Fidel Castro Essays - CubaUnited States Relations, Cuban Revolution

Fidel Castro Fidel Castro, a well known bloodthirsty dictator, was born on August 13, 1926 on a farm in Mayari. Mayari is located in the province Oriente in Cuba. In his early years Castro was fascinated with political discussions and baseball. Castro was an excellent baseball player. He played baseball for many years of his life and still enjoys it. He was poor as a boy and yet was sent to a great Jesuit University. This was because he excelled in the art of persuasive speaking or rhetoric, drama, sports, and political science. He was nominated for country's best athlete in 1944 and received this award with great gratitude. In 1945 he applied to the University of Havana and in the same year received the Doctor of Jurisprudence degree. In 1946 he was being scouted for the Wash. Senators for his bullet-like fast-ball. His wife accompanied him and they had their honeymoon in Miami. He ended up deciding not to play because of the great prejudices. In 1948 he married but divorced shortly after. He di d have a son Fidel Castro Diaz-Balart, born in 1949, and now is head of Cuba's atomic energy commission. In the year 1950 he graduated with a law degree. In 1953 Fidel led an attack on the Moncada army barracks, it failed. But it earned him national recognition. He disbelieved in communism. He had strong ideas of nationalism, antiimperialism, and reformism, defiantly not communist. Following the attack he was sentenced for 15 years but was amnestied in 1955. He later went to Mexico and vowed to return t Cuba and avenge for his loss. In 1956 this occurred. He and 81 other people went to Cuba and launched a successful guerrilla war. Castro was a strong leader and had shrewd political skills. Castro's regime included politicians and democrats. Next his politics became for confrontational and Castro's numbers enlarged. Whoever's life he improved followed him. Some ironic facts about Fidel is that he cries easily. Castro was an insomniac. He hated sleeping at night because he had to sleep alone. His friends stated that one night at dinner he broke down crying and screaming, ?I'm all alone, I'm all alone!? His father, Angel never went anywhere with out a 45 colt. Fidel's favorite weapons include a riffle with a scope, a slingshot, bows and arrows, shotguns.

Parables Of The Bible Essays - Gospel Of John, Apocalypticists

Parables Of The Bible Essays - Gospel Of John, Apocalypticists Parables Of The Bible PARABLES OF THE BIBLE : Lazarus, come forth! When God wrote the Bible He wrote to us from His point of view. However, when we read things, we have a tendency to look at what we read through rose colored glasses. If we take off those glasses and look at things through God's eyes instead, we may see things we really don't like about ourselves. We are corpses, that's what God Himself call us in Eph 2:5, 5:14, and Col 2:13. These are some of the many verses that address our spiritual estate before salvation. God demands we look at the whole Bible in this light and when we do, He then shows us more. Lazarus in Jn 11:1-44 is God's spiritual explanation, a parable, of you and me before salvation and then God's salvation comes. He was dead, he stunk, how much more descriptive does God have to make it, he was a rotting corpse! He could not see, he could not hear, he could not walk, nor think nor speak, nor move on his own, yet Jesus calls him by name and he simply comes forth as he was commanded to do. God then describes a little bit more about Lazarus' death. He was bound with grave clothes. In the literal account of the raising of Lazarus, this is what he was buried in. But it's the spiritual account that teaches us what God sees. Take off those rose colored glasses and look at the account as God wants us to see it, not as we prefer, seeing only a physical miracle performed by God and not looking at the miracle of salvation that this parable teaches us. He didn't have on Christ's robe of righteousness, he wore his own sinful estate (Zec 3:3-5). Once we are saved, God gives us a change of clothes/heart (Eze 36:26) and we now wear Christ's robe of righteousness (Isa 61:10) not our old filthy clothes/sins (Zec 3:4). Loose him. Same word loose used in Mt 16:19; 18:18. He was now freed from the bondage of Satan Lu 13:16. The people were more concerned about his physical death, Jesus spoke about his spiritual death and rebirth in this chapter. He literally raised the dead but it pointed to the spiritual. Not to be funny but Jesus didn't say, Lazarus, open one eye and listen to what I'm offering you. The parable here is one of complete death, no life within at all. Therefore no response. The wicked cannot change on their own Jer 13:23. God choose Lazarus' physical death to show us what He sees inside us when He looks. The point is very straightforward, complete death, no life at all. If you are unsaved, God is telling you that there is not hing you can do on your own to save yourself nor help with your salvation, while unsaved, you don't even know you are as a dead man. God must do everything, including choosing you for salvation. The Gospel call goes out to all mankind, repent. Yet God knows full well that no one will, therefore He did all the work involved with our salvation. This is very fair, no one will be able to say, you never called me to repentance, He did but they would not repent. Ps 19:1-3 all mankind knows, Rom 2:14, 15 all of us know, it is written in our hearts, but our hearts are now wicked, Jer 17:9. No one will have an excuse on Judgment Day. God calls us to Himself. He has already determined who is saved and only those are made alive, they get called and like Lazarus cannot resist, we have no say in our salvation. Looking again at Lazarus, we should now see ourself in his place, we too are dead. What can you do to respond to God when He calls? Nothing. If, as God tells us in Rom 3:11, no one seeks God, we certainly cannot come to Him to start with. (The use of the number 4 in the Lazarus parable; 4 days; points to the universality of the situation, north, east, south, west. Rev 5:9, kindred, tongue, people, nation. Psalm 107:2, God calls His redeemed from all lands,

Phillips Matsuhisha case analysis Essay Example | Topics and Well Written Essays - 500 words

Phillips Matsuhisha case analysis - Essay Example One of the strengths of SWOT lies in the fact that it is easier to use and provides a comprehensive analysis of the key drivers of changes that organizations must take into account to deal with the emerging changes. Further, Porter’s five forces is also one of the most effective management tools to use as it provides a very comprehensive overview of the different factors affecting the firm at the same time. What is also important to understand is the fact that Porter’s five forces provides an opportunity to analyze the factors which are unique to each industry or firm thus each firm can tailor its strategies according to relative influence of each factor its success and failure. 2. The facts provided in the case study indicate that there are various symptoms which are leading towards a common cause of the problem. What is critical to note here is the fact that both the companies made changes into its organizational structure and refocused their strategic direction due to changes taking place externally i.e. most of these changes were reactive rather than proactive therefore strategic management at both the companies was relatively weak and reactive. Thus what were corrected during all this period were the correction of symptoms and not the correction of actual root cause of the problem. 3. Ford is one of the companies which faced extreme volatile market conditions in the wake of current credit crunch and have to face the ultimate reality. Since 2006 it was not only slashing its number of employees but was closing its plants too.1 Similarly, HSBC’s US operations also suffered huge losses due to market conditions and inability of the bank to anticipate the changes taking place in the market. HSBC’s mortgage portfolio in US suffered huge losses due to too much focus on short term gains rather than focusing on delivering long term value.2 Kodak was once a

