflect the fact that this subject is no longer restricted to the research findings of North Americans. Eighth, behavioral scientists in the latter half of the twentieth century responded positively to William James’ exhortation to systematically study consciousness. Ninth, the antagonisms among theorists that existed throughout much of the twentieth century have either disappeared or have been minimized.Tenth, the nomological nets related to work motivation constructs are thicker and tighter than ever before, but the size of the aggregate net (metaphorically speaking) is not growing at a rate commensurate with the energy that scholars and practitioners have invested since 1977. Accordingly, Steers (2001) recently recognized the limitations of current t heory and research in work motivation, and issued a call for groundbreaking papers for publication in a special edition of the Academy of Management Review in 2004. It is too soon to assess whether any of the papers published in response to his call will

Do or die

Good and evil, are two separate things. Good represents virtue, righteousness, and honor where as evil represents hatred, anger, and cruelty. The Crucible shows characters that represent not only goodness, but evil as well. The ones who represent true love and good are John Proctor and Elizabeth Proctor. They both show what goodness is in Salem and who is the real witch or devil.Abigail Williams is a young irl who claims she is cursed by the devil and that people are sending devils to kill one another. Abigail represents evil in Salem in the worst ways possible. In the novel The Crucible, written by Arthur Miller, shows how John Proctor and Elizabeth Proctor are representing the angels that portray love and respect, as Abigail Williams represents the role of the devil's child which portrays hatred. Love comes from deep affection as a mother, sister, or even a child. The two married couple,Elizabeth and John Proctor both represents what real love and goodness is in this book. â€Å"l have no love for Mr. Parris. It is no secret. But God I surely love† (94). In this quote, it shows the honesty John Proctor claims. Everyone in Salem keeps up with rumors and never speaks up the truth. John Proctor does not act as a hypocrite and rather expresses his feeling of honesty towards Mr. Parr's. â€Å"Do what you will. But let none be your Judge. There is no higher Judge under Heaven than Proctor 39).In this quote Elizabeth Proctor explains that although everyone Judge the Proctors, John should know only God is his Judge, and under heaven there is no Judge higher than himself. Although goodness expresses love and care, there is always evil in everyone's life. Hatred expresses extreme aversion or hostility. Abigail Williams is a young girl who claims her and a group of girls have been possessed by witch craft. Abigail shows her affection by accusing innocent civilians in Salem claiming†¦

Data collection methods Assignment Example | Topics and Well Written Essays - 1250 words

Data collection methods - Assignment Example The authors prescribed and used a three group repeated measure design. The study was done on groups of consenting patients receiving home care from a non profit hospice. The care givers chosen were subjected to experimental training in the COPE (acronym creativity, optimism, planning, and expert information) intervention, on symptoms management. Instruments used were the numeric rating scale. NRS was used to measure the intensity of pain with zero representing no pain gradually increasing to ten that represents the worst or most intense pain. The dyspnea intensity scale was used to rate the intensity of dyspnea on a (0-10) scale. The constipation assessment scale, which is an eight item, three point that is - patients describe their states no problem, some problem and severer problem, summated rating scale whose function is to detect the presence of constipation and subsequently measure its intensity. The memorial symptom assessment scale (MSAS) that measures the distress caused by a symptom. The last instrument is the Hospice Index Quality-Of-Life Index HQLI. The NRS was found to be reliable; this was ascertained by comparing its results with those found by using other scales such as the visual analogue scale, the box scale, verbal rating scale and a four point and five-point verbal rating scale. It was found that there were similar results in the number of subjects who responded correctly therefore supporting the predictive validity of each measure. The validity of the dyspnea scale was based on the opinions of previous scholars, (McCord and Cronin-Stubbs 1992; Silvestri & Mahler). As for the constipation assessment scale, the authors rated this instrument as sensitive and reliable, owing to the test retest that provided a brief delay that was seen as a strong evidence of reliability. (MSAS) was rated as valid by the authors because of its high correlations with clinical status and QOL. The Hospice Index Quality-Of-Life Index was rated as valid because of its ability to differentiate between hospice patients and apparently healthy controls. 3) Â   Â   Â  What limitations did the authors face in data collection? How could these have been lessened or minimized? Challenges faced in data collection included the study was conducted on a hospice population and therefore there was slow accrual and high attrition. Another factor is that they had a small sample and therefore could not conduct model testing. 4) Â   Â   Â  What demographic information was reported? Demographic information includes the age of the participants. The level of education the participants had attained and in terms of in years. The genders of the participants whether they were male or female. 5) Â   Â   Â  What were the variables that were studied? The variables tested include the intensity of pain, constipation, QOL , symptoms distress and dyspnea. 6) Â   Â   Â  Did there exist any inferential tests used in the scrutiny of raw data in this study? If so, what were they? There were inferential tests. This were based on the findings of bodies such as the national hospice and palliative care organization (2005), the findings mirrored those of the author for instance; close to 63% of patients are 75 years and older and therefore don’t last long, they die shortly after joining the hospice. 7) Â   Â   Â  Discuss the use of any figures, graphs and tables. Was the information conveyed in an understandable and meaningful way? The author has used a flow chat giving the detailed progress of the dyads in the study. The chat is clear and straight to the point. The author has also used a graph indicating the progress of the patients in response to the cope intervention and the progress of those who were receiving standard care and support, the graph is clear

Catastrophes, Cultures, and the Angry Earth Essay

Catastrophes, Cultures, and the Angry Earth - Essay Example â€Å"The waters came and took our house and all of our belongings. Now we have returned and officials tell us that we can’t rebuild here, our land will be used for something else. This is our land, we want it back, and we want our lives back.† -----Anonymous Survivor in Aceh, 2005 â€Å"We would all love to see Tokyo rebuilt along the lines of Paris or Berlin, but do we have the resources? No! Why should people in rural areas who suffer each year, toil and sweat yet more for those of Tokyo? Rural areas need attention too, they are the foundation of the nation.† -----Japanese Parliamentarian, 1923 Answer: In the course, the main idea being taught revolves around the nature of the human society specifically during the time of catastrophes and disasters. Based on the quotation that introduced the course according to the historian Marc Bloch, calamities are instruments that help see, study, and analyze the nature of human society. This can be attributed to the fact that as a human body, society has the capacity to maintain, to operate, and to defend itself. It also has the capacity to rebuild once it had been destroyed. The only question in the process of coping with the different forms of trials and disasters is the manner by which it can be undertaken. The course is aimed to open the minds of the students to the need for larger and more holistic objectives in the society which can help understand the reason for the need for continuous improvement of the different groups in the society such as political, economic, and social institutions. Due to the continuous exposure to natural disasters, human society had learned to establish ways and means to cope with the effects of calamities and disasters. The lessons of the pasts and the technologies of the present are used as tools to plan and to cope with possible dangers in the future. Discussion of the First Quote: Calamity in Aceh The first quote was expressed by an anonymous survivor in the calamity that affected Aceh in 2005. Based on the quote, aside from the natural calamity which is the flood that affected many lives, there are other issues that hinder the process of recovery and reconstruction. Upon the return of the survivors to their land, officials prohibited reconstruction. Thus, the aside from the fact that the natural calamity took their home, the social and political issues and policies affected their land. There are different issues that can be discussed in the quote since it expressed a view of the different dynamics that can occur in times of disasters. One is the background of the disaster in Aceh. Aceh, formally known as Nanggroe Aceh Darussalam (or the State of Aceh, Abode of Peace) is considered as one of the most Islamic region of Indonesia. The culture and traditions of Aceh is strongly based on Islamic principles and practices. For that matter, religion can be considered as one of the guiding view in times of major calamities and natural disasters (Clarke, Fanany, and Kenny, 2010, p. 30). Due to the influence of Islam in the culture of Aceh, it is considered as one of the main context in terms of the study of the event of 2005. The Islamic law, or sharia, is known to affect the post-tsunami state of Aceh resulting to the question on the re construction and rehabilitation efforts in the area. The political policy in the state had been considered as one of the most highlighted factor in the rehabilitation problems since it is the only state in the country that applies Islamic law. The application of religious laws on political context can be considered as a point of continuous criticism since it can greatly affect the road to reconstruction of Aceh (Clarke, Fanany,

