Suzane Collins The Hunger Games - 2289 Words

Few defining characteristics depict a book appropriate for middle schoolers to be taught in the classroom setting. Literature presented to young, impressible, students must be relevant enough to enrich and intrigue without boring them. Deciding whether children in middle school (7th and 8th grades) should be assigned to read an explicitly violent series such as Suzanne Collin’s The Hunger Games in class is a matter that has been debated numerous times since the first book came out in 2008. The Hunger Games trilogy is a series where children are annually forced to fight in a nationwide spectacle known as the Hunger Games. Many people believe that middle schoolers should not be allowed to read this at all, much less made to read it in the†¦show more content†¦The often seen depictions of damsels in distress are part of an issue that is seen even in modern literature and media. More often than not in society, men are the ones expected to rescue the women, despite the fac t that women can be just as heroic in not only literature, but in real life. This often discourages girls from being too independent or bold, lest they be socially shunned for being â€Å"boyish.† In her article, â€Å"The Katniss Conundrum: Is She Okay for Kids?† Mary Pols confirms that Everdeen is an exemplary role model for young people. She argues, â€Å"There is so much to admire about Katniss Everdeen. She’s strong, smart and willing to protect her family (mother and little sister Prim) at any cost, even her own life† (Pols). Throughout the books Katniss maintains a headstrong mindset that defines her character, letting her overcome various obstacles. Time reporter Eliana Dockterman emphasizes that people need to realize that the violent, albeit powerful Hunger Games series can educate the young viewers rather than harm them. She makes several good points that the main character, Katniss is a great role model to kids of both genders. Dockterman als o points out that women can indeed be strong and caring at the same time such as Katniss. â€Å"She doesn’t need to be saved. Give her a bow and arrow, and she can take care of herself. In fact, she tends to come to the rescue of men, not the other way around†¦ She has more important things to worry about: like surviving the

Organizational Behavior of Malaysia Airline - 2352 Words

Satisfactory/ Accomplishment of Malaysia Airlines * Conscientiousness In an airline company, an employee’s self-disciplined determined how the company image would be. Being an employee in the airline company, timeliness served as the most important among others. Every single customer of the airline company would expect the flight to be taken off and reached the destination on time. Hence, the punctuality of the flight pilot and crews plays an important role in the airlines. It could be difficult to imagine how the airline company could serve well if the pilot and crews were not punctual for all the flights. Besides that, the pilot or captain plays an important role on ensuring the safety of all the passengers and crews on†¦show more content†¦The company had gained the profit to cover up the losses. In addition, according to the stock exchange, the Malaysia Airlines Company suffered the high losses due to poor management and fuel price increases. The Board of Director of Malaysia Airlines should have his own strategy to manage it well. The employees felt anxious about the poor management. It is very important to have the better management in the working environment because if the Malaysia Airline Company had the poor management, it means that it has lowest security and poor system. If the system is poor, the drug and illegal weapon will easily to get through to our country. It will bring our country a lot of problem. Apart from that, because of the poor management, it will cause the employee became lazier especially checking the baggage area. * Openness to experience Malaysia Airlines Academy provides the training facilities and expert trainers to train the employee become imaginative, creative, curious and sensitive. The MAS Academy provides the program me of â€Å"Dangerous Good Regulation† to equip the people in the transportation industry with the knowledge of how to transport dangerous good safety, with reference to IATA Dangerous. This is Goods Regulation manual and regulated program. The objective of this programme is to train the learners to identify and classify the nine classes, pack, and mark and label DG correctly, prepare the necessary documentation and to applyShow MoreRelatedOrganizational Behavior Of The Aviation Industry1647 Words   |  7 PagesOrganizational Behavior Issues in Aviation BA520 with Dr. Rosemarie Reynolds Joshua Jecha, Zhiyuan Lu, Xinlei Yang 10/1/2014 â€Æ' Abstract The aviation industry, due to its fast paced and extremely performance oriented nature, is an ideal example of how proper organizational behavior lends to the growth, and ultimate success of a company. 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A dose of Paradise Some Effects of Renaissance Drawings on Victorian Artists Essay Example For Students