Economic Policy and the Environment Assignment Example | Topics and Well Written Essays - 250 words

Economic Policy and the Environment - Assignment Example To curb, environmental externalities, many laws have been enacted to remedy or deter environmental pollution. One of these laws is the A Pigovian tax. This is a tax that is applied to someone who is causing negative externalities in the environment. The tax law is intended to correct inefficiencies resulting from market activities. It operates by setting equal the social costs of the negative externalities resulting from economic production. In a normal economic production, the presence of negative externalities is not compensated for by the benefit accruing from the production processes (Burrows, 2009). This makes the market inefficient and may lead to overconsumption of the product. Besides, this may result in an equal distribution of resources in the society as the producer benefit to the detrimental of the environment. Through applying such taxes, negative externalities would be reduced to have an equal distribution of benefits resulting from the resources. This reduces cases of environmental pollution which has resulted in extreme catastrophic environmental destruction. This law was instituted by an economist Arthur Pigou in collaboration of William Baumol. Since its inception, the tax law has proven efficient in reducing environmental externalities (Sandmo,

Book One Amazing Thing Essay Example | Topics and Well Written Essays - 250 words

Book One Amazing Thing - Essay Example As mentioned earlier, all those people who were trapped inside the building will be rescued. They will be able to travel to India. They will carry with them all the good things that they have learned from the tragedy, especially all the good aspects of life that they have heard from the various characters’ life stories. They will carry with them one of the most important lessons they have learned from their experience: hope will never be lost especially if there is cooperation or group spirit. They will completely learn the importance of struggle and its power to strengthen one’s character. And, it is not the commonalities that strengthen a group, but the differences. All the nine characters will successfully resolve the issues and conflicts in their lives. They will find a definite purpose for their travel to India. It will not merely be for pleasure, but for a deeper, more reflective

