When Corporate Values Do Not Align with Personal Values

When Corporate Values do not Align with Personal Values When an individual accepts a position at a company, it is important that they should first check that their values match the companies’ values. Often, the companies’ values are readily available and should be researched before the position is accepted, but in some cases, an employee will find out too late that they feel a conflict between their own values and their employer’s values. Every person has certain ‘Benchmark Goals’ that dictate what is important to them in life (Pace, 6). Some people value family, money, and some value having a career in a certain field. Employees in positions where there are conflicting values can be unhappy in their position, and it can carry over into†¦show more content†¦If an open honest conversation is not possible, it might be time to apply for a position change, although potentially in the same company. This environment will keep all the employees in a negative mindset, even if they have values that match the companies and their coworkers. Another form of value-based conflict is when an individual’s values are not aligned with the company values. For example, Planned Parenthoods values states that they believe â€Å"That reproductive freedom is the foundation for true equality for women and men†. Someone who has religious or personal beliefs that disagree with that would feel uncomfortable working at an organization with those values (â€Å"Mission and Values,† 2012). Now, Planned Parenthood is a well-known organization with well-known values, but other companies might have similar values and employees who disagree with these statements may feel uncomfortable working for the companies that support them. In this case, if the employee feels very strongly against the organizational values, it will most likely be best to begin looking for companies that they will be able to feel comfortable at. Another example of this might be government, whose values and goals can potentially change every 4 years. Emp loyees of the government might agree with the values for a position for a short period of time, but the structure may change when a new party Is elected. It is up to that employee to decide if they will support the government despite the differingShow MoreRelatedValue Alignment990 Words   |  4 PagesRunning Head: VALUE ALIGNMENT Value Alignment Value Alignment Ethics and corporate values play a significant role in an organization and are both imperative to success. To attain a successful alignment between individual and corporate values, there needs to be a synergy between the employee and the organization he or she work for. The benefits contain significant value to both the organization and the employee. Established in 1898 as Brad s Drink, PepsiCo has grown substantiallyRead MoreEthics Reflection Paper Str 581 Week 11312 Words   |  6 PagesFacilitator: Dr. Mark Kolesinsky Week 1, July 18, 2012 Ethics Reflection Paper In the last decade, ethics in corporate America has become highly publicized following the discovery of unethical and fraudulent business practices in major corporations. Practices at Tyco, Enron, Arthur Anderson, and WorldCom, among others, have made these corporate names synonymous with corporate fraud. The unethical behavior of top executives such as Bernard â€Å"Bernie† Madoff and Martha Stewart for example, haveRead MoreBe Own Products And Services1416 Words   |  6 PagesProfit sharing with employees was a foundational belief of Bean, and employees were greatly rewarded when the company performed and exceeded expectations. 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These twoRead MoreBusiness Values And Ethics Differ With Every Company Essay953 Words   |  4 PagesBusiness values and ethics differ with every company. They are formed by the behaviors and good ethics that is required in a professional environment. Values. Company values are used to guide and inspire individuals within a business in order to help them make appropriate decisions that align with company’s principles and policies and business practices within its industry. Strategic management is important to understand the position of the organization. It allows the company to accomplish goalsRead MoreDifferences Between Ethical And Unethical Business Activity956 Words   |  4 PagesDifferences between ethical and unethical business activity Ethical Behavior In recent years big corporations have discovered the significance of the corporate social responsibility issue. They have increasingly made sustainability declarations or advertised ethical codes, which then they are expected to abide by. (Law Business Ethics Research Initiative.) Keith Miller the author of Is Ethical Behavior Good for Business has found that ethical behavior is good for business. His research found thatRead MoreThe Actual Usage of Visions and Values in Everyday Leadership 1555 Words   |  6 PagesThe Actual Usage of Visions and Values in Everyday Leadership Purpose The purpose of this paper is to evaluate the extent to which leaders make use of visions and values in the accomplishment of their everyday leadership. There is a plethora of material available on the subjects of leadership vision and values. Vision has a several definitions, most of which tends to infer a mental picture or direction in which the leader wants to take an organization. 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The Twilight Saga 4 Breaking Dawn 38. Power Free Essays

string(69) " I will settle for his,† Vladimir growled from the other side\." â€Å"Chelsea is trying to break our bindings,† Edward whispered. â€Å"But she can’t find them. She can’t feel us here. We will write a custom essay sample on The Twilight Saga 4: Breaking Dawn 38. Power or any similar topic only for you Order Now . . .† His eyes cut to me. â€Å"Are you doing that?† I smiled grimly at him. â€Å"I am all over this.† Edward lurched away from me suddenly, his hand reaching out toward Carlisle. At the same time, I felt a much sharper jab against the shield where it wrapped protectively around Carlisle’s light. It wasn’t painful, but it wasn’t pleasant, either. â€Å"Carlisle? Are you all right?† Edward gasped frantically. â€Å"Yes. Why?† â€Å"Jane,† Edward answered. The moment that he said her name, a dozen pointed attacks hit in a second, stabbing all over the elastic shield, aimed at twelve different bright spots. I flexed, making sure the shield was undamaged. It didn’t seem like Jane had been able to pierce it. I glanced around quickly; everyone was fine. â€Å"Incredible,† Edward said. â€Å"Why aren’t they waiting for the decision?† Tanya hissed. â€Å"Normal procedure,† Edward answered brusquely. â€Å"They usually incapacitate those on trial so they can’t escape.† I looked across at Jane, who was staring at our group with furious disbelief. I was pretty sure that, besides me, she’d never seen anyone remain standing through her fiery assault. It probably wasn’t very mature. But I figured it would take Aro about half a second to guess – if he hadn’t already – that my shield was more powerful than Edward had known; I already had a big target on my forehead and there was really no point in trying to keep the extent of what I could do a secret. So I grinned a huge, smug smile right at Jane. Her eyes narrowed, and I felt another stab of pressure, this time directed at me. I pulled my lips wider, showing my teeth. Jane let out a high-pitched scream of a snarl. Everyone jumped, even the disciplined guard. Everyone but the ancients, who didn’t so much as look up from their conference. Her twin caught her arm as she crouched to spring. The Romanians started chuckling with dark anticipation. â€Å"I told you this was our time,† Vladimir said to Stefan. â€Å"Just look at the witch’s face,† Stefan chortled. Alec patted his sister’s shoulder soothingly, then tucked her under his arm. He turned his face to us, perfectly smooth, completely angelic. I waited for some pressure, some sign of his attack, but I felt nothing. He continued to stare in our direction, his pretty face composed. Was he attacking? Was he getting through my shield? Was I the only one who could still see him? I clutched at Edward’s hand. â€Å"Are you okay?