A dose of Paradise: Some Effects of Renaissance Drawings on Victorian Artists Essay The first of the Grosvenor Gallery’s winter exhibitions was spectacular. Drawings by the Old Masters, and Water-colour Drawings by Deceased Artists of the British School, which opened at the very beginning of 1878, brought together a staggering 1,238 exhibits from the greatest collections in the country, including the Royal Collection and those of John Malcolm of Poltalloch, the Earl of Warwick and the Duke of Devonshire. This overwhelming display, which included large quantities of drawings by Botticelli, Leonardo, Michelangelo, Raphael, Titian, Dà ¼rer and Holbein, caused the poet Algernon Swinburne to exclaim that it had ‘fairly swept away such small remains of sanity as I possessed before going there †¦One cannot stand such a dose of Paradise all at once.’ For Swinburne’s great friend Edward Burne-Jones and his contemporaries, this and other revelatory exhibitions of Old Master drawings had profound consequences. For British artists to find inspiration in the Old Masters, whether drawings, paintings or sculpture, was, of course, hardly a new phenomenon. What was unprecedented was the accessibility of Old Master drawings in Victorian England, both in reality and through photographic reproduction. From 1846 the Ashmolean Museum displayed drawings by Michelangelo and Raphael fairly constantly on screens in a dedicated gallery. From 1858 exhibitions, the first containing 145 Old Master drawings and 262 prints, were held at the British Museum – where of course such works could also be studied in the Print Room. The Burlington Fine Arts Club (first established in 1856 as the Fine Arts Club) hosted numerous drawing exhibitions, including, in 1870, an ambitious show of Raphael and Michelangelo with extensive loans from the Royal Collection and the Malcolm collection. Illustrated books employed cutting-edge methods of photographic reproduction which aspired to capture something of the quality of original drawings. An important early publication is Specimens of the Drawings of Ten Masters, from the Royal Collection at Windsor Castle compiled by the Royal Librarian, Bernard Woodward. Published in 1870, it was among the earliest books to be illustrated with high-quality arbon prints known as autotypes.3 In 1882 the introduction which J. Comyns Carr had written for the original Grosvenor Gallery winter exhibition handlist was republished, in a deluxe quarto, as Drawings by the Old Masters, with fourteen star works reproduced by ‘positive etching’, a rather expensive photomechanical technique. 4 Some of these illustrations were printed in a subtle colour – warm brown for Mantegna, dark brown for Rembrandt, terracotta for Leonardo and pink for Botticelli. Individual photographs of Old Master drawings were also sought after. Burne-Jon es in particular assembled a large collection, to which he evidently referred in his working practice as he wrote in 1871 to a friend who had sent him a catalogue: ‘I want them all. Select some for me, will you – †¦ choose as you would for yourself.You know what I like – all helpful pieces of modelling and sweet head-drawing, and nakeds by Leonardo and M. Angelo and Raphael †¦ If Ghirlandaio draws sweet girls running, and their dresses blown about, O please not to let me lose one.’ As a consequence, British artists working in the second half of the nineteenth century were in a position to benefit from opportunities to study large numbers of drawings, which previously had been the privilege of wealthy collectors and their circles. The sporadic nature of chances to see actual works in an exhibition context should be weighed against the sheer quality and quantity of drawings when they were displayed – these were not just the contents of one collection but the gems of many. For artists receptive to models outside the mainstream of the British art establishment, whether Frederic Leighton, whose early exposure to Nazarene principles shaped his draughtsmanship, or the Pre-Raphaelite Brotherhood who sought to emulate the qualities they found in early Renaissance masters, the advent of these drawings had great significance. In addition to which, for Victorian artists seeking what was ‘direct and serious and heartfelt in previous art’, as the Pre-Raph aelites had put it in their manifesto, the relative simplicity and provisional or exploratory quality of a drawing often had greater appeal than the more public rhetoric of a painting. So what were the specific effects of these doses of Paradise on Victorian artists? The principal one was reflected in the impetus to emulate certain characteristics of Renaissance drawings, the most extreme manifestation of which was the occasional use of metalpoint, a medium which had been little used since the early sixteenth century.6 The trajectory of metalpoint use by nineteenth-century English artists roughly divides into three phases which may be summarised as follows. Phase one is represented by William Dyce, who seems to have been the earliest adopter: one of his metalpoint drawings is dated 1845, the year after the English publication of Cennini’s Il Libro dell’Arte (as Treatise on Painting, translated by Mary Merrifield), which described the technical method of making a metalpoint drawing by prepa ing a surface with a coating of ground bone and of drawing on it with a silver orsilver-tipped stylus. Experimentation with metalpoint was typical of the polymathic Dyce, who not only had a taste for fourteenth- and fifteenth-century Italian art but was also deeply concerned with historical techniques and was active in the