Risks and Benefits of Children Using the Internet

Risks and Benefits of Children Using the Internet INTRODUCTION Technology tools such as radio, television, telephones, computers, and the Internet can provide access to knowledge in sectors such as entertainment, education and human rights, offering a new realm of choices that enable the person to improve their knowledge for future needs. The curiosity of the Internet makes children and young people to try to know or learn as much as possible about new things to be more advanced than adults in using the Internet. Optimists view the emergence of the Internet as a chance for democratic and community-based participation, for creativity, self-expression and play, and to enhance the expansion of knowledge, whereas pessimists lament the end of childhood, innocence, traditional values and authority (Livingstone, 2002) Children are being described as the ICT generation or the computer generation in information and communication with this technology. Now, many children know more than or as much as their parents or teachers know about these technologies. This scenario shows that internet can be one of the tools to develop the children knowledge in this new urban life. When a child has a project or homework to do, the internet is a portal to extensive amounts of information, a superb resource for children nowadays. There are many useful sources to be found, such as libraries, bookstores, news room and even virtual school. While the Internet is an amazing resource, parents have reasonable concerns about how they can secure a wholly beneficial Internet experience for the children. There are few risks for children who use online services such as internet. Children are particularly at risk because they often use the computer unsupervised and because they are more likely than young people to participate in online discussions regarding companionship, relationships, or social activities. In another survey, it was disclosed that 9 out of 10 children and teenagers between 8-16 years old had seen pornographic websites accidentally while searching for information for their school home-works (Utusan Malaysia, 2005) Maximizing the benefit of the internet for children may require more than just controlling what they have access to but to monitor how much time their child spends online, whom the child come in contact with online, and what is viewed. In a newspaper column, a journalist relates the flow of harmful information in the Internet with escalating numbers of murder and rape by young juveniles in the year 2003 in Malaysia (Abdul Malek, 2004). Some solution can be implemented to balance the abundant educational value with the need for security and protection. Something entirely new is the idea of a web browser with filtering because children are anxious to explore cyberspace, so parents need to supervise their children and give them guidance about using the Internet. Filters can give parents and guardians a false sense of security to believe that children are protected when they are not around. However, did the use of this web filters provide more benefits in the development of knowledge or it just constrain for children learning process through internet. For these such of reasons, the aim of this study is to examine the kind of monitor the children that participate in the activities by using web filter software and to know how the use give a significant or effect to development of children knowledge in learning process through internet. The underlying of these reasons also, there are several questions that need to be resolved in order to answer some questions that may arise in this paper: Can be internet be beneficial to development of children knowledge? Can we allowing the children to make full use of internet outweigh the risks of exposing to harmful or inappropriate content to them? How dangerous exactly is the internet for unsupervised children? Do the benefits of using web filter in controlling children activities through internet? Is it practical/ necessary to monitor the availability of internet content to children? Who should responsible for this? Method In this study also involved a survey aimed at obtaining a general view of the concern about the development of childrens knowledge through the Internet. Target respondents for this paper is in an area of housing in urban areas of the Taman Bukit Kemuning, Section 32 Shah Alam that most residents here have the internet as a tool as one way of living. The survey involved responses via questionnaire to be answered by the parents of 20 families who have children under the age of 6 to 17 years and have Internet service at home. This range of ages had been chose because most of children at these ages are fascinating in using internet seeking materials or information for homework while they currently still study in school. Of the total respondents, 12 of which are made up by mothers and the rest are among fathers. From the survey results will conclude a few questions and the actual scenario happens and also about topics discussed through the feedback given by them. Development of Children Knowledge through Internet The participation of children and young people in the Internet is considered a positive development towards enhancing their educational skills and knowledge. This type of skills is more than accessing an online encyclopedia and looking up a subject. It is making use of sites that are designed specifically to help them with their homework. Some online services provide specific areas to assist with homework given by teachers, including the ability to send questions or homework problems through e-mail to the experts in that subject area and receive responses within seconds. In Malaysia, the full support and encouragement from the Malaysian government to the use of ICT in schools can be seen from the development of Multimedia Super Corridor (MSC) and other programs related to ICT such as provide and increase the number of computer laboratories to facilitate schools in Malaysia whether in urban or rural areas(Syahirah, 2006). A total of 70% of respondents said they provide Internet service at home is to facilities for their children to develop their learning process. Only 25% said it was for equipment for their own work and 5% were said to provide Internet services because it is considered a mandatory tool in every home today. This shows that parents today are also aware of the importance of the Internet as a learning tool for children in exploring their knowledge to be more advance than others. Many of people communicate through e-mail with family and friends around the world and use the social network website and chat engine to make new friends who share common interests and children are not excluded. The Potential Risks of the Internet on Children The Internet has changed the way we communicate, learn and live by opening up our world to endless possibilities. The Internet has an amazing potential as a learning and communication tool, but it also contains hidden threats to the safety and well-being of children, including online gaming sites that can result in unhealthy addiction, cyber bullying and victimization through mobile phones that can bring about severe consequences to a childs self-confidence and personal development, as well as exploitative marketing that may have financial consequences on the child and his parents. Another threat that may not be immediately obvious but is of great concern is the potential for children to be exposed to sexual harassment, exploitation and pornography through online chats and social networking sites. Children are also vulnerable as targets of fraudsters who try to gain knowledge about them to abuse, terrorize, blackmail, steal or even kidnap them. Besides, they also expose to inappropriate and potentially dangerous contact. The predators may use the Internet to befriend vulnerable children and teens by pretending to be another child or a trustworthy adult, or by playing on teens desire for romance and adventure, and then trying to persuade kids to meet them in person. The children are also potential risk by the cyber bullies. Most people play nice online, but some use the Internet to harass, belittle, or try to intimidate others. Attacks may range from name calling to physical threats and are rarely seen by parents. Furthermore, the children are also invasion of their privacy and online fraud. Children may innocently share photographs or personal information about themselves or their families on personal Web pages, when playing games, or in registration forms. Such information could put children at risk from Internet thieves or child predators. To counter these threats, parents and caregivers are primarily responsible for protecting their charges, by supervising their access to cyberspace, coaching children in personal safety and installing parental control software. Schools, public authorities, community groups, Internet service providers, media industries and regulatory bodies also have a responsibility to ensure that children are properly advised on the benefits and perils of cyberspace and equipped with the skills to safeguard themselves. Web Filter to Monitor Child Safety on Internet A Web filter is a program that can screen an incoming Web page to determine whether some or all of it should not be displayed to the user. The filter checks the origin or content of a Web page against a set of rules provided by company or person who has installed the Web filter. A Web filter allows an enterprise or individual user to block out pages from Web sites that are likely to include objectionable advertising, pornographic content, spyware, viruses, and other objectionable content. Vendors of Web filters claim that their products will reduce recreational Internet surfing among employees and secure networks from Web-based threats. Web filters have been around since the early days of the Web and they can play an important role in preventing young children from accessing inappropriate content. But theyre not a replacement for parental involvements. Before installing and configuring a filter, parents need to decide if their child needs to have software controlling how they can use the Internet and, if so, how the filter should be configured. Filters can be a convenient way to keep young children from stumbling onto material that might gross them out or disturb them. Young children generally seek out a limited number of sites, but its certainly possible for them to stumble onto inappropriate ones. The Responsible Party of these Issues Keeping children safe on the Internet is everyones job. Parents need to stay in close touch with their kids as they explore the Internet. Teachers need to help students use the Internet appropriately and safely. Community groups, including libraries, after-school programs, and others should help educate the public about safe surfing. Kids and teens need to learn to take responsibility for their own behavior with guidance from their families and communities. Its not at all uncommon for kids to know more about the Internet and computers than their parents or teachers. If thats the case in your home or classroom, dont despair. You can use this as an opportunity to turn the tables by having your child teach you a thing or two about the Internet. Ask her where she likes to go on the Internet and what she thinks you might enjoy on the Net. Get your child to talk with you about whats good and not so good about his Internet experience. Also, no matter how Web-literate your kid is, you shoul d still provide guidance. You cant automate good parenting. Just as adults need to help kids stay safe, they also need to learn not to overreact when they find out a child or teenager has been exposed to inappropriate material or strayed from a rule. Whatever you do, dont blame or punish your child if he tells you about an uncomfortable online encounter. Your best strategy is to work with him, so you both can learn from what happened and figure out how to keep it from happening again. The challenges posed by the Internet can be positive. Learning to make good choices on the Internet can serve young people well by helping them to think critically about the choices they will face. Today its the Internet; tomorrow it may be deciding whether its safe to get into the car of someone a teen meets at a party. Later it will be deciding whether a commercial offer really is too good to be true or whether it really makes sense to vote for a certain candidate or follow a spiritual guru. Learning how to make good choices is a skill that will last a lifetime. References: N.a. (2005) 90% sekolah layari laman lucah. Utusan Malaysia. 27th July Livingstone, S. (2002). Young People and New Media, Childhood and the changing media environment, London: SAGE Publications,p 2. Abdul Malek, Yusri. (2004). Laman Web-Rogol-Boleh pengaruhi remaja jadikan kanak-kanak mangsa seks ganas. Op cit., n. 12. Syahirah Abdul Shukor (2006). Protecting Children s Rights in the Internet: Challenges A Preliminary Study Based on the Malaysian Experience, UK: Keele University, Staffordshire. Educational Cyber Playground (1997), Internet Safety Rules For Parents learn how to keep children safe on the Internet.

Comparison Of Perugino And Caravaggio :: essays research papers

The artists of the Baroque had a remarkably different style than artists of the Renaissance due to their different approach to form, space, and composition. This extreme differentiation in style resulted in a very different treatment of narrative. Perhaps this drastic stylistic difference between the Renaissance and Baroque in their treatment of form, space, and composition and how these characteristics effect the narrative of a painting cannot be seen more than in comparing Perugino’s Christ Delivering the Keys of the Kingdom to St. Peter from the Early Renaissance to Caravaggio’s Conversion of St. Paul from the Baroque.Perugino was one of the greatest masters of the Early Renaissance whose style ischaracterized by the Renaissance ideals of purity, simplicity, and exceptional symmetry of composition. His approach to form in Christ Delivering the Keys of the Kingdom to St.Peter was very linear. He outlined all the figures with a black line giving them a sense of stabili ty, permanence, and power in their environment, but restricting the figures’ sense of movement. In fact, the figures seem to not move at all, but rather are merely locked at a specific moment in time by their rigid outline. Perugino’s approach to the figures’themselves is extremely humanistic and classical. He shines light on the figures in a clear, even way, keeping with the rational and uncluttered meaning of the work. His figures are all locked in a contrapposto pose engaging in intellectual conversation with their neighbor, giving a strong sense of classical rationality. The figures are repeated over and over such as this to convey a rational response and to show the viewer clarity. Perugino’s approach to space was also very rational and simple. He organizes space along three simple planes: foreground, middle ground, and background. Christ and Saint Peter occupy the center foreground and solemn choruses of saints and citizens occupy the rest of the fo reground. The middle distance is filled with miscellaneous figures, which complement the front group, emphasizing its density and order, by their scattered arrangement. Buildings from the Renaissance and triumphal arches from Roman antiquity occupy the background, reinforcing the overall classical message to the painting even though the event represented in the painting took place long before the Roman Empire. The center temple that occupies the background has a vanishing point running through its doorway and if it weren’t for this illusionistic technique, the painting would be very two-dimensional.