† I choked out. â€Å"Yes,† he whispered. â€Å"Is Alec trying?† Edward nodded. â€Å"His gift is slower than Jane’s. It creeps. It will touch us in a few seconds.† I saw it then, when I had a clue of what to look for. A strange clear haze was oozing across the snow, nearly invisible against the white. It reminded me of a mirage – a slight warping of the view, a hint of a shimmer. I pushed my shield out from Carlisle and the rest of the front line, afraid to have the slinking mist too close when it hit. What if it stole right through my intangible protection? Should we run? A low rumbling murmured through the ground under our feet, and a gust of wind blew the snow into sudden flurries between our position and the Volturi’s. Benjamin had seen the creeping threat, too, and now he tried to blow the mist away from us. The snow made it easy to see where he threw the wind, but the mist didn’t react in any way. It was like air blowing harmlessly through a shadow; the shadow was immune. The triangular formation of the ancients finally broke apart when, with a racking groan, a deep, narrow fissure opened in a long zigzag across the middle of the clearing. The earth rocked under my feet for a moment. The drifts of snow plummeted into the hole, but the mist skipped right across it, as untouched by gravity as it had been by wind. Aro and Caius watched the opening earth with wide eyes. Marcus looked in the same direction without emotion. They didn’t speak; they waited, too, as the mist approached us. The wind shrieked louder but didn’t change the course of the mist. Jane was smiling now. And then the mist hit a wall. I could taste it as soon as it touched my shield – it had a dense, sweet, cloying flavor. It made me remember dimly the numbness of Novocain on my tongue. The mist curled upward, seeking a breach, a weakness. It found none. The fingers of searching haze twisted upward and around, trying to find a way in, and in the process illustrating the astonishing size of the protective screen. There were gasps on both sides of Benjamin’s gorge. â€Å"Well done, Bella!† Benjamin cheered in a low voice. My smile returned. I could see Alec’s narrowed eyes, doubt on his face for the first time as his mist swirled harmlessly around the edges of my shield. And then I knew that I could do this. Obviously, I would be the number-one priority, the first one to die, but as long as I held, we were on more than equal footing with the Volturi. We still had Benjamin and Zafrina; they had no supernatural help at all. As long as I held. â€Å"I’m going to have to concentrate,† I whispered to Edward. â€Å"When it comes to hand to hand, it’s going to be harder to keep the shield around the right people.† â€Å"I’ll keep them off you.† â€Å"No. You have to get to Demetri. Zafrina will keep them away from me.† Zafrina nodded solemnly. â€Å"No one will touch this young one,† she promised Edward. â€Å"I’d go after Jane and Alec myself, but I can do more good here.† â€Å"Jane’s mine,† Kate hissed. â€Å"She needs a taste of her own medicine.† â€Å"And Alec owes me many lives, but I will settle for his,† Vladimir growled from the other side. You read "The Twilight Saga 4: Breaking Dawn 38. Power" in category "Essay examples" â€Å"He’s mine.† â€Å"I just want Caius,† Tanya said evenly. The others started divvying up opponents, too, but they were quickly interrupted. Aro, staring calmly at Alec’s ineffective mist, finally spoke. â€Å"Before we vote,† he began. I shook my head angrily. I was tired of this charade. The bloodlust was igniting in me again, and I was sorry that I would help the others more by standing still. I wanted to fight. â€Å"Let me remind you,† Aro continued, â€Å"whatever the council’s decision, there need be no violence here.† Edward snarled out a dark laugh. Aro stared at him sadly. â€Å"It will be a regrettable waste to our kind to lose any of you. But you especially, young Edward, and your newborn mate. The Volturi would be glad to welcome many of you into our ranks. Bella, Benjamin, Zafrina, Kate. There are many choices before you. Consider them.† Chelsea’s attempt to sway us fluttered impotently against my shield. Aro’s gaze swept across our hard eyes, looking for any indication of hesitation. From his expression, he found none. I knew he was desperate to keep Edward and me, to imprison us the way he had hoped to enslave Alice. But this fight was too big. He would not win if I lived. I was fiercely glad to be so powerful that I left him no way not to kill me. â€Å"Let us vote, then,† he said with apparent reluctance. Caius spoke with eager haste. â€Å"The child is an unknown quantity. There is no reason to allow such a risk to exist. It must be destroyed, along with all who protect it.† He smiled in expectation. I fought back a shriek of defiance to answer his cruel smirk. Marcus lifted his uncaring eyes, seeming to look through us as he voted. â€Å"I see no immediate danger. The child is safe enough for now. We can always reevaluate later. Let us leave in peace.† His voice was even fainter than his brothers’ feathery sighs. None of the guard relaxed their ready positions at his disagreeing words. Caius’s anticipatory grin did not falter. It was as if Marcus hadn’t spoken at all. â€Å"I must make the deciding vote, it seems,† Aro mused. Suddenly, Edward stiffened at my side. â€Å"Yes!† he hissed. I risked a glance at him. His face glowed with an expression of triumph that I didn’t understand – it was the expression an angel of destruction might wear while the world burned. Beautiful and terrifying. There was a low reaction from the guard, an uneasy murmur. â€Å"Aro?† Edward called, nearly shouted, undisguised victory in his voice. Aro hesitated for a second, assessing this new mood warily before he answered. â€Å"Yes, Edward? You have something further†¦ ?† â€Å"Perhaps,† Edward said pleasantly, controlling his unexplained excitement. â€Å"First, if I could clarify one point?† â€Å"Certainly,† Aro said, raising his eyebrows, nothing now but polite interest in his tone. My teeth ground together; Aro was never more dangerous than when he was gracious. â€Å"The danger you foresee from my daughter – this stems entirely from our inability to guess how she will develop? That is the crux of the matter?† â€Å"Yes, friend Edward,† Aro agreed. â€Å"If we could but be positive†¦ be sure that, as she grows, she will be able to stay concealed from the human world – not endanger the safety of our obscurity . . .† He trailed off, shrugging. â€Å"So, if we could only know for sure,† Edward suggested, â€Å"exactly what she will become†¦ then there would be no need for a council at all?† â€Å"If there was some way to be absolutely sure,† Aro agreed, his feathery voice slightly more shrill. He couldn’t see where Edward was leading him. Neither could I. â€Å"Then, yes, there would be no question to debate.† â€Å"And we would part in peace, good friends once again?† Edward asked with a hint of irony. Even more shrill. â€Å"Of course, my young friend. Nothing would please me more.† Edward chuckled exultantly. â€Å"Then I do have something more to offer.† Aro’s eyes narrowed. â€Å"She is absolutely unique. Her future can only be guessed at.