BHE 415 - Community and Domestic Violence (Module 4-CBT) Essay

BHE 415 - Community and Domestic Violence (Module 4-CBT) - Essay Example So abuse is more serious than the neglect even though neglect is also termed as an abuse. Mr. Jones is an 80 year old male who has recently experienced a decline in health status. His daughter Jane, who abuses alcohol, has recently moved in with him, as she lacks the monetary resources to live alone. She has assumed a care-giving role. Mr. Jones senses that she resents caring for him, and has become somewhat fearful of her. He seeks information concerning his fears. It is extremely important to let Mr.Jones know what is termed as abuse and what are the typical characteristics of the abusers. This information will not only help him to know his rights but also will help him to call for help immediately if he finds the signs of abuse hence preventing major injury. Physical abuse is the type of abuse where the caregiver or any other person uses physical force with the intention of causing harm to the person who is old. Not only slapping, beating and striking but also physical restraint, tying with rope, force feeding and inappropriate use of drugs is also considered physical abuse. This kind of physical violence can result in bruises, scars, injuries and also death (Quinn & Tomita 1997 p49). Sexual abuse is defined as a sexual contact with the elderly person which is not consensual. This includes rape, forced nudity, sexually explicit photography, touching the genitals or breast etc. This is one of the most traumatic kind of abuse as it is not evident from physical examination. It can cause depression and sadness and can make elderly person to lose hope about life. The emotional abuse are of

Housing as a Common Need Essay Example | Topics and Well Written Essays - 750 words

Housing as a Common Need - Essay Example Lastly, the option of renting a house with a group of friends. It is an option that shows sociable tendencies in a person, whereby he puts himself deliberately into a position where he can be amongst others in more ways than one. This tendency is a derivative of harmony, and highlights increased affinity for others within a person. It is purely an option that is driven by the need for recognition and approval. The probability is that the option and its consequences are familiar to the common public; hence adopting this path is no new thing. In fact, doing this enables a person to be a part of a group or a type of person that he idolizes in terms of actions. Renting a house with a group of friends exhibits social supremacy. It depicts the intention of a person to have the want to go beyond limits in order to acquire social recognition. It is similar to another lion wanting to enter a pride. He feels that this is the only way the conflict pertaining to dominance can be resolved - by jo ining the group! With renting a house with a group of friends, the person has speculated a possible response that is likely to come from the people concerned. The individual may not do so in a place which provides him with uncertainty. His prior interaction and conception of the place is the primary factor which enables him to do the deed, otherwise, it would not actualize. The second option of renting a single apartment is the  second best option. It amounts to a much greater hassle as far as the intensity and repercussions are concerned. Options of housing in this realm are actually a type of escape, in which one is venting out the excess energy that is been surmounted due to other pressures and unresolved aims.   Willfully committing an option that is likely to harm another person is representative of suppressed rage and anger, which has not been able to come out in a healthy way.

International Advertising WPP's Digital Push Essay

International Advertising WPP's Digital Push - Essay Example In order to ensure sustenance in today's globalized scenario, the advertising industries need to redesign, reframe and refurbish their approach to the overall concept of advertising. The competition in the contemporary advertising industry is not so much about scoring over one's rivals, but more about assuring a timely transition from traditional business models to E-business models. 1. Survival in the Contemporary Advertising Scenario is a Fast-paced and Perpetual Process: The traditional advertising business was more of a predictable and a relatively lethargic system that resorted to and adapted to change at a slow pace. However, the contemporary advertising industry being dependent on internet and information technology is a perpetually evolving and a continually altering business. The advertising professionals ought to be always on their toes to benefit from and incorporate the upcoming opportunities unleashed by technological changes. 2. 2. Resistance to Change is Death: Considering the ongoing shift towards online approaches, the advertising professionals need to embrace digital technology as not one another option, but the ultimate way the businesses will conduct themselves. This calls for a marked shift in the mindset and individual perceptions. With a bulk of revenues coming from Web marketing, resistance to change means a sure death. 3. Don't Expect Well Defined and Clear Cut Adversaries and Friends: The digitalized advertising industry of today is not a battle ground, but a global market that requires an amorphous approach that can make way for a simultaneous collaboration and competition between the key players, based on the identification of opportunities and ensuing challenges (Steel 2009). 4. Do not Expect Ignorant Customers: The contemporary advertising industry will have to grapple with the customers who are well informed and cognizant of their requirements. The customers today are immaculately choosy about the advertising solutions that can serve their needs. 5. Synergy is the Name of the Game: Big advertising companies should visualize themselves as a fluid talent pool that can exploit the abilities and resources scattered across the organizations to assemble compatible and seamless virtual teams (Koncept Analytics 2007). 6. Do Not Worry About who Gets the Credit: A digitalized advertising industry is an amorphous and faceless business in which individual organizations and personalities are always less important then the challenges being faced and the ensuing solutions. An unrestrained quest for recognition may make the system rigid and unresponsive. 7. Never Get Satisfied: In a market defined by change and innovation, satisfaction and complacence means deterioration, at least in a relative sense. Always keep an eye on the emerging changes, and in fact visualize and expect the things to change. 8. Vision is a Must: A thorough vision of the nature of things to come and panache for imagination and

Discussion Essay Example | Topics and Well Written Essays - 500 words - 39

Discussion - Essay Example Currently, Europe hosts a number of workforce who are from various countries and various continents, and they make up 6% of the workforce population in Europe. However, with migration especially excessive migration comes several challenges, for example, one of the greatest challenge is marginalization of immigrants in cities, schools and at the workplace (Sutherland & Malmstrom para1). Unlike the United States, Europe has not come to the acknowledgement that there is land for immigrants in Europe so as to cater for the high number of people born in European land. Another challenge is finding jobs, which is highly difficult for blacks and other immigrants as priority is only granted to whites. In addition, acquiring loans for housing is difficult for an immigrant, thus, most end up not owning homes. In order to survive, most migrants enter into marriage with the citizens in order to have access to the country’s resources and attain good welfare. Finally, there is a lack of clea r guidelines and policies on migration and related issues. Russia interferes in the politics of its neighbors, which has resulted in widespread protests in countries like Ukraine. It even led to skirmishes with countries like Georgia. Is Russia correct to keep its neighborhood under its influence? Is the United States still in a position of moral superiority to condemn Russian tactics? What are your views? Russia has been on the world headlines for all the wrong reasons during the past years. Its emergence as mighty country has seen it interfere with the politics and issues of her neighbors at will. A recent one is the Ukraine crisis, in which to make matters worse, she warns the western countries against involvement in the Ukrainian crisis; thus, frustrate all chances of bring the crisis to an end. I think that the actions of Russia are uncalled for, especially interfering with its neighbors political affairs. Every country is sovereign, and Russia

Chronic physical health problem Essay Example | Topics and Well Written Essays - 250 words

Chronic physical health problem - Essay Example The major considerations in primary prevention of health problems include applying efforts to prevent diseases before they occur and adoption of measures to protect ourselves and others from unhygienic lifestyle. Nursing community can be involved in primary prevention by raising awareness among the patients about healthy lifestyle and strengthening their abilities to cope with physical and environmental stresses. Secondary prevention revolves around detecting early symptoms, taking steps to shorten the pathological process, and restoring the normal patient’s normal state of life. Nursing community can get involved in this by being responsible enough to keep the record of all the laboratory investigations so that early symptoms could be identified. Tertiary phase of prevention is primarily based on making efforts to raise the functioning level of patients once the disease passes into irreversible phase. Nursing staff can play its role here by utilizing the clinical knowledge so that awareness could be raised among patients about how they can maintain their lifestyle within the constraints of the disability (Lundy & Janes, 2009, p.

New Museum of Contemporary Art Research Paper Example | Topics and Well Written Essays - 750 words - 2

New Museum of Contemporary Art - Research Paper Example In the article, Holland describes the new works of art under exhibition assembled by Ryan Inouye. The works of art described are a clear indication that the traditional and appealing work that was adorned in the museum were slowly being replaced by modern and young artworks which neglect most of the art principles. The assembly is mainly centered at attracting human megaphone through formal gestures, social engagements and conveys an emphatic tone. This has been associated with the global reach target that has resulted in most of the artists to come from outside the United States. Only four of the fifty artists in this exercise came from the United States. This was evident before the ‘American Whitney Biennial’ when the lobby gallery of the museum had two collections; one from the Middle East and the other from Africa. The occasion also had only one artist and was from Colombia, Gabriel Sierra. Thus ‘The Ungovernables’ article by Holland supports the argumen t that the ‘New Museum’ has been transformed and is now characterized by political commentary coming from young artists below the age of 30 years(Holland 120). On the emerging survey trends and the artists recognized by the media, the article by Vogel Carol, titled ‘Whitney Museum’s Survey of Contemporary Art’ published on February 17, 2002, featured the climax of this trend that had never been witnessed before. Vogel argues that contemporary art planet in New York had never witnessed any alignment like this and this will take some years before it is witnessed again.