The Glass Menagerie (Critical Article #1)

Journal of the American Psychoanalytic Association http://apa. sagepub. com Tennessee Williams: The Uses of Declarative Memory in the Glass Menagerie Daniel Jacobs J Am Psychoanal Assoc 2001; 50; 1259 DOI: 10. 1177/00030651020500040901 The online version of this article can be found at: http://apa. sagepub. com/cgi/content/abstract/50/4/1259 Published by: http://www. sagepublications. com On behalf of: American Psychoanalytic Association Additional services and information for Journal of the American Psychoanalytic Association can be found at: Email Alerts: http://apa. agepub. com/cgi/alerts Subscriptions: http://apa. sagepub. com/subscriptions Reprints: http://www. sagepub. com/journalsReprints. nav Permissions: http://www. sagepub. com/journalsPermissions. nav Citations http://apa. sagepub. com/cgi/content/refs/50/4/1259 Downloaded from http://apa. sagepub. com at CALIFORNIA DIGITAL LIBRARY on September 9, 2009 jap a Daniel Jacobs 50/4 TENNESSEE WILLIAMS: THE USES OF DECLARATIVE ME MORY IN THE GLASS MENAGERIE Tennessee Williams called his first great work, The Glass Menagerie, his â€Å"memory play. The situation in which Williams found himself when he began writing the play is explored, as are the ways in which he used the declarative memory of his protagonist, Tom Wingfield, to express and deal with his own painful conflicts. Williams’s use of stage directions, lighting, and music to evoke memory and render it three-dimensional is described. Through a close study of The Glass Menagerie, the many uses of memory for the purposes of wish fulfillment, conflict resolution, and resilience are examined. T he place: St. Louis, Missouri.The year: 1943. Thomas Lanier Williams, age thirty-two, known as Tennessee, has returned to his parents’ home. He has had a few minor successes. Several of his shorter plays have been produced by the Mummers in St. Louis. For another, staged by the Webster Grove Theater Guild, he was awarded an engraved silver cake plat e. He has retained Audrey Wood as his literary agent and with her help had several years earlier won a Rockefeller fellowship to support his writing. But Williams’s Fallen Angels bombed in Boston the previous summer.Its sponsor, the Theater Guild, decided not to bring the play to New York. Since obtaining a B. A. from the University of Iowa in l938, Williams has been broke more often than not. He has no home of his own. He’s led an itinerant existence, living in New Orleans, New York, Provincetown, and Mexico, as well as Macon, Georgia, and Training and Supervising Analyst, Boston Psychoanalytic Society and Institute; faculty, Massachusetts Institute for Psychoanalysis; Assistant Clinical Professor of Psychiatry, Harvard Medical School.Submitted for publication October 12, 2001. Downloaded from http://apa. sagepub. com at CALIFORNIA DIGITAL LIBRARY on September 9, 2009 Daniel Jacobs 1260 Culver City, California. He has subsisted on menial jobs—waiting tables, op erating an elevator, ushering at movie theaters—tasks for which he is not f itted and from which he is often f ired. His vision in one eye is compromised by a cataract that has already necessitated surgery. And just before moving back home from New York, he was beaten up by sailors he took to the Claridge Hotel for a sexual liaison.Arriving home in 1943, Tennessee f inds many things unchanged: his parents, Cornelius and Edwina, remain unhappily married and their bitter quarrels f ill the house. Williams must again deal with the father he despises. Tennessee is pressured by Cornelius, who opposed his return home, to f ind a job. If Tennessee will not return to work at the International Shoe Company, as Cornelius advises, then he must earn his keep by performing endless domestic chores. But it is the changes in the family that are even more troubling. Williams’s younger brother Dacon is in the army and may be sent into combat after basic training.His maternal grandparent s have moved in because Grandma Rose, now conf ined to an upstairs bedroom, is slowly dying. Most important of all, Tennessee’s beloved sister, also named Rose and two years older than he, is no longer at home. She has in fact been at the State Asylum in Farmington since l937. Diagnosed schizophrenic, she has recently undergone a bilateral prefrontal lobotomy to control her aggressive behavior and overtly sexual preoccupations. During this stay at home, Williams visits Rose for the f irst time since her surgery.He f inds her behavior more ladylike, but she remains clearly delusional. The lobotomy, Williams realizes, was â€Å"a tragically mistaken procedure† that deprived her of any possibility of returning to â€Å"normal life† (Williams 1972, p. 251). â€Å"The poor children,† he will write of his St. Louis childhood, â€Å"used to run all over town, but my sister and I played in our own back yard. . . . We were so close to each other, we had no need o f others† (Nelson 1961. p. 4). Now, for Tennessee, Rose is irretrievably lost except as a memory, alternately recalled in pain and shut out in self-defense.Williams cannot abide his situation, thrown amid his parents’ bitter quarrels, the slow death of his grandmother, and the terrible absence of his sister. His only escape: the hours of writing he does every day in the basement of the family home. Here, between washing garage windows and repairing the gutters on the back porch, he writes the â€Å"memory play† that he f irst calls The Gentlemen Caller and then Downloaded from http://apa. sagepub. com at CALIFORNIA DIGITAL LIBRARY on September 9, 2009 DECLARATIVE MEMORY IN THE GLASS MENAGERIE The Glass Menagerie.The play is a brilliant, profound, and intricate study of declarative memory and its psychological uses. DECLARATIVE MEMORY Declarative memory is the system that provides the basis for conscious recollection of facts and events. But this system, we know, is not just a warehouse of information, of veridical memories of actual happenings that can be retrieved at will. Rather, like an autobiographical play, declarative memory is a creative construction forged from past events and from the fears, wishes, and conf licts of the one who is remembering.As Schacter (1995) notes, â€Å"The way you remember depends on the purposes and goals at the time you attempt to recall it. You help paint the picture during the act of recalling† (p. 23). It was just this complex and creative aspect of memory formation that led Freud (l899) to write that â€Å"our childhood memories show us our earliest years but as they appeared in later periods when memory was aroused† (p. 322). The stories we tell of our lives are as much about meanings as they are about facts. In the subjective and selective telling of the past, our histories are not just recalled, but reconstructed.History is not recounted, but remade. Williams understood this when he wro te, in the stage directions of The Glass Menagerie, that â€Å"memory takes a lot of license, it omits some details, others are exaggerated to the emotional value of the article it touches, for memory is seated predominantly in the heart† (p. 21). Williams has Tom Wingf ield, the play’s protagonist, tell us this. In his opening speech, Tom is both creative artist and unreliable rememberer: â€Å"I have tricks in my pockets. I have things up my sleeve. . . . I give you truth in the pleasant guise of illusion† (p. 2). In this way, Williams warns us from the play’s beginning that memory is a tricky business—f ickle, changeable, susceptible to distortion and embellishment, but always true to the current emotional needs of the rememberer. This paper is an exploration of the emotional needs of