† â€Å"Not absolutely unique,† Edward disagreed. â€Å"Rare, certainly, but not one of a kind.† I fought the shock, the sudden hope springing to life, as it threatened to distract me. The sickly-looking mist still swirled around the edges of my shield. And, as I struggled to focus, I felt again the sharp, stabbing pressure against my protective hold. â€Å"Aro, would you ask Jane to stop attacking my wife?† Edward asked courteously. â€Å"We are still discussing evidence.† Aro raised one hand. â€Å"Peace, dear ones. Let us hear him out.† The pressure disappeared. Jane bared her teeth at me; I couldn’t help grinning back at her. â€Å"Why don’t you join us, Alice?† Edward called loudly. â€Å"Alice,† Esme whispered in shock. Alice! Alice, Alice, Alice! â€Å"Alice!† â€Å"Alice!† other voices murmured around me. â€Å"Alice,† Aro breathed. Relief and violent joy surged through me. It took all my will to keep the shield where it was. Alec’s mist still tested, seeking a weakness – Jane would see if I left any holes. And then I heard them running through the forest, flying, closing the distance as quickly as they could with no slowing effort at silence. Both sides were motionless in expectation. The Volturi witnesses scowled in fresh confusion. Then Alice danced into the clearing from the southwest, and I felt like the bliss of seeing her face again might knock me off my feet. Jasper was only inches behind her, his sharp eyes fierce. Close after them ran three strangers; the first was a tall, muscular female with wild dark hair – obviously Kachiri. She had the same elongated limbs and features as the other Amazons, even more pronounced in her case. The next was a small olive-toned female vampire with a long braid of black hair bobbing against her back. Her deep burgundy eyes flitted nervously around the confrontation before her. And the last was a young man†¦ not quite as fast nor quite as fluid in his run. His skin was an impossible rich, dark brown. His wary eyes flashed across the gathering, and they were the color of warm teak. His hair was black and braided, too, like the woman’s, though not as long. He was beautiful. As he neared us, a new sound sent shock waves through the watching crowd – the sound of another heartbeat, accelerated with exertion. Alice leaped lightly over the edges of the dissipating mist that lapped at my shield and came to a sinuous stop at Edward’s side. I reached out to touch her arm, and so did Edward, Esme, Carlisle. There wasn’t time for any other welcome. Jasper and the others followed her through the shield. All the guard watched, speculation in their eyes, as the latecomers crossed the invisible border without difficulty. The brawny ones, Felix and the others like him, focused their suddenly hopeful eyes on me. They had not been sure of what my shield repelled, but it was clear now that it would not stop a physical attack. As soon as Aro gave the order, the blitz would ensue, me the only object. I wondered how many Zafrina would be able to blind, and how much that would slow them. Long enough for Kate and Vladimir to take Jane and Alec out of the equation? That was all I could ask for. Edward, despite his absorption in the coup he was directing, stiffened furiously in response to their thoughts. He controlled himself and spoke to Aro again. â€Å"Alice has been searching for her own witnesses these last weeks,† he said to the ancient. â€Å"And she does not come back empty-handed. Alice, why don’t you introduce the witnesses you’ve brought?† Caius snarled. â€Å"The time for witnesses is past! Cast your vote, Aro!† Aro raised one finger to silence his brother, his eyes glued to Alice’s face. Alice stepped forward lightly and introduced the strangers. â€Å"This is Huilen and her nephew, Nahuel.† Hearing her voice†¦ it was like she’d never left. Caius’s eyes tightened as Alice named the relationship between the newcomers. The Volturi witnesses hissed amongst themselves. The vampire world was changing, and everyone could feel it. â€Å"Speak, Huilen,† Aro commanded. â€Å"Give us the witness you were brought to bear.† The slight woman looked to Alice nervously. Alice nodded in encouragement, and Kachiri put her long hand on the little vampire’s shoulder. â€Å"I am Huilen,† the woman announced in clear but strangely accented English. As she continued, it was apparent she had prepared herself to tell this story, that she had practiced. It flowed like a well-known nursery rhyme. â€Å"A century and a half ago, I lived with my people, the Mapuche. My sister was Pire. Our parents named her after the snow on the mountains because of her fair skin. And she was very beautiful – too beautiful. She came to me one day in secret and told me of the angel that found her in the woods, that visited her by night. I warned her.† Huilen shook her head mournfully. â€Å"As if the bruises on her skin were not warning enough. I knew it was the Libishomen of our legends, but she would not listen. She was bewitched. â€Å"She told me when she was sure her dark angel’s child was growing inside her. I didn’t try to discourage her from her plan to run away – I knew even our father and mother would agree that the child must be destroyed, Pire with it. I went with her into the deepest parts of the forest. She searched for her demon angel but found nothing. I cared for her, hunted for her when her strength failed. She ate the animals raw, drinking their blood. I needed no more confirmation of what she carried in her womb. I hoped to save her life before I killed the monster. â€Å"But she loved the child inside her. She called him Nahuel, after the jungle cat, when he grew strong and broke her bones – and loved him still. â€Å"I could not save her. The child ripped his way free of her, and she died quickly, begging all the while that I would care for her Nahuel. Her dying wish – and I agreed. â€Å"He bit me, though, when I tried to lift him from her body. I crawled away into the jungle to die. I didn’t get far – the pain was too much. But he found me; the newborn child struggled through the underbrush to my side and waited for me. When the pain ended, he was curled against my side, sleeping. â€Å"I cared for him until he was able to hunt for himself. We hunted the villages around our forest, staying to ourselves. We have never come so far from our home, but Nahuel wished to see the child here.† Huilen bowed her head when she was finished and moved back so she was partially hidden behind Kachiri. Aro’s lips were pursed. He stared at the dark-skinned youth. â€Å"Nahuel, you are one hundred and fifty years old?† he questioned. â€Å"Give or take a decade,† he answered in a clear, beautifully warm voice. His accent was barely noticeable. â€Å"We don’t keep track.† â€Å"And you reached maturity at what age?† â€Å"About seven years after my birth, more or less, I was full grown.† â€Å"You have not changed since then?† Nahuel shrugged. â€Å"Not that I’ve noticed.† I felt a shudder tremble through Jacob’s body. I didn’t want to think about this yet. I would wait till the danger was past and I could concentrate. â€Å"And your diet?† Aro pressed, seeming interested in spite of himself. â€Å"Mostly blood, but some human food, too. I can survive on either.† â€Å"You were able to create an immortal?† As Aro gestured to Huilen, his voice was abruptly intense. I refocused on my shield; perhaps he was seeking a new excuse. â€Å"Yes, but none of the rest can.† A shocked murmur ran through all three groups. Aro’s eyebrows shot up. â€Å"The rest?† â€Å"My sisters.† Nahuel shrugged again. Aro stared wildly for a moment before composing his face. â€Å"Perhaps you would tell us the rest of your story, for there seems to be more.† Nahuel frowned. â€Å"My father came looking for me a few years after my mother’s death.