Preferred language style Essay Example for Free

Preferred language style Essay Conduct a debate on: Most job candidates are concerned with baseline pay. Incentives and benefits do very little to persuade a candidate to accept an organization’s employment offer if baseline compensation is slightly below the candidate’s expectations. Incentives and other benefits are frequently given lesser importance by the candidates who want to join a new job. There are several reasons for this:- 1. Many of the employees do not give enough of importance to benefits and incentives that are not financial. They usually focus on improving their pay packages rather than their non-pay benefits. 2. Many candidates may not be sure whether they would be able to earn the incentives and other benefits provided. They would feel that such packages are merely eyewashes so that the job appears attractive and are able to take it up. 3. People often evaluate growth rate and the development rate in terms of monetary funds than by determining the incentives and other benefits. 4. Baseline pay is given greater importance to fairness by the employees than the incentives. 5. The external competitiveness is greater when the employees are being paid a higher baseline salary compared to incentives. 6. When the candidate comes for the interview for the job, he/she may consider to job duties to be tough. In such a circumstance, he/she would be considering earning the incentives very difficult, and hence would be looking at increasing their baseline salary. 7. People would more easily settle down for a job that offers more security (one that gives higher monetary funds) compared to those that are insecure and offer incentives. 8. Some employees may consider incentives as a form of encouragement for doing extra work. Many employees may even feel that incentives may prompt them to work beyond working areas, which may be not liked. References: Frederiskon, L. W. (1983). â€Å"Contents. † Journal of Organizational Behavior Management. http://www. haworthpress. com/store/Toc_views. asp? TOCName=J075v05n01_TOCdesc=Volume%3A%205%20Issue%3A%201 HRMC (2007). Baseline Pay, Retrieved on June 12, 2007, from My Own Private Radio Web site: http://www. citehr. com/baseline-pay-vt1462. html My Own Private Radio (2006). On employee compensation – note #3, Democracy in Action, Retrieved on June 12, 2007, from My Own Private Radio Web site: http://myownpirateradio. com/2006/02/13/on-employee-compensation-%E2%80%93-note-3-democracy-in-action/