the rememberer—of Tom Wingfield, the rememberer in the play, and Tom Williams, the rememberer as writer. Williams could have chosen any f irst name for his protagonist. He chose his own to emphasize the loosening of boundaries between fact and f iction.It is as though he is telling us that autobiography—which is, after all, organized declarative memory—is Downloaded from http://apa. sagepub. com at CALIFORNIA DIGITAL LIBRARY on September 9, 2009 1261 Daniel Jacobs 1262 an elaborate f iction based on facts. And that f iction (the creative use of memory) is at its heart emotional autobiography. Both Tom Wingf ield and Tom Williams carry a burden of guilt for leaving the family, especially a disabled sister, and have a need to justify their behavior through the use of recollection.Both Toms live with deep sorrow alongside a wish to retaliate against loved ones who have disappointed them. Remembering is for both Toms, as for all of us, a coat of many colors, worn to set us apart from others as well as link us to them, to justify our choices, to take revenge on others, to compete with them, to kill them once again, or to resur rect them from the grave. The distortions and selective uses of memory are as manifold as the needs of the rememberer. Williams endows each character in his play with his or her own dynamic uses of memory.Amanda can escape the harshness of her current situation by evoking memories of a triumphant past. She is like a patient Kris (l956b) describes who â€Å"while the tensions of the present were threatening . . . was master of those conjured up in recollection† (p. 305). Amanda’s use of memories is aggressive as well, used as a weapon against her husband and children. In constantly contrasting the memories of a happy youth with the unhappiness of her marriage and the bleakness of her children’s lives, her anger and competitiveness take a brutal form. Unlike Amanda, her daughter Laura, who is crippled, has relatively few memories.But the memory of Jim, the gentleman caller, provides her a modicum of comfort. In a pale and pathetic imitation of her mother’s recollections of a house f illed with jonquils, she recalls that Jim gives her a single bouquet of sorts, the sobriquet â€Å"blue roses. † It is a nickname derived from his psychologically intuitive misunderstanding of the illness â€Å"pleurosis,† which had kept Laura out of school. She cannot compete with her mother in the fond memory department and retreats to the concrete but fragile satisfactions of her glass menagerie, where memory and imagination are safely stored—until Jim arrives.The gentleman caller is a man who lives in the present and seems to have little use for the past. It is the future to which he looks. In fact, one feels that memory of his high school greatness are both a satisfaction and a threat to him. For he, like John Updike’s Harry Angstrom (1960) will never experience the glory days of the past. He says as much to Laura: â€Å"But just look around you and you will see lots of people disappointed as you are. For instance, I had h oped when I was going to high school that I would be further along at this time, six years later, Downloaded from http://apa. agepub. com at CALIFORNIA DIGITAL LIBRARY on September 9, 2009 DECLARATIVE MEMORY IN THE GLASS MENAGERIE than I am now. You remember that wonderful write-up I had in ‘The Torch’ † (p. 94). While Amanda revels in her triumphant past as a way of dealing with the present, Jim runs from his into the future. Seeing in the crippled Laura some aspect of his own feared limitations, he tries to help her overcome hers through encouragement and f inally a kiss. His inability to help her in the end may be a harbinger of his own failures.MEMORY AND LOSS Williams was aware also that declarative memory is paradoxical in that it resurrects and keeps alive in the present what is dead and gone forever. Referring to this paradoxical aspect of memory, he wrote that â€Å"when Wordsworth speaks of daffodils or Shelley of the skylark or Hart Crane of the delica te and inspiring structure of the Brooklyn Bridge, the screen imagism is not so opaque that one cannot surmise behind it the ineluctable form of Ophelia† (Leverich 1995, p. 536). The very presence of memory implies loss.Memory, if you will, is the exquisite lifelike corpse that both denies and acknowledges what has passed away. There is for all of us that double vision that memory imparts, one that at once has the capacity to help and to hurt. Declarative memory provides coherence and direction to our lives, but also reminds us that our path inevitably leads to disintegration and death. The daffodils recollected in tranquility are, at the same time, Ophelia’s garland. Amanda Wingf ield’s recollection of her past social triumphs only reminds us of how much time has passed and how many hopes have been dashed.Laura’s attachment to the happy memories of childhood innocence represented by her glass menagerie only makes harsher the realities of her adult life an d the bleakness of her future. Laura and Amanda are represented as having a choice between the infantile omnipotence of their past or a feeling of victimization in the present. When Amanda stirs up old memories as a hedge against the painful present and uncertain future, they are only partially effective. For the contrast between past and present, and the knowledge that what is past will never come again, lead only to further depression and anxiety (Schneiderman 1986).Similarly, behind Tom the protagonist’s memory of Laura at home lies, for Tom the author, the real Rose in a current state of institutionalized madness. Downloaded from http://apa. sagepub. com at CALIFORNIA DIGITAL LIBRARY on September 9, 2009 1263 Daniel Jacobs MEMORY AND RESILIENCE 1264 Davis (2001) points out the contribution declarative memory can make to resilience â€Å"through soothing af fects that are evoked in recalling a declarative memory of a loving relationship with a parent or other important pe rson† (p. 459).Such memories can grow directly out of warm relationships or â€Å"they can be achieved through retrieving and modifying memory of more problematic attachments† (p. 466). Davis illustrates his point with the example of Mr. Byrne, a subject in a longitudinal study of adult development. Davis focuses on the fact that in interviews at different times in adult life, Mr. Byrne’s memories of his father changed. At age forty-six, surrounded by a supportive community and family, Mr. Byrne had no memories of his alcoholic and neglectful father and did not think his father’s being a f ireman had inf luenced his own decision to become one.At sixty-six, retired and with his children grown, Mr. Byrne â€Å"had succeeded in ‘f inding’ his father inside as a sustaining inner object in declarative memory (p. 465). He did so through creating or retrieving warm memories of their times together in the f irehouse and by ‘misrememberingâ€⠄¢ the humiliating events of his father’s death so as to have a more positive image of him. Mr. Byrne’s father had committed suicide, alone and away from the family. But late in life, Mr. Byrne spoke frequently of his father’s having taken him to the f ire station when he was a youngster.He was now sure these happy times with his father had inf luenced his decision to become a f ireman himself. He placed his father’s death in a family setting and claimed to have been the one who found him. Davis points out that we often create the memories we need in order to maintain psychological resilience and mental health. Whatever good experiences Mr. Byrne did have with a diff icult and neglectful father seem to have been magnif ied through the