fresco revival of the 1840s. On the whole, Dyce used metalpoint much as Old Masters themselves often used it – to make rapid and sometimes quite summary studies.7Phase two is represented by artists associated with the Pre-Raphaelite and Aesthetic movements, in particular George Frederick Watts, William Holman Hunt, Frederic Leighton, Edward Burne-Jones and William Blake Richmond. This second phase is mostly concentrated in the 1870s when each made occasional forays into metalpoint (although Watts had used a metalpoint sketchbook earlier than this, from about 1850).8 And phase three is what has come to be known as the ‘silverpoint revival’,when in the late 1880s and throughout the 1890s the medium came into wider and more sustained use. The principal exponent of metalpoint during this phase was Alphonse Legros, Slade Professor from 1876 to 1892. Legros’s sometime students, most notably William Strang and Charles Prosper Sainton, were also prominent practitioners. Increased publicity for the medium in this period through exhibitions of contemporary drawings resulted in it becoming popular with amateurs; in response, the manufacturers of artists’ materials Winsor Newton began to produce metalpoint kits about 1892.9 Renaissance humanism EssayBurne-Jones and Leighton were in the vanguard when they made lively, linear drawings reflecting their knowledge of Old Master exemplars. Until the 1870s this kind of draughtsmanship was not practised in England’s dominant art-educational establishments; in fact it was anathema to the kind of painstaking representation of gradations of light and shade falling on plaster casts which was the basis of Royal Academy teaching. At the regional government-run schools of art and design, there was a dogged insistence on a kind of laborious and time-consuming drawing practice described by one critic as ‘detestable effeminate stippling and rounding’. But drawing in Britain was taken in a new direction by the foundation in 1871 of theSlade School of Fine Art. Edward Poynter, the first Slade Professor, made ‘constant study from the life model’ the central tenet of the new school’s teaching.26 Poynterregarded drawing as an incisive analytical practice and, from the outset, a fundamental principle was the importance of drawing with the point of sharpened graphiteor chalk. As Augustus John later remarked, at the Slade ‘stumping’ – rubbing chalk with a tool of rolled paper with a blunt tip to achieve a smooth tonal effect – wasbanned.27 Successive professors maintained Poynter’s commitment to drawing as a means of understanding the human figure, rather than as an end in itself, and as a consequence Slade students’ drawings were linear and summary in comparison with those produced by their contemporaries at the Royal Academy. As important for the school’s ethos as study from the life model was the Slade’s intention to reconnect drawing with practices and techniques derived from the Old Masters. Drawings themselves were used as models; students studied Old Master drawings, both at the British Museum and in the school’s own collections. Poynter’s successor at the Slade was Legros, whose tenure as Slade Professor began in 1876, and whose teaching method was actually described by Randolph Schwabe as ‘a return to the practice and tradition of draughtsmanship among the old masters.’28 Legros’s verbal communication was compromised by his inability to speak more than basic English; as a result, his comments to individual students were, as one of them recalled, ‘laconic and somewhat bleak’.29 Perhaps as a result of this, he taught by demonstration, making drawings, often head studies, in front of a class;one former student remarked that ‘the watche rs probably learnt more in that silent  lesson than during three times the amount of verbal instruction’.30 AlphonseLegros, Academic studyof the head of a man,1882. Graphite, 38.4 Ãâ€"29.5 cm A demonstration drawing from 1882 exemplifies what became known as ‘Slade shading’, a method of modelling with even diagonal hatching derived from Renaissance metalpoint drawings . Here Legros has used graphite in a highly disciplined way that is clearly informed by his experience of working in metalpoint. Henry Tonks, who began teaching in 1892, was appointed Professor in 1918 andfinally retired in 1930, was equally insistent on his students learning from Old Master drawings. ‘Alone among the Art teachers of his time’, remarked Augustus John, Tonks ‘directed his students to the study of the Masters’, while another student wrote of his ‘faith in the great European traditions as seen in the Italian Renaissance and a period following it. He believed in the methods of drawing as practised in Italy – more particularly in Florence and Umbria – from the Quattrocento onwards.’ As a result of this conviction, in typical students’ drawings of this period multiple contour lines are plainly visible, revealing that they did not carefully erase incorrect lines, as they might easily have done, but were encouraged to use graphite as though it were metalpoint and could not be expunged – much as Legros had used it. While Burne-Jones, Leighton and other artists sought to emulate the appearance of Old Master drawings, focus at the Slade shifted to practice; and, in each case, graphite was often brought into play as a convenient substitute for metalpoint. If metalpoint itself had a more limited actual use among British artists than might have been expected, it had a correspondingly wider reach. Its influence on British drawing, both in individual artists’ practice and in progressive art education, though subtle, was pervasive.