† His handsome face distorted slightly. â€Å"He was pleased to find me.† Nahuel’s tone suggested the feeling was not mutual. â€Å"He had two daughters, but no sons. He expected me to join him, as my sisters had. â€Å"He was surprised I was not alone. My sisters are not venomous, but whether that’s due to gender or a random chance†¦ who knows? I already had my family with Huilen, and I was not interested† – he twisted the word – â€Å"in making a change. I see him from time to time. I have a new sister; she reached maturity about ten years back.† â€Å"Your father’s name?† Caius asked through gritted teeth. â€Å"Joham,† Nahuel answered. â€Å"He considers himself a scientist. He thinks he’s creating a new super-race.† He made no attempt to disguise the disgust in his tone. Caius looked at me. â€Å"Your daughter, is she venomous?† he demanded harshly. â€Å"No,† I responded. Nahuel’s head snapped up at Aro’s question, and his teak eyes turned to bore into my face. Caius looked to Aro for confirmation, but Aro was absorbed in his own thoughts. He pursed his lips and stared at Carlisle, and then Edward, and at last his eyes rested on me. Caius growled. â€Å"We take care of the aberration here, and then follow it south,† he urged Aro. Aro stared into my eyes for a long, tense moment. I had no idea what he was searching for, or what he found, but after he had measured me for that moment, something in his face changed, a faint shift in the set of his mouth and eyes, and I knew that Aro had made his decision. â€Å"Brother,† he said softly to Caius. â€Å"There appears to be no danger. This is an unusual development, but I see no threat. These half-vampire children are much like us, it appears.† â€Å"Is that your vote?† Caius demanded. â€Å"It is.† Caius scowled. â€Å"And this Joham? This immortal so fond of experimentation?† â€Å"Perhaps we should speak with him,† Aro agreed. â€Å"Stop Joham if you will,† Nahuel said flatly. â€Å"But leave my sisters be. They are innocent.† Aro nodded, his expression solemn. And then he turned back to his guard with a warm smile. â€Å"Dear ones,† he called. â€Å"We do not fight today.† The guard nodded in unison and straightened out of their ready positions. The mist dissipated swiftly, but I held my shield in place. Maybe this was another trick. I analyzed their expressions as Aro turned back to us. His face was as benign as ever, but unlike before, I sensed a strange blankness behind the fa?ade. As if his scheming was over. Caius was clearly incensed, but his rage was turned inward now; he was resigned. Marcus looked†¦ bored; there really was no other word for it. The guard was impassive and disciplined again; there were no individuals among them, just the whole. They were in formation, ready to depart. The Volturi witnesses were still wary; one after another, they departed, scattering into the woods. As their numbers dwindled, the remaining sped up. Soon they were all gone. Aro held his hands out to us, almost apologetic. Behind him, the larger part of the guard, along with Caius, Marcus, and the silent, mysterious wives, were already drifting quickly away, their formation precise once again. Only the three that seemed to be his personal guardians lingered with him. â€Å"I’m so glad this could be resolved without violence,† he said sweetly. â€Å"My friend, Carlisle – how pleased I am to call you friend again! I hope there are no hard feelings. I know you understand the strict burden that our duty places on our shoulders.† â€Å"Leave in peace, Aro,† Carlisle said stiffly. â€Å"Please remember that we still have our anonymity to protect here, and keep your guard from hunting in this region.† â€Å"Of course, Carlisle,† Aro assured him. â€Å"I am sorry to earn your disapproval, my dear friend. Perhaps, in time, you will forgive me.† â€Å"Perhaps, in time, if you prove a friend to us again.† Aro bowed his head, the picture of remorse, and drifted backward for a moment before he turned around. We watched in silence as the last four Volturi disappeared into the trees. It was very quiet. I did not drop my shield. â€Å"Is it really over?† I whispered to Edward. His smile was huge. â€Å"Yes. They’ve given up. Like all bullies, they’re cowards underneath the swagger.† He chuckled. Alice laughed with him. â€Å"Seriously, people. They’re not coming back. Everybody can relax now.† There was another beat of silence. â€Å"Of all the rotten luck,† Stefan muttered. And then it hit. Cheers erupted. Deafening howls filled the clearing. Maggie pounded Siobhan on the back. Rosalie and Emmett kissed again – longer and more ardently than before. Benjamin and Tia were locked in each other’s arms, as were Carmen and Eleazar. Esme held Alice and Jasper in a tight embrace. Carlisle was warmly thanking the South American newcomers who had saved us all. Kachiri stood very close to Zafrina and Senna, their fingertips interlocked. Garrett picked Kate up off the ground and swung her around in a circle. Stefan spit on the snow. Vladimir ground his teeth together with a sour expression. And I half-climbed the giant russet wolf to rip my daughter off his back and then crushed her to my chest. Edward’s arms were around us in the same second. â€Å"Nessie, Nessie, Nessie,† I crooned. Jacob laughed his big, barky laugh and poked the back of my head with his nose. â€Å"Shut up,† I mumbled. â€Å"I get to stay with you?† Nessie demanded. â€Å"Forever,† I promised her. We had forever. And Nessie was going to be fine and healthy and strong. Like the halfhuman Nahuel, in a hundred and fifty years she would still be young. And we would all be together. Happiness expanded like an explosion inside me – so extreme, so violent that I wasn’t sure I’d survive it. â€Å"Forever,† Edward echoed in my ear. I couldn’t speak anymore. I lifted my head and kissed him with a passion that might possibly set the forest on fire. I wouldn’t have noticed. How to cite The Twilight Saga 4: Breaking Dawn 38. Power, Essay examples

Freud Essay Example For Students

Freud Essay Psychoanalysis is a system of psychology originated by the Viennese physician Sigmund Freud in the 1890s and then further developed by himself, his students, and other followers. It consists of activities such as using methods for research into the human mind, a systematic knowledge about the mind, and a method for the treatment of psychological or emotional disorders. Psychoanalysis began with the discovery of hysteria, an illness with physical symptoms that occurred in a completely healthy physical body, such as a numbness or paralysis of a limb, loss of voice, or blindness. This state could be caused by unconscious wishes or forgotten memories. Many women of the 1800s were diagnosed with hysteria, given the disorder was thought to be primarily female. Freud began telling his patients, through interpretations, what was going on inside the unconscious part of their minds, thus helping the unconscious become conscious. Many cases of hysteria were cured this way, and in 1895, Freud, a long with another fellow physician, published their findings and theories on the study of hysteria. In The White Hotel by D. M. Thomas, the character Lisa does not exhibit the above form of hysteria, but rather a manifestation of reality. Her own reality has become too imprisoned, and she escapes it by creating another Lisa that is nothing like her person. The traditional psychoanalytical theory states that all human beings are born with instinctual drives that are constantly active even though a person is not usually conscious of them. Two drives, one for sexual pleasure and the other called aggression, motivate and propel most behaviors in people. Lisa creates a very intense sexual drive for her fictive