lens of memory aided by imagination in the service of wish fulf illment.It is an example of what Kris (1956a) meant by describing autobiographical memory as telescopic, dynamic, and lacking in autonomy: â€Å"our autobiogra phical memory is in a constant state of f lux, is constantly being reorganized, and is constantly being subject to the changes which the tensions of the present tend to impose† (p. 299). In a way, Williams does the same thing by creating a memory play. Lonely, guilty over his sister’s fate, f inding St. Louis and his family unbearable, Williams begins writing a play that both ref lects his current Downloaded from http://apa. sagepub. om at CALIFORNIA DIGITAL LIBRARY on September 9, 2009 DECLARATIVE MEMORY IN THE GLASS MENAGERIE suffering and at the same time assuages it. In writing The Glass Menagerie, he creates for himself one of those delicate glass animals— a small tender bit of illusion that relieves him of the austere pattern of life as it is lived in the present and makes it more bearable. He does so not by setting his play in the harsh realities of the present, too painful to write about, but in creatively altered memory. Sitting at his writing table, Wil liams reclaims his sister (Laura in the play) from the State Asylum and places her at home again.She is not frankly delusional and lobotomized. She is not even in Rose’s presurgical state of illness—a state of aggressiveness and talkativeness made worse by utter and unending vulgarity. Instead, she is portrayed as painfully shy, weak, and schizoid. And Cornelius, the real-life father he must face daily, is gone. Gone from the play for dramatic purposes to be sure: the play would lose a certain edge were there another breadwinner in the house. But in the play, Williams expresses his wish to reconstruct reality and, in this play of memory and desire, rid himself of the old man.Yet he is not entirely gone, for the father’s picture hangs on the wall, like Hamlet’s ghost, reminding us of a son’s ambivalent longing for a father. For in 1943 and throughout his life, Williams longed for some man to comfort and help him. In the play, his own wish for a supp ortive, loving father is transformed into the wish for the gentleman caller—someone who, unlike his father, will help Laura, satisfy Amanda, and, by his assuring presence, bless Tom’s own departure. He is not only the person Williams longs for, but also the one he longs to be, though he knows it is a role he can never play.It is no accident then that Jim, the gentleman caller, conveys an uncomfortable uncertainty about his future. He is, in a sense, the failed high school â€Å"hero,† with perhaps unrealizable dreams for the future. Jim already hints that the realities of life may not meet his expectations. He expresses resentment at having to work at two jobs: his work and his marriage, in which he has to â€Å"punch the clock† every night with Betty. He is f lirtatious with Laura, even going so far as to kiss her, showing a clear sympathy and attraction to women other than his f iancee.Tennessee’s father, a bitter man from a prominent Southern fa mily, a heavy drinker and a womanizer, while banned from the play, haunts it through his portrait and is resurrected in the f lesh in Jim, who is likewise disappointing and cannot be counted on and who, in the future, may come to resemble Cornelius. In his own life, Williams found and lost gentlemen callers hundreds of times over. And when he was Downloaded from http://apa. sagepub. com at CALIFORNIA DIGITAL LIBRARY on September 9, 2009 1265 Daniel Jacobs ot looking for the gentleman caller, he was being one, abandoning and disappointing those who loved him. The only one he was truly faithful to was Rose. Memories are like dreams or fantasies in that all the characters remembered at a particular moment may represent aspects of the rememberer’s own personality. Amanda’s steely will to survive is ref lected in Tom’s stubborn insistence on leaving. Laura’s fragility and submissiveness are what he must try to get away from in himself. Jim is the artist manque , the average joe Tom fears he will become if he doesn’t leave. THE STAGING OF MEMORY 1266Through the very structure of his play and the physical placement of its characters, Williams shows us that we cannot have a past without a present or a present uninf luenced by the past. He takes us back and forth in time as Tom Wingf ield literally steps in and out of the railroad f lat of his memory. He both ref lects on his past and participates in it, as his memories come alive. All the play’s characters slip in and out of memory, from present to past and back again, as they interact with one another, forging their current identity and present relationship in the anvil of a past they selectively remember.The stage set that Williams proposed concretizes the alternating forward and backward movement of time that takes place in the characters’ and in all of our minds. Tom’s opening soliloquy is stage front in the present and is often played outside the apartment. T he scene that follows is from the past, set in a dining room at the back of the stage, as if to emphasize the remoteness of memory. The f igures move backward and forward on stage, like memories themselves, coming into consciousness and then receding. Lighting is used in a similar way: to emphasize through spotlighting the highly selective and highly cathected aspects of memory.Lightness and darkness, dimness and clarity, play an important role in the ambience of the play, heightening the shifting play of memory. Williams is specif ic about the use of lighting in his production notes for The Glass Menagerie: â€Å"The lighting in the play is not realistic. In keeping with the atmosphere of memory, the stage is dim. Shafts of light are focused on selected areas or actors, sometimes in contradistinction to what is the apparent center. . . . A free and imaginative use Downloaded from http://apa. sagepub. om at CALIFORNIA DIGITAL LIBRARY on September 9, 2009 DECLARATIVE MEMORY IN THE G LASS MENAGERIE of light can be of enormous value in giving mobile, plastic quality to plays of more or less static nature† (Williams 1945, p. 10). By commissioning an original musical score, Williams makes a deliberate attempt to evoke memory in members of the audience— memories of their own youthful stirrings, with all the fears and pleasures that attend them. Schacter (1996) notes that it is the memories of adolescence and early adulthood that are most often retained as we grow older.In asking Paul Bowles to write a new piece of music for his play, Williams, I think, is playing with the notion that memory is a new creation, similar to Bowles’s new music, Williams counts on the fact that while the score has never been heard before by the audience, it nevertheless feels familiar and seems a part of one’s previous experience. While the music may stimulate declarative memories of young adulthood in the audience, by its wordlessness it is designed to evoke no ndeclarative memory experienced as a feeling state (Davis 2001).By using a new score rather than relying on familiar tunes, Williams insists that memory is an invention of the present rather than a reproduction of the past. CONCLUSION 1267 So we have Tom Williams in his basement room writing about Tom Wingf ield. His protagonist is thrust both forward and backward in time: Tom Wingf ield in 1945 is ref lecting on a time before World War II began. Tom Wingf ield is Tennessee and not him at the same time. The memories Williams calls forth from his own experiences are transformed in ways that are not only dramatically but psychologically necessary for the