Evolution Of The Concerto Grosso Music Essay

Evolution Of The Concerto Grosso Music Essay Describe the evolution of the concerto grosso from its origins up to the time of JS Bach and Handel. Include references to specific composers and works. The concerto grosso is an early form of concerto which is distinguishable from other types of concerto by its two groups of instrumentation, the continuo and the repieno. Concerto grosso translates roughly as great concerted performance. Late in the renaissance period composers such as Giovanni Gabrieli were using methods of contrast and opposition in their works, evident in Gabrielis polychoral canzonas, which were so effectively developed in St marks Cathedral, Venice. The use of St Marks many choir lofts brought new timbres and techniques to such composers, which would develop further in the Baroque era. As in the polychoral music of Gabreili, the concerto grosso would set a concertino small group of solo instruments against the ripieno a full string orchestra. Typically there would be a basso continuo which would be a harpsichord or an organ which would add texture to the ripieno and would support the continuo with harmonies. Ritornello form will typically be found in the faster movements of concerto grossi, the ritornello will start, played by the ripieno, the concertino will then join in stating the main theme. The ritornello and concertinos episode will then alternate with the main theme being reintroduced shortened, altered or in full. TUTTI SOLO TUTTI SOLO TUTTI RITORNELLO CONCERTINO RITORNELLO CONCERTINO RITORNELLO This pattern would happen many times and in different keys, but the main theme wouldve been likely to be repeated in full, and in the tonic key, only at the end. Although this form looks to be quite clear cut, there were many variants, composers such as Corelli, Handel and Vivaldi experimented with the form. The origins of the concerto grosso can be found around 1675, one of the first concerti grossi is by Alessandro Stradella (1642-82), but some of the more celebrated early works are the twelve concerti grossi of Corellis opus six. These works of Corelli seem to have been key in the emergence the concerto grosso. Written in 4, 5 or even six movements and alternating between fast and slow, Corelli based his musical ideas on dances of the baroque period like the allemande, the courante and the gigue. In these compositions Corelli had started to define a strong contrast between soli and tutti, which may have developed from his church sonatas. The development of the orchestra during this period had an effect on the evolving concerto grosso. The relatively new violin family had replaced that of the viols and players were becoming specialists, giving composers more flexibility when writing. Whilst there was no standardisation of the baroque orchestra, it would consist predominately of stringed instruments of the violin family which would double on parts as the colour of timbre was quite limited. The three keyboard instruments of the time, the clavichord, the organ and the harpsichord all benefited from the now commonplace tempered tuning technique. This era started to see virtuosic performers arise in musical schools, mainly in Italy. For example, in the church of San Petronio, Bologna, there was a regular group of performers who became accomplished in there fields, but when the occasion suited ensembles were increased in size by the use of more modestly talented instrumentalists. This created a different standard of difficu lty between the concertino solo passages and the fuller repieno episodes. One of the most notable figures in the Bologna School was Giuseppe Torelli (1658 1709), Torelli contributed a lot to the development of the concerto grosso. It was he who settled on a three movement, fast slow fast structure. In his opus eight concerti, he has developed a distinctive style with a very clear use of the ritornello form in his allegro movements. It is here in the time of Torelli that the markings of a typical concerto grosso start to emerge with its allegro adagio allegro structure, the strong and strict use of ritornello form and then the use of more virtuoso writing for the continuo instruments. With this three movement structure becoming almost standard it is by the works of Antonio Vivaldi that it becomes established. Vivaldi shows a development of melody and rhythm, writing in distinct form which had grown to be expected of a baroque concerto, but at the same time he enhanced the writing of solo lines in a way seen previously by Torelli and Albinoni. Vivaldi started to introduce wind instruments such as flutes, bassoons and horns to the orchestra and sometimes to the continuo, which, in turn led to a more colourful demonstration of timbre. The adagio movement became just as important to Vivaldi as the allegro movements, gaining equal importance; this is something which other composers such as Johannes Sebastian Bach took into their works. Around 1720, Johannes Sebastian Bach wrote a set of six concerti of which three were concerto grosso, numbers 2, 4 and 5. Bach was influenced by the works of Corelli, Albinoni and Vivaldi but started to create more complex texture with counterpoint and sonority. Although developing the style of writing, he largely conformed to the structure set before him. George Fredric Handel (1685 1759) differed here, whilst still writing with the newer, more complex techniques his concerti grossi were more in keeping on a structure basis with those of Corelli. In his concerti he uses more movements and relates them to the baroque dances, for example, opus six, concerto grosso no six. Within this work there is an opening larghetto e affettuoso, a fugal allegro, a pastoral in the form of a musette en rondeau and a minuet like allegro. The concerti of Handel show diversity and variety, which may be due to the fact he was more travelled than other composers of his time. It was during the period of Vivaldi, Bach and Handel that the concerto grosso was to become less popular amongst composers, the writing of virtuoso lines leant itself better to the solo concerto, although the term concerto grosso has still been used in the 20th century by composers such as Bloch and Vaughn Williams. Word Count 992 SUBMISSION 1 ASSIGNMENT TWO Assignment 2A Question 2 Discuss the variety of instrumentation in Bachs Brandenburg Concertos. Johannes Sebastian Bach used an extremely varied combination of instruments in his set of Brandenburg Concertos. For the period, late baroque, it was almost experimental, leaving no stone unturned as he searched for the sonority to compliment his distinctive counterpoint. Because the instrumentation is so varied I will describe each of the concertos separate scoring before discussing the many combinations and instruments. Brandenburg Concerto No. 1 in F major Instrumentation Concertino Two Corni da Caccia (Natural Horn), Three Oboes, Bassoon and a Violino Piccolo (Small Violin). Ripieno Two Violins, Viola, Cello and Basso Continuo (Harpsichord). Brandenburg Concerto No. 2 in F major (Concerto Grosso) Instrumentation Concertino Tromba (Trumpet), Recorder, Oboe, Violin Ripieno Two Violins, Viola, Cello and Basso Continuo (Harpsichord). Brandenburg Concerto No. 3 in G major Instrumentation Concertino Three Violins, Three Violas and Three cellos (split into three groups of equal instrumentation). Ripieno Basso Continuo (Harpsichord). Brandenburg Concerto No. 4 in G major (Concerto Grosso) Instrumentation Concertino -Violin and Two Flauti decho (Recorder). Ripieno Two Violins, Viola, Cello and Basso Continuo (Harpsichord). Brandenburg Concerto No. 5 in D major (Concerto grosso) Instrumentation Concertino Harpsichord, Violin and Flute. Ripieno Violin, Viola, Cello and Violone. Brandenburg Concerto No. 6 in B flat major Instrumentation Concertino Two Violas and a Cello. Ripieno Two Viola da Gamba (In unison), a Cello, a Violone and Basso Continuo. There are many things which strike you about Bachs instrumentation when you see it classified in this way. Firstly, for the period, it seems to be quite experimental and certainly in Concerto No. 6, the use of the Viola da Gamba, a somewhat dated instrument of the time, could suggest Bach was searching hard for exactly the texture he wanted, or that in fact Concerto No. 6 predates the other five and is not as the date on the presentation score. This concerto also displays a lack of treble instrumentation, creating a much darker timbre. Also on show is Bachs exposition of wind ensemble, Concertos No. 1 and No. 2 display wind groups as the concertino, adding a real sense of colour and texture to the works. The Harpsichord makes an appearance as the soloist in Concerto No. 5, showing a reluctance to conform to the standard practise of keeping the keyboard instrument in the continuo. Amongst the scoring of the Brandenburg concertos are some Instruments which may be unfamiliar to todays audience. In Concerto No. 1, the only brass instruments are the two Corno da Caccia. Now this is not the Horn that we know today, but would have been a small, natural, valve less horn, not to dissimilar to a hunting horn. This instrument allowed Bach to write the same virtuosity as for a trumpet, but would have given slightly less edge to the sound. The Flauti Decho of the fourth concerto stirs up a lot of debate as to exactly what instrument Bach actually meant. Malcom Boyd, in his book Bach, The Brandenburg Concertos discuss the possibility of the Flauti of the second concerto, the recorder, being the same instrument as the Flauti Decho and in fact not a different version at all. This is a matter that many academics are yet to agree on. The Violin Piccolo is scored in the first concerto amongst the concertino, this instrument, as the name would suggest, is a smaller version of the violin we know today. The violin piccolo is recorded as being pitched either a minor third, or a fourth above the concert violin, but as Malcom Boyd writes in his book It is doubtful whether one can really speak about the violin piccolo as one might about the violin or the viola. Concerto No. 6 gives us the Viola de Gamba, An older instrument, the viola de gamba is a member of the viol family, a six string instrument played with a bow and held between the legs, equivalent to todays double bass. Also required in each one of the six concertos is a violone, this would have been similar to the viola de gamba, a bass like instrument used in the basso continuo. Bachs treatment of concertino and ripieno differs somewhat to that of other concerto composers such as Vivaldi, as he treats the concertino as not just a solo group but likes to bring different instruments to the fore, and create unusual pairings of different instruments. As referred to in The Cambridge Music Guide, in concerto No. 2 the solo instruments are paired in every combination, this makes me wonder if there was also some mathematical logic behind this sort of scoring. Every soloists performs on there own and with the group, and lines are passed seamlessly around the ensemble. Throughout the Brandenburg Concertos, Bach uses the instrumentation to such effect, that there are so many colours and textures on display. However, with the ambiguity of what some of the instruments were it is impossible to recreate the colour and texture that Bach himself was looking for. Word count = 826 SUBMISSION 1 ASSIGNMENT TWO Assignment 2A Question 3 Give a detailed analysis of the first movement of Brandenburg Concerto no. 2 in F major. Include a brief background to this work. It is widely believed that much of the music that Bach wrote during his years as the Kapellmeister in Cothen has been lost, fortunately amongst the surviving works are the celebrated scores of the Brandenburg Concertos. Due to the complex contrapuntal nature of the six instrumental works, they could possibly be classed as chamber works rather than orchestral works. All six concertos are written for differing musical combinations, combinations which show a desire to create new sounds but also celebrate sounds of the period. These six concertos were dedicated in a presentation score to Christian Ludwig, The Margrave of Brandenburg, with the year 1721 as the year on the manuscript. It was whilst on a trip to Berlin during the year of 1719 that Bach met the Margrave, Bachs musicianship as a performer had interested the Margrave so much that he invited Bach to write him some compositions for his extensive library. It was two years later that Bach obliged the offer of the Margrave, sending him the scores to what are now known as The Brandenburg Concertos. This gesture by Bach is widely suggested amongst scholars of the musical world to be Bachs way of submitting his CV, in the hope of earning a job in the court of Christian Ludwig, a job