person. Readers may speculate that this creation may have been brought about by experiences beginning at birth. In the infant, the libido supposedly first manifests itself by making the act of sucking the thumb an activity with pleasurable sensations in the mouth. Later, according to Freud, similar pleasures are experienced in the anus during bowel movements, and finally these erotically tinged pleasures are experienced when the sexual organ is manipulated. Thus psychosexual development progresses from the oral through the anal to the phallic stage. During the height of the phallic phase (about ages three to six), Freud notes that the se drives focus on the parent of the opposite sex such as in the relations between mother and son or between father and daughter. These drives are known as the so-called Oedipus and Electra complexes. These complexes may also spread to other relationships, such as Lisas viewing of the love affair between her mother and uncle. However, most societies strongly disapprove of the sexual interests of children, and Lisa never spoke of what she saw to anyone but Freud. She also, in the event of her mothers death, fell subject to a withdrawn father who did not meet her needs for affection and attention as a growing child. This may have helped lead to her repressed sexual rage. Also, taboo on incest rules almost universally. Parents, therefore, influence children to push pleasurable sensations and thoughts out of their conscious minds into the unconscious by a process called repression. Repression is what Lisa learned most about in her childhood. In this way the mind comes to consist of thre e parts known as the ego, id, and superego. The ego is mostly conscious and comprises all the ordinary thoughts and functions needed to direct a person in his or her daily behavior. The id is mainly unconscious and contains the instincts and everything that was repressed into it. And finally, the superego is the conscious state that harbors the values, ideals, and prohibitions that set the guidelines for the ego, and punishes the person through feeling of guilt. .uc0e5314a47eee3622a4ffdcd4075682e , .uc0e5314a47eee3622a4ffdcd4075682e .postImageUrl , .uc0e5314a47eee3622a4ffdcd4075682e .centered-text-area { min-height: 80px; position: relative; } .uc0e5314a47eee3622a4ffdcd4075682e , .uc0e5314a47eee3622a4ffdcd4075682e:hover , .uc0e5314a47eee3622a4ffdcd4075682e:visited , .uc0e5314a47eee3622a4ffdcd4075682e:active { border:0!important; } .uc0e5314a47eee3622a4ffdcd4075682e .clearfix:after { content: ""; display: table; clear: both; } .uc0e5314a47eee3622a4ffdcd4075682e { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .uc0e5314a47eee3622a4ffdcd4075682e:active , .uc0e5314a47eee3622a4ffdcd4075682e:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .uc0e5314a47eee3622a4ffdcd4075682e .centered-text-area { width: 100%; position: relative ; } .uc0e5314a47eee3622a4ffdcd4075682e .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .uc0e5314a47eee3622a4ffdcd4075682e .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .uc0e5314a47eee3622a4ffdcd4075682e .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .uc0e5314a47eee3622a4ffdcd4075682e:hover .ctaButton { background-color: #34495E!important; } .uc0e5314a47eee3622a4ffdcd4075682e .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .uc0e5314a47eee3622a4ffdcd4075682e .uc0e5314a47eee3622a4ffdcd4075682e-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .uc0e5314a47eee3622a4ffdcd4075682e:after { content: ""; display: block; clear: both; } READ: College Uneducation by Jorge Bocobo EssayStrong boundaries between the three parts keep the ego fairly free from disturbing thoughts and wishes in the id, ensuring effective functioning and socially acceptable behavior. During sleep the boundaries weaken, and disturbing wishes may slip into the ego from the id. This often causes us to manifest in our dreams. Freud interpreted this concept in his first major work, The Interpretation of Dreams. Something very similar to the weakening of boundaries during sleep may happen during ordinary daytime activities when some impulses from the id manage to cross the repression barrier and cause faulty actions such as slips of the tongu e. This may occur often if psychologically hurtful experiences during childhood have left the repression too weak, distorted the ego, or strengthened the id too much by over-stimulation. Any kind of psychic trauma may lead to the ego becoming an area of conflict between the intruding id, the threatening superego, and the powerful influences emanating from the surrounding environment. Furthermore, the damage done to the basic psychological structures by traumatic experiences leaves those structures weakened and with defective functioning. Such outcomes can cause intense anxiety and depression. In order to keep functioning effectively, the ego attempts to maintain control by achieving some sort of compromise between the contending forces. Lisa could not separate her self from her problems, and therefor fell victim to them. Her life was not focused, but she managed to create clarity in the release of her sexual self. Patients seek psychoanalytic treatment because they suffer from one or more psychological symptoms such as anxiety, depression, sexual inhibitions or manifestations (such as with Lisas conflict), obsessive thoughts, compulsive actions, irrational anger, shyness, phobias, low self-esteem, a sense of being unfulfilled, nervous irritability, and many more. Psychoanalysis does not promise a quick cure but holds hope that through better understanding of oneself and others, one can achieve an correction of symptoms as well as smoother and more effective socialization regarding behavior. It has been found that many psychological problems originate from painful misunderstandings or outright failures in the childs relationship to his or her parents. The method of treatment seems simple at first. The patient is instructed to say absolutely everything that comes to mind without censoring anything, a technique that is called free association. This brings about a state of regression in which long -forgotten events and painful encounters are remembered, often with great clarity and intense emotions. The analyst often can trace the connection between the patients current fantasies and feelings about the analyst and the origin of these thoughts and emotions in childhood experiences. These conflicts and traumas, together with the accompanying fears and feelings, are then are interpreted by the analyst. If treatment is successful, the patient learns to recognize the connections between past and present. The combination of insight and the emotional re-experience during the regressed state can cause a reorganization of the psychological structures into more healthfully adaptive patterns. From the beginnings in the late 19th century, psychoanalytic theory and practice have continued to develop into the present modern practices. Initially, Freud believed that forgotten sexual seductions of children were the cause of neurosis and that remembering the trauma and emotions was therapeutic. He later modified and elaborated his views into the theory of infantile instinctual drives as the motivating force for normal behavior and as the cause of neurosis if repressed. Continuing research has discovered much evidence that the early relationships between children and parents, have the greatest impact on later psychological development. The influence of the care-givers, especially during infancy, leave a lasting imprint on the personality. Any experience with objects, including persons, that evoke and strengthen the self are self-object experiences and are needed