author.Rendering the truth through selective and transformed memory, Williams creates his own glass menagerie to which he could each day retreat from the harsh realities of his life in St. Louis in l943. He creates fragile f igures he can control, moving them around the imagined setting of creative memory. In creating the play, he can always be near Rose. On the page and on the stage, the two are bound forever, like f igures on a Grecian urn. At the same time, the play is a justif ication for Tennessee’s departure from the family, a plea for understanding as to why he must leave the altered Rose (his castrated self) behind and pursue his own path.Freud (1908) pointed out how both in creative writing and fantasy â€Å"past, present, and future are strung together, as it were, on the thread of the wish that runs through Downloaded from http://apa. sagepub. com at CALIFORNIA DIGITAL LIBRARY on September 9, 2009 Daniel Jacobs 1268 them† (p. 141). In the process of writing The Glass Menagerie, the infantile wish to reunite with Rose, to rid himself of a hateful father, and to overcome the threats of castration that Rose’s situation and his own imply, f inds a solution to his torments.He does what Tom Wingf ield does in the play. He leaves. By May of l943, Tennessee is on his way to Hollywood to b ecome, for a short time, a screenwriter. But like Tom Wingf ield, Tennessee cannot leave his past behind. He will be as faithful to Rose as Tom Wingf ield is to Laura when at the play’s end he says, â€Å"I tried to leave you behind me, but I am much more faithful than I intended to be† (p. 115). Of their relationship, Rasky (l986) wrote, â€Å"Just as Siamese twins may be joined at the hip or breastbone, Tennessee was joined to his sister, Rose, by the heart. . . In the history of love, there has seldom been such devotion as that which Tennessee showed his lobotomized sister† (p. 51). Peter Altman, former director of Boston’s Huntington Theater, points out how with the writing of The Glass Menagerie Williams blows out the candles on an overtly autobiographical form of writing and moves on to create full-length plays less obviously reliant on the concrete details of his own history (private communication, 1997). While he could never psychologically free h imself from the traumatic events of his upbringing, artistically he was able to move ahead.By creating within and through the play his own glass menagerie, where the characters are f ixed and can live forever in troubled togetherness, he grants himself permission to leave St. Louis once again. Such a creation is akin to Kris’s description of the personal myth (1956a): â€Å"A coherent set of autobiographical memories, a picture of one’s course of life as part of the self-representation [that] has attracted a particular investment, it is defensive inasmuch as it prevents certain experiences and groups of impulses from reaching consciousness. At the same time, the autobiographical self-image has taken the place of a repressed fantasy . . † (p. 294). But in the patients Kris described, sections of personal history had been repressed and the autobiographical myth created to maintain that repression. In Williams’s case, he is quite conscious of the distortions in his â€Å"memory play,† but creativity serves a function for the artist similar to that served by personal myth in Kris’s patients. Williams is able to separate further from his family by keeping himself, through his memory play, attached to them forever, selectively remembered and frozen in time in a way painful, yet acceptable, to him.By writing the play, a visual representation of memory and Downloaded from http://apa. sagepub. com at CALIFORNIA DIGITAL LIBRARY on September 9, 2009 DECLARATIVE MEMORY IN THE GLASS MENAGERIE wish, Williams creates a permanent wish-fulf illing hallucination providing gratif ication and psychic survival (see Freud 1908). Of his sister Rose’s collection of glass animals, which was transformed into Laura’s glass menagerie, Williams wrote that â€Å"they stood for all the small tender things (including, I think, happy memories) that relieve the austere pattern of life and make it endurable to the sensitive.The areaway [t he alley behind his family’s f lat in St. Louis, where cats were torn to pieces by dogs] was one thing—my sister’s white curtains and tiny menagerie of glass were another. Somewhere between them was the world we lived in† (Nelson 1961, p. 8). What enables Williams to survive psychically and adds to his resilience in St. Louis in l943 is, I believe, his ability to create a space between the bitter realities of family life and his impulse to f lee and forget it all—to blow out the candles of memory.That space was his memory play, a space he inhabited daily through his writing, a space of some resilience where psychologically needed memories are created amid the pain and sorrow of the present. And in so doing, he reminds us all of the role memory plays in our survival. Our memories are like glass menageries, precious, delicate, and chameleonlike. We can become trapped by them like Laura and Amanda. Or, as in the case of Tennessee and Mr. Byrne, we can gain resilience from their plasticity that allows us to move forward psychologically.Williams wrote, in his essay â€Å"The Catastrophe of Success† (1975), that â€Å"the monosyllable of the clock is Loss, loss, loss, unless you devote your heart to its opposition† (p. 17). Tennessee felt that for him the heart’s opposition could best be expressed through writing. He felt that the artist, his adventures, travels, loves, and humiliations are resolved in the creative product that becomes his indestructible life. (Leverich 1995, p. 268) I think he might have agreed that while creative work plays that role for the artist, memory and fantasy are its equivalent for all of us.Williams knew that it is through the creative transformation of experience, sometimes in verse, sometimes in memory, that we draw nearer to that â€Å"long delayed but always expected something we live for† (1945, p. 23). REFERENCES 1269 DAVIS, J. (2001). Gone but not forgotten: Declarative and non-declarative memory processes and their contribution to resilience. Bulletin of the Downloaded from http://apa. sagepub. com at CALIFORNIA DIGITAL LIBRARY on September 9, 2009 Daniel Jacobs 1270 Menninger Clinic 65:451–470. FREUD, S. (1899). Screen memories. Standard Edition 3:301–322. ——— (1908). Creative writers and day-dreaming.Standard Edition 9:143–153. K RIS , E. (1956a). The personal myth. In The Selected Papers of Ernst Kris. New Haven: Yale University Press, 1975, pp. 272–300. ——— (1956b). The recovery of childhood memories in psychoanalysis. In The Selected Papers of Ernst Kris. New Haven: Yale University Press, 1975, pp. 301–340. LEVERICH, L. (1995). Tom: The Unknown Tennessee Williams. New York: Norton. NELSON, B. (1961). Tennessee Williams: The Man and His Work. New York: Obolensky. RASKY, H. (1986). Tennessee Williams: A Portrait in Laughter and Lamentation. Niagara Falls: Mosaic Press . SCHACTER, D. (1995).In Search of Memory. Cambridge: Harvard University Press. SCHNEIDERMAN, L. (1986). Tennessee Williams: The incest motif and f ictional love relationships. Psychoanalytic Review 73:97–110. UPDIKE, J. (l960). Rabbit, Run. New York: Knopf. WILLIAMS, T. (1945). The Glass Menagerie. New York: New Direc-tions, l975. ——— (l972). Memoirs. New York: Doubleday. ——— (l975). The catastrophe of success. In The Glass Menagerie. New York: New Directions, 1975, pp. 11–17. 64 Williston Road Brookline, MA 02146 E-mail: [email  protected] com Downloaded from http://apa. sagepub. com at CALIFORNIA DIGITAL LIBRARY on September 9, 2009