which never materialised. The now labelled Brandenburg Concertos are amongst Bachs most celebrated works, performers, composers and academics regard them as some of the finest musical output of the baroque era. This idea of writing for various combinations of instruments was a new concept in Germany; Bach however had studied the published works of composers such as Antonio Vivaldi, and wrote closely to the Italian style with the use of a clear ritornello form. With the six concertos having mainly a three movement structure of quick slow quick, as per the concertos of Bachs Italian counterparts, it is the varied instrumentation that sets these works apart. Brandenburg concerto No.2 could be said to be one of the more colourful concertos of the set. Written in F major and scored for a concertino of trumpet, recorder, oboe and violin, supported in tutti sections by the typical ripieno section of strings and continuo (commonly a Harpsichord). It is the wind ensemble that delivers the richness of sound yet has the sensitivity to explore the fine counterpoint which so effortlessly flows through the parts. The set of six concertos are some of Bachs most famous works and I now aim to deliver a detailed analysis of the first movement of his Brandenburg Concerto No 2. in F major. Bachs Brandenburg concerto no 2 was written in three movements as follows: Allegro Andante Allegro assai The concerto is written in the key of F major and conforms to the style considered a Concerto Grosso. The composition uses the following instrumentation: Strings, Trumpet, Flute (originally a recorder), Oboe with strings and basso continuo (commonly a Harpsichord). The continuo is never omitted from the movement as it provides the harmonic foundation of the whole movement. This first movement of Bachs Brandenburg Concerto No 2 is written in ritornello form as is his Brandenburg concerto No 5. Example 1 below shows the opening eight bars which I consider to be the ritornello theme, in the tonic key of F major it is written for all instruments throughout the movement. Example 1 Bars 1-8. This ritornello theme is never repeated in full and can be broken down into 6 smaller motifs, shown below in Example 2, as the movement evolves these motifs are introduced at different points. Example 2 The solo subjects can also be split down into their own theme being called S1 and a countersubject called S2. These two lines are shown below in Example 3. This Solo line could be considered as a second ritornello as it is a recurring theme which can be heard to a total of eight times throughout the movement. Interestingly, this theme is only scored to be played by the concertino, unlike the main ritornello theme which passes through the solo and ripieno instruments. As we will see throughout this analysis a large percentage of the melodic material written is manufactured from the two themes that I am calling S1 and S2. Example 3 On completion of the ritornello theme the concertino violin plays a solo (S1) for 2 bars and then it returns back to the ritornello (R1) theme for the following 2 bars. This solo is accompanied by just the cello and is then joined by all the ensemble instruments to play the ritornello theme as in the opening. Bar 13 has the oboe playing a solo (S1) for 2 bars with the violin playing the solo counter subject (S2) once again accompanied by the cello. There is then a modulation for the first time into the dominant key of C Major for 2 bars of the ritornello (R1) theme. This sequence then continues until bar 23, with the flute and then the trumpet each playing solos (S1) for 2 bars with oboe, whilst the flute then plays the solo counter subject (S2). In Bar 23 it is back to the ritornello theme for 6 bars but this time it is with the introduction of the R4, R5 and R6 motifs in the dominant key. The movement then modulates to B flat major (the sub-dominant) and the trumpet plays a small s olo (S1) for 2 bars. This solo is not accompanied by the normal counter subject (S2) as heard previously, but the violin continues to play a semi-quaver rhythm which is leading us on to different ideas. This solo is also harmonised with the other concertino instruments and the cello of the ripieno, Bach is gradually building the instrumentation of the solo lines in comparison to what was heard at the beginning of the movement. At bar 31 the ritornello theme (R1) begins to move the music in the direction of the key of D minor, this is done using a cycle of fifths, the chords are as follows; D Minor G Minor Cdom7 Fmaj7 Bbmaj7 E Minor Adom7 D Minor. The texture within this cycle of fifths becomes very thick and extremely complex, with the flute and cello playing together in thirds at bars 33-35. The solo violin can be heard playing a pulsating and energetic chordal harmony figure in a virtuosic style whilst the trumpet and the oboe are pigeon stepping from the end of bar 32 until bar 35 (See example 4). This pigeon stepping technique is also written in the viola and violone from bar 33 until bar 35(See example 5). These ideas are used to give a sense of direction and it also helps to disguise the circle of fifths, stopping the idea from becoming a simple clichà ©. Example 4 Bars 32 35. Example 5 Bars 33 35. This cycle of fifths leads the music back to the ritornello theme (R1) at bar 40 for two bars in D Minor and then it begins to travel back to the tonic key, through another cycle of fifths; D Minor G Minor C Major F Major. Throughout this cycle of fifths the ritornello theme (R1) can be heard to pass through the trumpet, flute and lastly the oboe lasting for two bars in each line. Whilst this ritornello theme is passing around the concertino instruments the other solo lines are accompanying it with a fluid semi-quaver rhythm, with the trumpet and then the flute moving in contrary motion against the oboe and violin. There continues to be heard the ritornello theme from bar 46 in the tonic key but it is abruptly interrupted at bar 50 owing to the fact that if the theme was to be heard again here in full, in the tonic key, then you could expect that movement would have had to finish at this point. Bar 46 sees the continuo and cello take over the fluid semiquaver rhythm which seems to be in support of the solo violin this however only lasts for 2 bars until the reintroduction of this figure in the flute and oboe, along with Violin 1 of the ripieno. It is at this point (Bar 50) we can see that Bach begins to introduce a V-I rising sequence with a very strong 7th feel to each of the chords. Beginning with the chord of F7 at bar 50 moving to D7 (V) at bar 51 G7 (I) at bar 52 E7 (V) at bar 53 Amin7 (I) at bar 54 F7 (V) at bar 55 Bb7 (I) at bar 56. This rising sequence starts to move the music away from the tonic key so as not to give the feeling that the movement is coming to the end. This time, however, the ritornello theme R5 is heard to be played in this sequence by the Violin, Oboe, Flute, Violin again Oboe again and then lastly the Trumpet, each for 1 bar at a time. Whilst this theme is being passed seamlessly through the concertino the underlying moving semi-quaver idea is also being passed through the concertino instruments, cleverly intertwining with the ritornello theme R5. Bar 56 sees the continuo and Cello now playing the theme R5 with the Trumpet decorating it in the treble. The end of this section is announced wi th the introduction of the ritornello theme R6 which is an ending theme. At the introduction of this ending theme, R6, we are in the key of B flat (sub-dominant) for 4 bars and a reversion back to the now seemingly solitary solo (S1) and counter subject solo (S2), from the flute and Violin respectively, with just the continuo adding a simple harmonic accompaniment the music can then be heard to modulate to G minor at bar 62 for two bars, with the solo lines reversing and the Violin playing the Solo (S1) and the Flute playing the counter subject (S2). The Oboe then takes over this Solo line (S1) with the violin playing the counter subject (S2) but there is a modulation once again, this time to E flat major, at this point Bach begins building the harmony and texture again, introducing the flute playing an interrupted quaver rhythm. For the final time in this sequence the music modulates once again to C minor, with the Trumpet playing the Solo Line (S1) and the Oboe playing the counter subject (S2).There is a definite feeling of rebuilding of the texture her e again as the flute and solo violin, playing the interrupted quaver rhythm, are heard together at bar 66. All throughout this, from bar 60, it has remained a simple accompaniment from just the continuo with the tutti strings tacet. This idea is the same as in bars 9 23 but without the fragments of the Ritornello theme. Again can be heard the ritornello theme from bar 68, still in the key of C Minor (dominant minor), however, this is soon interrupted by a rising sequence of V I at bar 72. This time it begins with C Minor (V) at bar 72, moving to F major 7 (I) at bar 73. Bar 74 is in D major 7 (V) leading us back to the ritornello theme at bar 75 in G Minor (I). This rising V-I section once again uses the idea of passing the ritornello theme R6 around the concertino instruments, with the fluid semi-quaver movement flowing effortlessly through the solo lines. This ritornello theme modulates to G minor using another cycle of fifths, the chords it uses are as follows; G minor C minor 7 F 7 B flat major 7 E major A minor 7 D major G Minor. In bar 72 there ios a very subtle use of syncopation in the tutti violin part which seems to bind the ripieno ensemble. Bach again uses the pigeon stepping device, but this time it is heard in the trumpet and the oboe from the end of bar 76 up until bar 79. There is also another example of the pigeon stepping in the viola and continuo from bar 77 until bar 79 along with the Cello and Violin playing in 3rds. This again has disguised the circle of fifths and made the texture very rich and extremely complex. In bar 86 I get a very definite feeling that the movement is heading to its climax, the long sustained chords, lasting up until bar 93, within the violins and the viola of the ripieno are something new, seeming to create a different texture and binding to the intricate figures of the concertino and the harmony of the continuo. Bar 94 sees another return of the ritornello theme in A minor, however this time it is introduced by the flute and the violin for two beats, and then the trumpet and oboe join in with an echo effect, maybe a hint of Bachs fugal ideas. This ritornello theme is extremely short lived as once again there is more use the cycle of fifths from bar 96, D minor G7 C Major F Major B minor7 E Major 7 A minor. Heard again is the same idea as previously heard with the Flute and Violin pigeon stepping from bars 95 99, this pigeon stepping is also displayed in the Viola and Violone whilst the Oboe and Cello play the fluid semi-quavers in 3rds. The music stays in the key of A minor for 3 bars and the final ritornello theme is stated, in unison and in octaves, back in the tonic key of F major. This is a sudden change back to the tonic key with the whole ensemble having a quaver rest before. This idea is a stylistic/form aspect from another type of composition the da capo aria. It is with this sudden change back to the tonic and with the ensemble playing in unison that you are tricked into thinking its the end of the movement, but Bach leads off again with another rising V-I Sequence. Beginning this V-I sequence in F Major (V) moving to B flat major 7 (I) at bar 107. Bar 108 moves to G dominant 7 th (V) and leads onto C dominant 7th (I) at bar 109. A dominant 7th (V) begins bar 110 resolving to D dominant 7th (I) at bar 111, and then to finish the sequence it is a diminished 7th on B leading in to C major. This diminished 7th on B natural strengthens the return back to the tonic F major. The rising V I section uses the idea which is previously heard of weaving the ritornello theme R5 through the concertino instruments. Heard then is the ritornello theme R5 played by the Violone and Cello at bar 113. Bar 115 sees the music return to the tonic key of F major and the ritornello theme is stated for the very last time, however, Bach does not write the ritornello theme in full as you would expect with ritornello form, it is left to ritornello theme R5 for 2 bars and then the ending theme R6 to finish the movement. Although this movement can be recognised as being in ritornello form It has become clear during my analysis, that it is very hard to distinguish between the solos and ritornello theme. This is because Bach has used material from the original ritornello theme throughout the whole of this movement and integrated them so seamlessly and subtly into the solo passages. Word count = 2,576