HRM Case Study Motorola Job Sharing System Free Solution

Questions: 1. How does Motorolas job sharing system fit with their business needs? 2. What particular needs do female employees face in work-life balance arrangements such as job sharing? 3. What are the advantages and disadvantages of job sharing to job sharers and their managers? 4. What cultural factors come into play in introducing job sharing into other organisations in an Australian context? Answer: 1. A Motorola is a world famous company that was founded in 1928 in the United States. The company has a large pool of competitive workface that helps the company in surviving in a tough global competitive environment. The company operates its plant at all times of the day and week i.e. 24 hours a day, seven days a week. In such working conditions, it is obvious that the employees would require some benefits or leaves that would allow them to maintain a proper balance between their work life and personal life. The company introduced job sharing in the organisation which greatly helped the employees in maintaining their work life balance. The system of job sharing allowed the employees to share their job responsibilities with a partner while they only had to spend half the time at work i.e. either during the day or during the night. The system helped the business needs of the company by allowing them to retain larger pool of talent (especially females), provide better work life balanc e to the employees and still maintain their 24 hour work policy. 2. A number of researchers have conducted thorough researches on the issue of work life balance in female employees. The studies have shown that female employees find it very difficult to maintain a proper work life balance. Managing their families and working side by side has always been difficult for women (https://www.apa.org, 2016). Therefore, women have more needs in arranging a balance between their work life and personal life. Some of these needs are discussed below: Flexible work timings one of the foremost needs for women, in arranging their work life balance, is flexible work timings. Flexible working hours provide females with an opportunity to manage their families and fulfil their job responsibilities side by side. Maternity leaves one of the biggest issues in the work life of women is when they do not get ample amount of time to be with their children. It is never easy for young mothers to leave their children behind and come to work with a relaxed mind. Therefore, women need additional leaves or off from work hours to attend their young children and fulfil their childhood needs. 3. A job sharing has been considered to be a good arrangement for the employees as well as for the employers but it has advantages as well as disadvantages. Let is discuss the pros and cons of job sharing for employees: PROS Helps in maintaining a better work life balance Employees are able to manage their shifts in a better way and are able to contribute more towards the contribution of organisational goals and objectives It improves their motivation levels and morale CONS It might be challenging for some employees to effectively coordinate with employees with whom they are sharing their jobs. If the employees sharing a job are not compatible, the purpose of job sharing might fail altogether. Job sharing requires a lot of negotiations and compromises between two people, which might not sit well between some employees. Pros and cons for employers: PROS Helps the employers in retaining talent within the organisation Helps in fostering a creative environment by allowing two employees to work together as a team Collective responsibilities increase the accountability of the employees towards the employers. CONS Job sharing can sometimes hinder the efficiency and productivity as some of the employees might not form capable teams with others It can bring about an increase in the employment costs The operational costs and costs of benefits might increase if all job share partners are provided with equal and full benefits (Cordle et al., 2015). 