by every human being from birth to death in order to sustain a cohesive self. Absence of or faulty self-object experie nces cause a loss of cohesion with the self. Lisas character was a prime candidate for Freuds psychoanalysis. She followed many of the stereotypical guidelines set by Freuds studies. Her reality failed her, so a more vibrant one was created in order to suppress years of secrets, neglect, and the pain from it all. Her character was eventually brought back into a state of reality, but it was too late to save her. The true reality that faced her was the grimace of death of her true self in the end. .u98c51022c07b8bc3cdf9e344489cd9d0 , .u98c51022c07b8bc3cdf9e344489cd9d0 .postImageUrl , .u98c51022c07b8bc3cdf9e344489cd9d0 .centered-text-area { min-height: 80px; position: relative; } .u98c51022c07b8bc3cdf9e344489cd9d0 , .u98c51022c07b8bc3cdf9e344489cd9d0:hover , .u98c51022c07b8bc3cdf9e344489cd9d0:visited , .u98c51022c07b8bc3cdf9e344489cd9d0:active { border:0!important; } .u98c51022c07b8bc3cdf9e344489cd9d0 .clearfix:after { content: ""; display: table; clear: both; } .u98c51022c07b8bc3cdf9e344489cd9d0 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u98c51022c07b8bc3cdf9e344489cd9d0:active , .u98c51022c07b8bc3cdf9e344489cd9d0:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u98c51022c07b8bc3cdf9e344489cd9d0 .centered-text-area { width: 100%; position: relative ; } .u98c51022c07b8bc3cdf9e344489cd9d0 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u98c51022c07b8bc3cdf9e344489cd9d0 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u98c51022c07b8bc3cdf9e344489cd9d0 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u98c51022c07b8bc3cdf9e344489cd9d0:hover .ctaButton { background-color: #34495E!important; } .u98c51022c07b8bc3cdf9e344489cd9d0 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u98c51022c07b8bc3cdf9e344489cd9d0 .u98c51022c07b8bc3cdf9e344489cd9d0-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u98c51022c07b8bc3cdf9e344489cd9d0:after { content: ""; display: block; clear: both; } READ: Career as a military officer EssayWords/ Pages : 1,341 / 24

John Fowles The French Lieutenants Woman Essay Example

John Fowles The French Lieutenants Woman Essay According to Nelson Vieira, John Fowles The French Lieutenants Woman: falls under the rubric of what is commonly known today as metafiction. Metafictional writers thus operate and function with a freedom of exposing illusion for what it is- a device used to mask narrative as a construct and a figment of ones imagination.1 John Fowles has no qualms about admitting that literature is, in fact just an illusion. This is most noticeable in his telling the reader that The story I am telling is all imagination. The characters I create never existed outside my own mind2. It seems then, that John Fowles, in destroying the readers illusion, and also destroys the suspension of disbelief necessary in following a story told by an omniscient narrator3 We will write a custom essay sample on John Fowles The French Lieutenants Woman specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on John Fowles The French Lieutenants Woman specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on John Fowles The French Lieutenants Woman specifically for you FOR ONLY $16.38 $13.9/page Hire Writer Fowles destruction of this suspension of disbelief in reminding us of the fictitious nature of all characters and events taking place creates a gulf between himself, or his story, and the reader. To be drawn into the world of fiction, we must feel that it is true, and that we are a part of a real world, and not merely some illusion or magic trick. It is also impossible for the reader to take ownership of the story when the author is so insistent at writing himself into the novel. Fowles not only intrusively reminds us that he writes a fiction and not a truth, but appears himself in the shape of the man in the railway carriage- we are, however, further confused as to whether, perhaps, his story is based in reality, as he observes Charles and asks now what could I do with you?4 This brings us to the conclusion that, perhaps, Fowles truly observed a man on a train, and, in doing so, brought the character of Charles, and so the story, into being, and so confuses the story from reality. It becomes nearly impossible to distinguish reality from the artificial when Fowles suggests that he is perhaps writing a transposed autobiography; perhaps I now live in one of the houses I have brought into the fiction; perhaps Charles is myself disguised.5 We feel that if the author himself cannot decide to which depth his story is, in fact a reality, then we cannot hope to engage with it either as a piece of fiction or a factual document. Palmer points out that: Fowles intrudes in chapter thirteen in order to jolt the reader who, reading this seemingly traditional historical novel is becoming too passively comfortable in his over-stuffed arm chair. He wants to start a dialogue with his reader.6 Whilst this is indeed most probably, in fact, almost certainly, Fowles intention, it does interfere with storytelling. A story is any narrative or tale recounting the sequence of events7, and Fowles interruption only interrupts the story, although it may give the reader a more mental exercise. Palmer also claims that Fowles is attempting to free the reader from the traditional role of passive, uninvolved observer8, but one must wonder whether the reader wishes to be so liberated. He certainly does free himself and his characters from the tyrannising roles of the traditional novelist god-character relationship9, but rather than freeing his readership, he has enslaved them. Rather than being at liberty to enjoy the narrative, they are forced into a realisation that the world constructed around them is merely that, a construct. However, having forced his reader into a realisation that they have been living in a world of mere make-believe, Fowles taunts his audience, in telling them that my characters still exist, and in a reality no less, or no more real than the one I have just broken.10 Whilst this may seem a confusion, and confusion most certainly is an alienation of the reader, problematising the role of both the author and the story, he is, in fact referring to the reality he has just broken, which, as he has just told us, is no reality at all, but a mere construct. Fowles seems to torment his reader with unsure statements whilst keeping them from the narrative, the purpose of a novel. Fowles has been described as a writer stalking himself, or better, he is a novelist writing into a mirror so that each or his works reflect back upon his own mind and vision11. The reader is never sure what to believe of the novel, just as we are never sure where two mirrors reflecting in on themselves may end. It is in just this way that we cannot tell where Charles will end: indeed, even Fowles seems not to know, hence his triple ending. This too, could present a barrier for his readership: if Fowles, as the author and creator of the text, cannot discern the direction of a narrative, how then, is his readership supposed to manage such a feat? We are given the impression that Fowles is perhaps remarkably indecisive, which brings us out o our suspension of disbelief almost as much as the authorial interruptions. This confusion over plot in his inability to come to a conclusion could be rooted in Fowles determination to rewrite the Victorian novel. Even character is at time confused- we are unsure as to Fowles intentions for Charles, or even Charles origins as a literary figure. Palmer claims that the novel hangs insuspension: between the traditions of Victorian fiction, with its attendant restrictions, and