Teachings of Buddhism

Teachings of Buddhism Buddhism is the second largest religion in Asia after Hinduism. Being also a philosophy encompassing a variety of traditions, beliefs and practices, Buddhism is based on numerous teachings of Siddhartha Gautama, or Buddha, who lived between the 6th and 4th centuries BCE. Buddhists recognize his enlightenment (‘bodhi) achieved by entering a deep state of meditation and during which Buddha has achieved a total and direct realization of the truth. Exactly Buddhas Enlightenment is the source of the majority of Buddhist teachings and practices and the proof that any human being (not a god) can directly perceive the true nature of reality through ones own efforts. It is the source of endless inspirations for every Buddhist and a sacred dream and aim of all Buddhas followers. The early texts provide somewhat different accounts of Buddhas biography. The major evidence suggests that Gautama was born on the periphery, taught by famous religious teachers of the day, and not finding the answer on how to permanently end suffering attempted an extreme asceticism, underwent prolonged fasting, breath-holding, and exposure to pain. Not finding any solution again, he chose the so-called Middle Way approach between the extremes of self-indulgence and self-mortification meditation. At the age of 35, he has finally completed his spiritual quest under a sacred fig tree (later to be known as the Bodhi tree, or ‘tree of Enlightenment): During his intensive forty-nine-day meditation, Gautama has achieved the complete and unshakeable state of full enlightenment and so had become the Buddha (â€Å"One who is fully awake†). Some important factors around Buddhas achievement of enlightenment state were finding a suitable place for meditation (the Bodhi Tree), conq uering all distractions (the same as Jesus Christ, Buddha was being tempted by demons and evil forces), and, factually, attaining enlightenment. After this, Buddha gathered followers, instituted a monastic order, and spent the rest of his life travelling and teaching the path of awakening he discovered. Before discussing the teaching of Buddhism, it is important to fully understand what a state enlightenment is. Difficult to determine or properly describe, enlightenment refers to the state of having a direct insight into the nature of reality and into truth. Achieved through Buddhist meditation, enlightenment is a dynamic state of an innate wisdom with its basic nature allowing the mind staying quieted and focused and concentration strengthened. This means, it is far not about an intellectual knowledge, visions, or supernatural experiences, but about wisdom of another kind. Enlightenment releases from negative feelings and experiences like ignorance, worries, sorrow and unhappiness, and allows one enjoying pure being and seeing things as they actually are. It is ‘the hearts release or nirvana and can be achieved both in ones life and after death. All Buddhas followers practice to and strive for achieving the state of enlightenment. At that, the faith is considered the primary condition to enter the sea of Buddhas teachings. Buddhas enlightenment had happened in three stages allowing him to realize the ultimate truth of reality unfolded like a lotus. The first one is calm thinking and a state of removal from everyday consciousness and reality. The second stage is detachment from the chatter of mind and entering the state of exalted rapture. Finally, the third stage is reaching ever purer joy and the final level of consciousness. This last stage makes the mind absolutely peaceful and clear enabling its direct perception into reality. The enlightenment had happened also on three different levels: of a Buddha, of a bodhisattva (a â€Å"wisdom-being†), and of an ordinary person. Shunryu Suzuki in his Zen Mind, Beginners Mind defines enlightenment as â€Å"nothing special. You may say ‘universal nature or ‘Buddha nature or ‘enlightenment. You may call it by many names, but for the person who has it, it is nothing, and it is something.† And this characteristic of an ‘ordi nary mystery is maybe the most valuable about Buddhas enlightenment. Today, the entire Buddhist tradition exists in order to try and share Buddhas insight with others. The following principles, or primary/basic teachings, which are fixed in Tipitaka (the preliminary body of Buddhist teachings, analogous to the Old Testament in Christianity) and are shared by all schools of Buddhism, were revealed to Buddha during his enlightenment: the Four Noble Truths, the Eightfold Path and the Precepts. These teachings explicate the Buddhist doctrines of suffering, the five aggregates of being, refusing the self, ethics, karma, rebirth, enlightenment and Nirvana. The most basic Buddhist teachings, the Four Noble Truths give start to the spiritual path of this religion and encompass all Buddhas knowledge. They present the knowledge and understanding of the self, of karma and rebirth, and of enlightenment and Nirvana. These four are: (1) there is suffering in life; (2) the causes of suffering can be known; (3) suffering can be brought to an end by removing its cause; (4) the Eightfold path is the way to end suffering. The Eightfold Path, logically, includes eight points to cure the suffering of life. These are: (1) right understanding, (2) right intention, (3) right speech, (4) right action, (5) right livelihood, (6) right effort, (7) right mindfulness, and (8) right concentration. Right understanding refers to the Four Truths about suffering, the fact about changing nature of everything, and the fact about illusive nature of the self. Right intention is about giving up everything wrong and undertaking only good things/deeds as well as abandoning and cultivating the corresponding thoughts along with the deeds. Right speech refers to telling only the truth, avoiding negative statements, impolite and abusive language, babbles and gossiping, etc. as well as practicing kindly, meaningful, harmonious and necessary speech exclusively. Right action includes morally right, peaceful and honorable conduct and avoidance of causing suffering. Right livelihood means living in a right way, without doing any har m to humans, animals and whatsoever, including making of weapons, etc. Right effort refers to fostering good and preventing evil as well as constant self-improvement. Right mindfulness is about wakefulness. It refers to intentional awareness development and fostering right attention. Right concentration is mainly about practicing Buddhist meditation. These eight truth points aim at cultivating wisdom, ethical behavior, and mental discipline. They also are the key way of resolving all possible questions about life, death and oneself and the live guidelines for every Buddhist. The Precepts can be paralleled to Ten Commandments of Christianity. There are five of them: (1) do not kill but practice love; (2) do not steal but practice giving; (3) do not indulge in sexual misconduct but practice contentment; (4) do not tell lies but practice truthfulness and open-mindedness; and (5) practice awareness and mental clarity. In addition, Buddhas enlightenment is about understanding the fact that religious (and any) beliefs should not be taken as such. Buddhist doctrine asserts that one should not believe in something because he/she has heard of it, because there are long-lasting traditions, because it is spoken or written somewhere (e.g. in Bible) or popular, because it is taught so, etc. On contrary, one should believe because he/she has found the reasons to believe and has decided to choose and fully accept this particular way of living. Mysterious and wonderful, philosophic and deep, Buddhas enlightenment can and should be compared to the perfect way of meditation popular at the East. No other religion suggest similar way of perceiving the truth and the reality as well as says it is available for every ordinary person who has faith and who is willing to strive for this perfect state of consciousness. Buddhas revelation and teachings which he has received during his enlightenment makes him special, but he is a more close person (not really God factually) to his followers than any other god in any other worlds religion. In contrast to all other religions, Buddhism enlightenment experience is to figure out, to realize, to understand, to attain wisdom, and not to get the ready doctrines from the Bible, Koran, etc. Buddhism calls to strive for at least partial enlightenment to meditate in order to have at least some enlightenment experience. This is the core of this religion; this makes it democratic and very close to e ach of its followers. Because it is not after enlightenment that the true meaning is attained it is during the enlightenment An ordinary example of a raining weather can help explain Buddhas teachings in simple words. Today it is raining this is Buddhas teaching because he is everywhere. Religion is absolute and independent of somebodys perspective or interpretation; religion is everywhere. Buddhism says there should not be any particular teaching. Instead, people should see teaching in every moment of life, in their very existence this is Buddhas major teaching; this is what he was enlightened about. His enlightenment is not only the source of Buddhist teachings it illustrates the absence of a personal God present in Christianity, Judaism and Islam and the philosophic nature of faith which asserts that God is present everywhere in the world and in the human soul and at the same time transcends the world and the nature.

Fighting for Civil Rights in America :: Black struggle for civil rights in America

  Ã‚  Ã‚  Ã‚  Ã‚  Imagine walking into a Woolworth’s store on a sunny afternoon only to be greeted by twenty pairs of white people’s eyes all directed towards the door. Imagine sitting down with two other blacks and demanding service. Next, imagine service being denied, and seeing a woman dragged by her hair across the floor, other blacks beaten in front of everyone, and no one making a move to help. This is a common scene at many sit-ins across the country today. The reason for these sit-ins is people fighting for civil rights. Civil Rights is the nonpolitical rights of a citizen. Blacks are becoming the subjects of violence, their self-esteem is lowered, making them feel inferior and most importantly they are denied their freedom of choice. Many actions have been taken to try and resolve the problem, that blacks are being denied their civil rights.   Ã‚  Ã‚  Ã‚  Ã‚  First, one part of the problem is that blacks are becoming the subjects of violence. More specifically physical violence, which is when someone uses physical force to harm another person. Some ways harm is inflicted onto its victims are by beatings, many times in public, people being burned to death as a result of their house being set on fire and lynching, in which a person is hung. One specific example of physical violence is a scene at Woolworth’s where Anne Moody and two other blacks, a male and a female, sat down at the reserved white counter and demanded service. After many taunts and threats, an open display of hatred was inflicted upon them. They had food dumped upon them and were pulled off the stools. At one point Anne was dragged by her hair, off the stool and across the floor. A few other men and women, including whites, soon sat with the blacks at the counter. The men were punched with brass knuckles and kicked repeatedly. Another example of th e use of physical violence is in the story The Invisible Man. In this story, a few black men were mislead into thinking they were to read speeches in front of a group of people. When they arrived there, there were nothing but white men with liquor and a dancing white woman. The black men were forced to put on blind folds then were forced to fight each other. It became a despicable scene and many of the men were bloody and knocked out. Fighting for Civil Rights in America :: Black struggle for civil rights in America   Ã‚  Ã‚  Ã‚  Ã‚  Imagine walking into a Woolworth’s store on a sunny afternoon only to be greeted by twenty pairs of white people’s eyes all directed towards the door. Imagine sitting down with two other blacks and demanding service. Next, imagine service being denied, and seeing a woman dragged by her hair across the floor, other blacks beaten in front of everyone, and no one making a move to help. This is a common scene at many sit-ins across the country today. The reason for these sit-ins is people fighting for civil rights. Civil Rights is the nonpolitical rights of a citizen. Blacks are becoming the subjects of violence, their self-esteem is lowered, making them feel inferior and most importantly they are denied their freedom of choice. Many actions have been taken to try and resolve the problem, that blacks are being denied their civil rights.   Ã‚  Ã‚  Ã‚  Ã‚  First, one part of the problem is that blacks are becoming the subjects of violence. More specifically physical violence, which is when someone uses physical force to harm another person. Some ways harm is inflicted onto its victims are by beatings, many times in public, people being burned to death as a result of their house being set on fire and lynching, in which a person is hung. One specific example of physical violence is a scene at Woolworth’s where Anne Moody and two other blacks, a male and a female, sat down at the reserved white counter and demanded service. After many taunts and threats, an open display of hatred was inflicted upon them. They had food dumped upon them and were pulled off the stools. At one point Anne was dragged by her hair, off the stool and across the floor. A few other men and women, including whites, soon sat with the blacks at the counter. The men were punched with brass knuckles and kicked repeatedly. Another example of th e use of physical violence is in the story The Invisible Man. In this story, a few black men were mislead into thinking they were to read speeches in front of a group of people. When they arrived there, there were nothing but white men with liquor and a dancing white woman. The black men were forced to put on blind folds then were forced to fight each other. It became a despicable scene and many of the men were bloody and knocked out.