4. A Job sharing is not that common in Australia for senior level executives, while it still works for some employees working in medicine, teaching, law and public relations. Though some people believe that part time jobs mean working for more number of hours in a week, many of them still believe that job sharing helps them in maintaining a proper work life balance. In Australia, the concept is being largely adopted by many companies and the culture of the country is accepting the new change. Thus, the culture of the country does not pose a problem to the introduction of the concept as the people themselves want to start sharing their jobs with other people so that they can go back home from their work and can spend time with their families without getting any urgent work related calls from their offices (Financial Review, 2013). References Tickle, S. (2015). Everyone wins with job-share. [online] Workingcarers.org.au. Available at: https://www.workingcarers.org.au/index.php/work-n-care/work/1681-everyone-wins-with-job-share [Accessed 21 Jul. 2016]. Cordle, A., Maloff, J., Kierbow, H., Adams, W., Wortman, B., Griffith, Z. and Fontaine, D. (2015). Pros and Cons of Job Sharing - GoSmallBiz. [online] GoSmallBiz. Available at: https://gosmallbiz.com/what-is-job-sharing/ [Accessed 19 Jul. 2016]. Heathfield, S. (2016). Know the Advantages and Disadvantages of Employees Sharing a Job?. [online] About.com Money. Available at: https://humanresources.about.com/od/glossaryj/g/job_share.htm [Accessed 19 Jul. 2016]. Financial Review. (2013). Two for one: making job sharing work. [online] Available at: https://www.afr.com/leadership/two-for-one-making-job-sharing-work-20130611-jhop0 [Accessed 19 Jul. 2016]. Jobsharepartner.com.au. (2016). What is Job Sharing?. [online] Available at: https://www.jobsharepartner.com.au/what-is-job-sharing/ [Accessed 21 Jul. 2016]. https://www.apa.org. (2016). Women in the workplace: Work-life balance lessons from mission control. [online] Available at: https://www.apa.org/pi/about/newsletter/2015/09/women-workplace.aspx [Accessed 19 Jul. 2016].

Impressionism And Postimpressionism Essays - Art Movements

Impressionism And Postimpressionism Impressionism was a form of art in the late nineteenth century that used luminosity, subtlety of tone and preoccupation with sensation. The impressionist subject matter preserved the romantic fascination with nature and the realist preoccupation with late century French society. An example of an impressionist work would be Claude Monet's Impression: Sunrise. Impression: Sunrise is a seascape that shows more of what one sees than the sea. The painting had no real strong lines because there were no lines in nature. Postimpressionism describes the western artists who followed the impressionist. They believed in art for arts sake aestheticism, they prized pictorial invention. An example would be Van Gogh's The Starry Night. This is a landscape view of the small French town of Saint-Remy. The paintings sky rolls like ocean waves. The moon appears to burn like the sun. He uses color to express his vision of nature. Arts and Painting