the experimental, intensely-self conscious novel of the mid-twentieth century.12 He also reiterates that The French Lieutenants Woman is, in one of its many aspects, Fowless dramatisation of his own theory of the novel. It is a metatheatrical work of literary criticism.13 It is this idea of the metafiction that provides the complexities of the novel, but also draws the reader away from the characters, creating a barrier between them and the story. We feel that we are, perhaps, guinea pigs for Fowles experiments with literature. The same could be said of Virginia Woolfs Jacobs Room. It has been described as Woolfs most consciously experimental novel14, as so much of the modernist movement is an attempt to break away from the Victorian style that Fowles attempts to recreate. She shies away from the normal, and particularly the narrative- Zwerdling cites her as claiming to want to do away with exact place and time, this appalling narrative business of the realist: getting on from lunch to dinner: it is false, unreal, merely conventional 15. In doing this she cuts out much of the tedium of the Victorian novel, but yet has a good chance of leaving her reader floundering: we may feel at the end of the novel that we do not truly know even Jacob, let alone the peripheral characters. He has been described as far too shadowy a figure who fails to come to life.16 There are few reference points within the novel: Woolf has indeed succeeded in her goal of doing away with typical narrative. We see only brief but typical vignettes chosen seemingly at random,17 and have little means of stringing them together to form a picture of his true character and experiences. Joan Bennett claims that the novel builds up no whole that can be held in the mind18 As such, Jacobs Room seems not so much to problematise storytelling as to obliterate any concept of story. Zwerdling describes Jacobs Room as a surgical excision of clogged detail.19 However, we must consider the meshing of art and science in this idea. A surgical excision seems very far from the constructive art of writing, and, whilst surgery is an exacting, science-dependant field, writing, surely, is a free art, the bounds of which are only the farthest reaches of the imagination, not the facts of textbooks. Whereas Fowles makes us wonder as to the true reality of his characters and story, especially Charles, suggesting that he sees much of Charles in himself, Woolf admits to actively disliking Jacob. Zwerdling suggests that this is largely thanks to his sex, quoting Woolf in Jacobs Room- granted ten years seniority and a difference of sex, fear of him comes first20. Frank Kermode, in the biographical preface to Jacobs Room suggests that this might be possibly related to the sexual molestation of which her half-brother, George Duckworth is accused.21 He also puts points out that there have been many accounts of the marriage very hostile to Leonard Woolf22. Indeed, Woolf gives Jacob thoughts that she, as a woman in the twentieth century, surely could not agree with- he compares the presence of women at the Kings College service to the presence of dogs: No one would think of bringing a dog into church. For though a dog is all very well on a gravel path, and shows no disrespect to flowers, the way he wanders down an aisle, looking, lifting a paw, approaching a pillar with a purpose that makes the blood run cold with horror (should you be one of the congregation- alone, shyness is out of the question), a dog destroys the service completely.23 As educated as she was, although not having attended university, Virginia Woolf could not have agreed with such ideas. As a modern reader, these ideas grate on our sense of equality. In an age where education is available regardless of gender, moments such as these create a distance between the writing and the reader and prevent a true feeling of connection with the text. The French Lieutenants Woman too has some anti-feminist moments, which could present a barrier between the text and a potential readership- Charles believes that Ernestina, as a woman could no possibly hold the same value as a man: He could not be angry with her. After all, she was only a woman. There were so many things she must never understand: the richness of male life, the enormous difficulty of being one to whom the world was rather more than dress and home and children.24 However, this could also represent the other side of the argument- whilst Fowles may alienate a segment of society which was active at the time of the novels publication; he was also attempting to echo the Victorian novel, in which this would very much be a recognised and accepted viewpoint- the Victorian icon- the angel in the house the presiding hearth angel of Victorian social myth25. Charles expects women to stay the same, and to be reliant on men- he expects Sarah to rely on him, and seems to find her making her own way in the world faintly repulsive. In one way, therefore Fowles is problematising his storytelling in possibly alienating a part of his readership, but also moving his story closer to the goal he set out to achieve. As I earlier pointed out in relation to The French Lieutenants Woman, the purpose of storytelling is for entertainment; therefore making a stilted or confusing narrative will certainly problematise the process of storytelling. Jacobs Room is very much a metaphorical text: McNichol points out that there has been too much concentration on what the novel is not26 largely because of a failure to grasp the originality of Virginia Woolfs new conception of a novel27 However; she also notes that it is, in fact, an abstract and theoretic work28, and so we must wonder how much of a story it is, or whether it is, in fact, a challenge to the nature of fiction itself29, and as such, more an academic treatise than a novel. The metaphorical nature of the text is made clear in the relation of the title to the work: the room of the title is in fact in the context of the space, metal and physical, which is occupied by Jacob Flanders30 rather than the physical rooms in which we see him in the course of the novel: asleep in Cornwall with his sheeps jaw, at Cambridge, and at Lambs Conduit Street, among others. As a metaphorical text, the novel is designed not so much for the process of storytelling as to make a statement on the accepted structure. Virginia Woolf is a far more solid presence in the text that any of her characters; indeed, McNichol presents Jacobs Room as being full of authorial dialectic31, just as The French Lieutenants Woman is full of authorial intervention. It seems that the role of the author and the role of storytelling are, to an extent, mutually exclusive. For the author to have a role in their text, it seems they must take a presence in it, as Fowles does in chapter thirteen, and as Woolf does in making Jacobs Room more about an experiment conducted by her than about her characters and plot, and so her readership. As I have pointed out, this concentration on the experiment disrupts the idea of storytelling: for a reader to fully appreciate a story, they must be able to view it as a reality, which the readership of both texts cannot truly do, as the author refuses to give up their place in the piece. Whilst the author is present, we are aware that the constructed world is just that, a fiction, where we would prefer to believe if as a reality, at least for a time. It seems that for storytelling to be effective, therefore, the role of the author must only extend as far as the writing of the story, not featuring in it. As such, storytelling in these texts is problematised by the role of the author, and the role of the author is problematised by storytelling.