Comparing the Managerial Styles of Males and Females Essay -- Business

Comparing the Managerial Styles of Males and Females Nearly half of the U.S. workforce is now made up of women, and women are a growing percentage of the workforce in most countries throughout the world (Robbins, 2005:18). It is common to find a woman supervising or managing a group of men. This paper will discuss the difference, if exists, between the managerial styles of males and females. First, we will shed some light on the basic differences in personality traits and competencies between men and women, and then will analyze the different cultural perceptions of a working man and woman, after that, we will discuss the interaction effect of gender of supervisor and gender of subordinate on perceived mentoring, and finally will discuss the selection differences in recruiting men and women for a managerial position. Differences in personality between men and women: Intellectual Ability There is an interesting pattern of gender differences on the various cognitive measures. Women performed better than men on most of the memory tests, while men performed better than women on most of the executive function tests. The gender difference on memory is in line with many published studies, but the gender difference on executive function measures has received relatively little attention to date. Socially, women are encouraged to be good mothers while men are encouraged to work and protect family and to make money. Commonly held views regarding men and women continue to suggest that women are more committed to family than to work and that men are more committed to work than to family (Cook, 1994: P85-95). Further, employers are likely to view family responsibilities as a sign of limited work commitment... ... L. McShane & Mary Ann, 2000, Organizational Behavior, McGraw-Hill, US. The CPA Journal, 1996, ‘Female management accountants are better off’, [Online], Mar 1996.Vol.66, Iss. 3; p 13, Available: Proquest 5000, [Accessed 30 June 2005]. Training Strategies for Tomorrow, 1998, ‘Women, management and change’, [Online], Nov/Dec 1998.Vol.1, Iss. 6; p 12, Available: Proquest 5000, [Accessed 30 June 2005]. Williams M. Lee, 1999, ‘Supervisor Mentoring: Does a Female Manager Make a Difference?’, Metacomm, Available: http://www.imetacomm.com/otherpubs/pdf_doc_downloads/supervisor_mentoring.pdf#search='williams%20male%20and%20female%20mentoring' [Accessed 23 June, 2005]. Wood, Chapman, Fromholtz, Morrison, Wallace, Zeffane, Schermerhorn, Hunt, Osborn, 2004, Organizational Behavior a Global Respective, 3rd Edition, John Wiley & Sons Australian Ltd, Australia.

Othello Essay -- Literary Analysis, Shakespeare

Othello by William Shakespeare is a play about a black general who is alone in being black. No one else in either Venice or Cyprus is from Africa as the Moorish Othello is. In fact, with such a high position in the Venetian military, Othello appears to fit right into the role as general; his race is almost of an invisible quality. His race seems invisible because his nobility and the respect others have for him transcend the mistreatment that he might receive in being so physically different. However, this play is not free of racism or noticing race and its connotations. Othello does not truly have a race until he either manifests himself into his race or others choose to notice it. Thus, race is a latent quality in Othello, one not fully apparent until he gets too personal with the fair-skinned people around him and they reject him or he feels rejected and searches for reasons. The important people in Venice replace the awareness of Othello’s race with the great respect that they have for him, which entails that Othello’s capabilities far surpass any racist feelings others feel for him. Iago, who is Othello’s false ensign, even says that he cannot outwardly appear to hate Othello because it would do nothing to get rid of him: each person in Venice needs his skills as a general. Yet, reading what Iago says helps to see what might be the common voice for the other fair-skinned characters in this play on how race and rank interact: â€Å"To be produced †¦ Against the Moor for I do know, the state, However this may gall him with some check, Cannot with safety cast him; for he’s embark’d With such loud reason to the Cyprus wars, which even now stand in act, that for their souls, Another of his fathom th... ...whose solid virtue The shot of accident nor dart of chance Could neither gaze nor pierce?† (67) Lodovico questions Othello’s sufficiency, nature, and virtue. The senate obviously saw all of those things in Othello since they told them to Lodovico but Othello is much changed at this point in the story: he does not feel like the general so does not act like one and in turn loses all of his human qualities. The last step in the characters recognizing Othello for whom they expect him to be comes when Lodovico says â€Å"O thou Othello†¦wert once so good, [but] Fall’n in the practice of a damned slave† (89). The transition is smooth in Lodovico’s mind: he once was the noble general whose skills surpassed his limitations and now he practices the skills of what he truly is, a damned slave.