Barton Corbin Case

Barton Corbin Case On Dec. 4, 2004 Jennifer Corbin was found shot once in the head in her Buford, Georgia home with a handgun beside her. Her 7-year-old son discovered her body and reportedly told police that his dad, Dr. Barton Corbin, had killed his mom. While authorities were investigating the death of Jennifer Corbin in Gwinnett County, a Richmond County grand jury on Dec. 22 indicted Barton Corbin for the 1990 death of Dorothy (Dolly) Hearn, who was Bartons girlfriend in dental school in Augusta. Hearn was found shot to death in her apartment with a gun in her lap. Latest Developments Georgia Dentist Pleads Guilty to Two Murders Previous Developments Judge Allows 1990 Evidence in Gwinnett Trial Hearing Set in Georgia Dentists CaseDec. 20, 2005Attorneys for a Georgia dentist, who is accused of killing is wife in 2004 and his girlfriend in 1990, will argue that jurors in one trial should not hear about charges his faces in another in a hearing set for Feb. 17. Attorneys for Georgia Dentist Fight Murder ChargesOct. 10, 2005Attorneys for Barton Corbin, the Georgia dentist accused of the murder of his wife in December and his former girlfriend 15 years ago, have asked that the charged be dropped in the 1990 case because they said the state waited too long to indict him for the death of Dorothy (Dolly) Hearn. Corbin Pleads Innocent in Wifes DeathJan 27, 2005Barton Corbin entered a not guilty plea in his wifes death, after waiving his right to an arraignment. Georgia Dentist Investigated in Third DeathDec. 7, 2005Dr. Barton Corbin, who has been indicted by two Georgia grand juries in the connection with the Dec. 4 death of his wife and death of his former girlfriend 14 years ago, is now being investigated in connection with the death of a Georgia woman who disappeared in 1996 and was found a year later in her vehicle at the bottom of an Alabama Lake. Barton Indicted for Wifes MurderJan. 5, 2005A Gwinnett County grand jury has indicted Georgia dentist Barton Corbin for murder in the shooting death of his wife Jennifer Corbin, who was found dead in her bedroom with a handgun by her side. Investigators Await Gunshot TestsDec. 28, 2004Prosecutors are waiting for crime lab tests in connection with the shooting death of Jennifer Corbin. The Georgia Bureau of Investigation is performing gunshot residue tests on both Jennifer Corbin and her husband, dentist Barton Corbin. Corbin Indicted in Former Girlfriends DeathDec. 22, 2004The husband of a woman who was found shot in her home two weeks ago has now been indicted for the death of his former girlfriend who was found under similar suspicious circumstances 14 years ago.

Insights and Takeaways Assignment Example | Topics and Well Written Essays - 1000 words

Insights and Takeaways - Assignment Example In the realm of business communications, context could be understood as the events, circumstances and ideas that are imminent on the way in which a particular business communication is understood and made sense of (Frey, 2004, p. 58). Thereby, while pursuing this course I realized that context happens to be the most vital concept in any type of business communication. In the human communication and more important in business communication, I have realized that context happens to be a really important things as it is the context which enables a person to cull out or deduct meaning from a communication (Frey, 2004). In fact, the business communications do extend meaning only when they are understood and interpreted within a specific context. Thereby, I have realized that the knowledge of and subservience to context in business communication is always important. The other amazing insight I accrued regarding business communication was the relevance and importance of cultural differences in the conveyance and interpretation of business communication. Engaging in effective business communication with people from other cultures could indeed turn out to be a challenge. I realized that the way people think about, interpret and convey communications is to a great extent determined by their cultural mindset and beliefs. Same words and tones could convey different things to the subjects affiliated to different cultures (Schirato & Yell, 2006, p. 18). Thereby, business communication in the contemporary globalized world certainly does have an unavoidable cultural aspect associated with it, which does need to be taken care of by all people engaging in communication with people from different cultures. It was indeed amazing to realize that for a business communication to be fruitful and effective, it does need to be concise, clear and in consonance with the information being