Fluent in Speech and Affluent in Wealth

Fluent in Speech and Affluent in Wealth Fluent in Speech and Affluent in Wealth Fluent in Speech and Affluent in Wealth By Maeve Maddox Some speakers and writers are beginning to use the word affluent in contexts that call for fluent. Here are some examples of incorrect usage Ive notice on the web: a good vocabulary is necessary†¦ everyone should be well rounded and affluent in their own language. [Name] has over 14 years of real estate experience, is affluent in Spanish and specializes in new home and residential sales. [Name] was baptized in November 2006. She is affluent in Spanish, but her English is very weak. [Name], who is affluent in Spanish, works with Hispanic students. I need someone who is affluent in Spanish and I also would like to know about what they would charge for this. I now realize that not everyone is affluent in Spanish. Both fluent and affluent come from Latin words related to the idea of moving water: fluere, to flow; affluere, flow toward. In modern usage, the most common definitions of the two words are these: fluent [flÃ… «Ã‰â„¢nt] : flowing or capable of flowing, especially with ease or freedom affluent [ÄÆ'flÃ… «-É™nt] : having an abundance of goods or riches The misuse reflects a nonstandard pronunciation of affluent that puts the stress on the second syllable instead of the first. Here are some examples of the correct use of affluent: Are Affluent Teens The Latest Victims Of Mental Illness? These are affluent singles and couples who live in the chic high-rise neighborhoods of many big cities, owning swank condos and apartments. An Increasingly Affluent Middle India Is Harder to Ignore A person may live in an affluent neighborhood, but is fluent in a language. Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Misused Words category, check our popular posts, or choose a related post below:Program vs. ProgrammeThe Writing ProcessThe Difference Between "Un-" and "Dis-"

A Kindergarten Lesson Plan for Teaching Non-Standard Measurement

A Kindergarten Lesson Plan for Teaching Non-Standard Measurement Class: Kindergarten Duration: One class period Key Vocabulary:Â  measure, length Objectives:Â  Students will use a non-standard measure (paper clips) to measure the length of several objects. Standards Met 1.MD.2. Express the length of an object as a whole number of length units, by laying multiple copies of a shorter object (the length unit end to end); understand that the length measurement of an object is the number of same-size length units that span it with no gaps or overlaps. Limit to contexts where the object being measured is spanned by a whole number of length units with no gaps or overlaps.​​​ Lesson Introduction Pose this question to students: I want to draw a big picture on this piece of paper. How can I figure out how big this piece of paper is? As students give you ideas, you can write them down on the board to possibly connect their ideas to the lesson of the day. If they are way off in their answers, you can guide them closer by saying things such as, Well, how does your family or the doctor figure out how big you are? Materials One inch paper clipsIndex cardsPieces of 8.5x11 paper for each studentPencilsTransparencyOverhead machine Step-By-Step Procedure Using the transparency, the index cards, and the paper clips, show students how to work end to end to find the length of an object. Place one paper clip next to another, and continue until you have measured the length of the card. Ask students to count out loud with you to find the number of paper clips that represents the length of the index card.Have a volunteer come up to the overhead machine and measure the width of the index card in paper clips. Have the class count out loud again to find the answer.If students don’t have paper clips already, pass them out. Also, pass out one sheet of paper to each student. In pairs or small groups, have them line up the paper clips so that they can measure the length of the piece of paper.Using the overhead and a piece of paper, have a volunteer show what they did to measure the length of the paper in paper clips and have the class count out loud again.Have the students try to measure the width of the paper on their own. Ask students wha t their answers are, and model for them again using the transparency if they arent able to come up with an answer that is close to eight paper clips. Have students list 10 objects in the classroom that they can measure with a partner. Write them on the board, students copy them down.In pairs, students should measure those objects.Compare answers as a class. Some students will be way off in their answer- recheck those as a class and review the end-to-end process of measuring with the paperclips. Homework and Assessment Students can take a small baggie of paperclips home and measure something at home. Or, they can draw a picture of themselves and measure their body in paper clips. Evaluation As students are working independently or in groups, measuring the classroom objects, walk around and see who is needing help with the non-standard measures. After they have had repeated experiences with measurement, choose five random objects in the classroom and have them measure those in small groups so that you can assess their understanding of the concept.

Change Model Essay Example | Topics and Well Written Essays - 1000 words

Change Model - Essay Example The best short-term change model for the company is Kotter's 8 Step change model created by John Kotter, a Harvard University Professor. In this case, he argues that employees accept change when their leaders convince them of the urgency for change. The process involves eight stages, the first stage is increasing the urgency for change that aims at motivating employees. The next step is building a team that will be dedicated to change and who will build momentum around the need to change. The next step is creating the vision of change that people can understand. Communicating the need for change is also a crucial step. Communication needs to be frequent and powerful. Empowering workers with the ability to change and creating short-term goals are also crucial. For change to succeed the next steps are being persistent and it should be made permanent. The model is best for the organization because of its advantages including the fact that it is easy and is a step-by-step model. The proc ess also focuses on the preparation and acceptance of change among employees and not the actual change. The method also makes the transition to be easier. However, it also has its disadvantages that include the fact that the company cannot skip a step. It means that all the steps need to be followed for the model to be successful. There is also the risk that it would take a great deal of time to implement the model. It is critical to note that the company intends to make major changes on how it reaches its customers.

Segmentation, Targeting and Positioning(fom) Dissertation

Segmentation, Targeting and Positioning(fom) - Dissertation Example Instead by segmenting the market, the company divides its market and devises marketing strategies only to the market it is going to cater to. This saves valuable resources of a company which can be spent on CSR activities and other activations that are beneficial for the entire society. The marketing strategies are devised once a company decides which segment it is going to target, hence first step of the ladder is segmentation and second is targeting and being part of the same ladder they are equally beneficial for the society as whole. Many companies like P&G, Unilever, Reckitt and Nestle have been success stories of the fact that marketing segmentation, division and targeting is not only important for the society, but it is also very important for the company. Since company is operating in the society, the profits it earns lead to improvement in standard of living and more taxes being paid and all these changes lead to betterment of the society. (Armstrong and Kotler, 2011) Refere nces: Armstrong, Gary and Kotler, Philip 2011, Marketing: an introduction, 10th edition, Pearson Prentice Hall, USA.