Three Theories of Art Essay

Harold Osborne (Aesthetics and Art Theory) identified three basic ways in which we can think about works of art. In the simplest sense, a work of art has certain physical properties. It is made of a material (e. g. , wood, marble, clay, paint on canvas, ink on paper) which possesses texture, contains shapes, occupies a portion of space, reflects certain colors, and is apprehended over time. In addition, these colors, textures, and shapes are organized together in a certain way. These material and organizational qualities of a work of art are called its formal properties, and discussion about the value of art from this perspective is to consider a formal theory of art. Secondly, art uses its formal properties to present itself in certain basic ways. For example, art which serves as a copy of reality is described as â€Å"realistic† or â€Å"naturalistic. † Art which presents an improved version of an existing reality is called â€Å"idealistic. † Though in the recent past in the West we’ve shown a bias for naturalistic art, some art doesn’t mimic reality, and this kind of art we call â€Å"abstract. † Discussion of a work of art within the context of realism and abstraction is to participate in a presentational theory of art. Throughout history works of art have typically served a purpose, they’ve served as instruments to accomplish these purposes. For example, art has served to indoctrinate people about the importance of particular political and religious personages and beliefs. When we talk about art in terms of acting on behalf of a purpose, Osborne says we’re working within an instrumental theory of art. All works of art offer formal, presentational and instrumental qualities. These categories become the framework for the analysis of works of art. To assist in their application to a work of art, listed below are words, expressions and responses typical to each category. Formal Theory: Terms: Form: shape, size, location, scale, texture, visual clarity Color: harmony/dissonance, properties of light/illumination Design: balance, symmetry/asymmetry, order, unity, proportion, geometric/organic Emotional responses to attributes listed above: a beautiful color, a beautiful combination of shapes and colors; a feeling of awe in response to the scale, mass, symmetry of a building. Response is primarily emotional. Cognitive responses: Comparison of art and nature (e. g. , pattern in art and nature); comparison of different works of art in formal terms. Presentational Theory: Terms: Realism, naturalism, idealism, illusion, representation, architectonic, abstraction, style, stylized, decorative, connoisseurship/taste Emotional responses to the attributes listed above: the perfectly beautiful body of the Greek goddess; delight in the quality of illusion. Cognitive responses to the above attributes: assessment of the accuracy of representation; comparison to other art of this type. Instrumental Theory: Terms: Craft, communication of personal ideas and emotions, communication of social (moral, political, religious) values, narrative, iconography, education, magic and ritual, vicarious experience, art-for-art’s sake Emotional responses to attributes listed above: beautifully crafted piece; empathic reaction to artist’s expression; enjoyment of the vicarious experience of a realistic presentation. Cognitive responses to the above attributes: insight into reality; understanding social values, historical events and characters. There is a prominence of cognition in this category because of the communication of ideas. ï » ¿Three Theories of Art Essay Harold Osborne (Aesthetics and Art Theory) identified three basic ways in which we can think about works of art. In the simplest sense, a work of art has certain physical properties. It is made of a material (e. g. , wood, marble, clay, paint on canvas, ink on paper) which possesses texture, contains shapes, occupies a portion of space, reflects certain colors, and is apprehended over time. In addition, these colors, textures, and shapes are organized together in a certain way. These material and organizational qualities of a work of art are called its formal properties, and discussion about the value of art from this perspective is to consider a formal theory of art. Secondly, art uses its formal properties to present itself in certain basic ways. For example, art which serves as a copy of reality is described as â€Å"realistic† or â€Å"naturalistic. † Art which presents an improved version of an existing reality is called â€Å"idealistic. † Though in the recent past in the West we’ve shown a bias for naturalistic art, some art doesn’t mimic reality, and this kind of art we call â€Å"abstract. † Discussion of a work of art within the context of realism and abstraction is to participate in a presentational theory of art. Throughout history works of art have typically served a purpose, they’ve served as instruments to accomplish these purposes. For example, art has served to indoctrinate people about the importance of particular political and religious personages and beliefs. When we talk about art in terms of acting on behalf of a purpose, Osborne says we’re working within an instrumental theory of art. All works of art offer formal, presentational and instrumental qualities. These categories become the framework for the analysis of works of art. To assist in their application to a work of art, listed below are words, expressions and responses typical to each category. Formal Theory: Terms: Form: shape, size, location, scale, texture, visual clarity Color: harmony/dissonance, properties of light/illumination Design: balance, symmetry/asymmetry, order, unity, proportion, geometric/organic Emotional responses to attributes listed above: a beautiful color, a beautiful combination of shapes and colors; a feeling of awe in response to the scale, mass, symmetry of a building. Response is primarily emotional. Cognitive responses: Comparison of art and nature (e. g. , pattern in art and nature); comparison of different works of art in formal terms. Presentational Theory: Terms: Realism, naturalism, idealism, illusion, representation, architectonic, abstraction, style, stylized, decorative, connoisseurship/taste Emotional responses to the attributes listed above: the perfectly beautiful body of the Greek goddess; delight in the quality of illusion. Cognitive responses to the above attributes: assessment of the accuracy of representation; comparison to other art of this type. Instrumental Theory: Terms: Craft, communication of personal ideas and emotions, communication of social (moral, political, religious) values, narrative, iconography, education, magic and ritual, vicarious experience, art-for-art’s sake Emotional responses to attributes listed above: beautifully crafted piece; empathic reaction to artist’s expression; enjoyment of the vicarious experience of a realistic presentation. Cognitive responses to the above attributes: insight into reality; understanding social values, historical events and characters. There is a prominence of cognition in this category because of the communication of ideas. ï » ¿Three Theories of Art Essay Harold Osborne (Aesthetics and Art Theory) identified three basic ways in which we can think about works of art. In the simplest sense, a work of art has certain physical properties. It is made of a material (e. g. , wood, marble, clay, paint on canvas, ink on paper) which possesses texture, contains shapes, occupies a portion of space, reflects certain colors, and is apprehended over time. In addition, these colors, textures, and shapes are organized together in a certain way. These material and organizational qualities of a work of art are called its formal properties, and discussion about the value of art from this perspective is to consider a formal theory of art. Secondly, art uses its formal properties to present itself in certain basic ways. For example, art which serves as a copy of reality is described as â€Å"realistic† or â€Å"naturalistic. † Art which presents an improved version of an existing reality is called â€Å"idealistic. † Though in the recent past in the West we’ve shown a bias for naturalistic art, some art doesn’t mimic reality, and this kind of art we call â€Å"abstract. † Discussion of a work of art within the context of realism and abstraction is to participate in a presentational theory of art. Throughout history works of art have typically served a purpose, they’ve served as instruments to accomplish these purposes. For example, art has served to indoctrinate people about the importance of particular political and religious personages and beliefs. When we talk about art in terms of acting on behalf of a purpose, Osborne says we’re working within an instrumental theory of art. All works of art offer formal, presentational and instrumental qualities. These categories become the framework for the analysis of works of art. To assist in their application to a work of art, listed below are words, expressions and responses typical to each category. Formal Theory: Terms: Form: shape, size, location, scale, texture, visual clarity Color: harmony/dissonance, properties of light/illumination Design: balance, symmetry/asymmetry, order, unity, proportion, geometric/organic Emotional responses to attributes listed above: a beautiful color, a beautiful combination of shapes and colors; a feeling of awe in response to the scale, mass, symmetry of a building. Response is primarily emotional. Cognitive responses: Comparison of art and nature (e. g. , pattern in art and nature); comparison of different works of art in formal terms. Presentational Theory: Terms: Realism, naturalism, idealism, illusion, representation, architectonic, abstraction, style, stylized, decorative, connoisseurship/taste Emotional responses to the attributes listed above: the perfectly beautiful body of the Greek goddess; delight in the quality of illusion. Cognitive responses to the above attributes: assessment of the accuracy of representation; comparison to other art of this type. Instrumental Theory: Terms: Craft, communication of personal ideas and emotions, communication of social (moral, political, religious) values, narrative, iconography, education, magic and ritual, vicarious experience, art-for-art’s sake Emotional responses to attributes listed above: beautifully crafted piece; empathic reaction to artist’s expression; enjoyment of the vicarious experience of a realistic presentation. Cognitive responses to the above attributes: insight into reality; understanding social values, historical events and characters. There is a prominence of cognition in this category because of the communication of ideas.

Case Study Lois Quam Essay

1. How does Lois Quam use emotions and moods in her speeches to covey her viewpoint? Cite examples to support your statements. What is emotion and mood? Emotions are a strong set of positive or negative feelings directed towards someone or something. Moods depict positive or negative feelings; moreover, a state of mind. In Lois’s quest for green economy it is quite clear that she is a buoyed, by a positive approach as well as a passionate compulsion of finding solutions to the issues of green economy. This is inferred several times in her dialogue with her audience. The idea that she left her well buttressed, cushy job at a leading investment firm to assumed the leadership of a newly formed company that deals with global problems of green economy indicates she is not only passionate, but she is driven by positive responses and emotional influences. This can be inferred when she openly states â€Å"I am an optimist about our future †¦ which is why I stated Tysvar, the challenges we face from climate change are immense, but so are our capabilities and the rewards and benefits to humanity are even greater in the new green economy† 2. Based on what you have learned about Lois Quam, create hypotheses about the attitudes of her colleagues at Tysvar while using the three basic components of attitudes in your theories. Visionary, professional, informational these three components comprise attitude. Obviously to be a part of Ms. Quam’s team one must be a visionary, as indicated in her bio, Lois left Piper Jaffray to become the founder and CEO of Tysvar LLC in short she took a chance with her vison of stainable new green economy and diversified health care reform and made it all the way to becoming appointed  by President Barrak Obama as the executive director with emphasis on women, children, and new born for the entire country. Therefore, the attitudes of her college must be considered with her drive passion and attitude. Professionally being a CEO of a company she founded Lois; ensured that strict professional attitude was maintained in her Minnesota based company. This is evident when she gave a speech at the University of St. Thomas; on emerging opportunities within the NGE she said then â€Å"I enjoyed sharing how we all can use these key capabilities as platform for doing something you love. Imagine helping to build the NGE with a purposeful passion. It doesn’t it get much better than that.† Conversely one can derive that information is also a key component to attitudinal change and development with in a company that was diverse and being fast track into becoming a s successful fortune five hundred company. 3. Take a moment to research the Global Health Initiative. Why do you believe Lois Quam was chosen to lead this program? Louis Quam was named in 2006 by fortune magazine, one of America 50 most powerful women. Her portfolio indicated that she worked as the head of strategic investment, green economy and health at Pipper Jaffrey a leading international investment bank, including stints as president and CEO of the public, and senior market segment. As well as serving on the Minnesota health care commission taking on industry giants, and bringing insurance to tens of thousands of Minnesotan’s. If that is not an impeccable curriculum vitae then what is? Having come from Norwegian immigrants Lois story must be told and in so doing her vison, her perceptiveness, and passion can be combined to equalize her being chosen to lead this program. 4. Research question: Search news reports, Web sites, and blogs to find out more information on Tysvar. How is the company faring in its quest to make the world cleaner and safer for future generations? What implications might that have on Tysvar’s employees, their attitudes, and job satisfaction? Despite many challenges and unforeseen deterrence’s Tyvsar continues to be a formidable driving force in NGE. Ms. Quan’s vision continues to be the leading force; as well as, a collective positive influence from her entire  team of employees and management making Tysvar a global new green economy force to reckoned with. The company has adapted new measures and is now attached to the Norwegian global initiative. There have been expansion within the global new green economy since Ms,Quam’s recognition by President Obama. The operation at NGE continues to flourish. The company is using AquaFence, a Norwegian manufacturer of transportable flood protection barriers. Quam also announced she will be installing a new CEO of Tysvar early next year. Which brings us back home to our company, Tysvar, and our three areas of focus? †¢ Scaling the New Green Economy. †¢ Staffing the NGE with the best and brightest people anywhere. †¢ Contributing to a successful and on-going Norwegian-American NGE collaborative.