Gladiator Essay Example

Gladiator Essay Example Gladiator Essay Gladiator Essay In the opening sequence of the Gladiator, the director, Ridley Scott uses a number of techniques to build excitement and capture the attention of the audience. In this essay I will analyse and review these techniques. The film was released in May of 2000 and had a budget of $100 million (US). This genre of movie is known as Sword and Sandal epics, which were a very popular style preceding World War II, but became less so when people decided that there were too many terrible things taking place in their own world and they did not want to see it in the movies. Other films such as Ben Hur and Spartacus created high standards for any successors, standards which Gladiator has fulfilled and added to.The director begins the movie with a variation on the well known Universal and Dreamworks logos. The normally blue logos have been placed under a yellow filter, giving the immediate impression that the movie must be quite influential in order to exact this change, creating anticipation for the outcome of the film. Also the use of this feature helps to add to the feeling that the story is set in a time which has passed us and will never come back, and creating a feeling of nostalgia. The director then presents the audience with information about the events preceding the beginning of the story, which is framed in a plain script and a smoky-yellow background. The director has created this scene in such a way, so as to not reveal any of the actual plot or storyline and is arguably just to entice the audience even more.The melodious voice of the Australian born Lisa Gerrard is a sweet relaxant and is used by the director to ease the audience into the next scene; an image of a hand brushing over wheat. There is the sound of a warm breeze blowing and children laughing and playing in the background, which adds to the aura of warmth given to the audience by the use of yellow filter on the camera.The director then creates the next scene in stark contrast with its predecessor and to create an understanding of the character, who appears as a silent, battle clad figure of General Maximus Decimus Meridius, framed by the dark Germanic mountainside (rather than the yellow wheat fields of the dream sequence). The director has now made use of a blue filter and this continues through the rest of the sequence and is completely contrasting to the warm yellow of the scene before. The wind is howling and suddenly the director shows us an image of a small robin looking at the man and fluttering away. The wing-beats are heavily accented to exaggerate the feeling of silence before a storm or the fact that Maximus is so in touch with the world around him that he hears every little sound, which, as we later find out, is a very important feature of his character and influences his decisions in all things.Upon first sighting of the character Maximus, the director aims to inspire a feel of awe and honour and has portrayed him thus in order to create an unmistakeable contrast betw een the character of Maximus and Commodus, heir to the throne. Maximus is a general in the army of Rome and although he has yet to set eyes upon the city, he places full allegiance in the hands of his emperor, the dying figure of Marcus Aurelius (Richard Harris). Later on we discover that he was dreaming about his home and family, whom he had not seen since the start of his campaign. This fact adds to his aura of loyalty and shows us that unlike most figures of power, he is not entertained by thoughts of personal wealth and power, but rather than that by a code of honour and loyalty and above all else, a love for his family, which the director has used to capture the audiences emotion and create a love for Maximus. Seeing the robin makes him smile because it reminds him of home and possibly he sees it ironically; the robin leaving is the innocence leaving before the war, this also shows that he takes pleasure in the small things in life and is not just a general intent on winning, h e is also a normal person with a sense of humanity. The audience will like this aspect of his character and it will bring them closer to the character.In the next scene the director shows us how Maximus troops react to him. The director uses a low angle shot for this part of the sequence and this is a useful technique because it helps to emphasise that he is a figure to be revered and respected and that this is the way others see him. The camera moves along with Maximus and it is from this point of view that the audience is shown the way his troops think of him; as a friend rather than just a figure of authority. The use of this type of shot makes the audience feel that they are witnessing the event as a participant rather than someone with a detached outlook on the scene. The director has emphasised this by the fact that Maximus is walking among his men and greets certain individuals among them whom he has personal experience with, showing that he has shared in their trials.Music p lays a vast role in this sequence and there are three major types of music apparent; the use of a Spanish guitar, the lone voice of Lisa Gerrard and the energetic and fast paced music with a full accompaniment. The Spanish guitar is used when we first see Maximus and continues into the battle scene. It is very fast paced and energetic and helps to build up a feeling of expectance. It introduces a very Mediterranean feel to the movie and quickens the pace of the scene at the same time because it is almost a signal for the battle to start. From its slow trickle to the full on force of the orchestra, it provides an immense build up of energy and expectation, which is all spent as it returns to the slowed, blurred scene of the victory and the calming of hearts, taking the audiences expectation with it, giving a sense of melancholy back.During the battle scene, there is a full orchestra playing, giving a feeling of clashing and violence, as well as one of well-ordered chaos. The piece, c omposed by musician Hans Zimmer, was inspired by the Viennese Waltz and Gustav Holsts, Mars: Bringer of War and both play a huge part in the sequence. The militaristic percussions, strings, and brass accents are some of the more typical elements of music found in Zimmers composition, and they combat desperately with what elements are left of the actual waltz, adding to the whole effect of battle and clashing.A chief aspect in the more supernatural side of the movie was the lone voice of Lisa Gerrard, with her soothing voice adding a Middle-Eastern feel to the movie. Her touch compliments the elements of the Elysium fields during the dream sequence and that of Maximus family that Ridley Scott has incorporated into the film. The skill photography, time lapse, and slow motion effects, allow the audience to be transported into the fields of Elysium and experience at full of such a powerful voice at work.Another key aspect to the sequence is the constant use of contrasts; they are used t o show emphasis on certain events and to help us understand what is taking place in the scene. The first major contrast shown to us is that of the dream sequence in the wheat fields and the first image of the battlefield. The dream sequence is very calm and peaceful and has been shot under a yellow filter. There is the sound of a lone womans voice and of children playing. The wind has also been made audible but it is in the form of a warm breeze and the director conveys an overall sense of warmth in this scene. In direct contrast with this is the battlefield scene; set in the dark Germanic mountainside, with a howling wind in the background. The scene is now under a blue filter and is cold and hard in comparison to the original scene. Even the characters are in contrast in this part as in the former scene there is a caressing hand, running over the wheat crops, clad in normal clothing whereas in the latter, an armour clad warrior. Another example of contrast is between the organisat ion of the Roman army and the mass gathering that is the German Horde. The Roman army seems to be very command driven and restrained, in waiting for the actual battle whereas the Germans are a disorganised rabble, who can barely restrain themselves and will do whatever they want, once released they will just charge with no thought for the consequences. This is meant to reflect the difference between Rome and its enemies, portraying Rome as The Light and its enemies as inferior. The constant use of contrast helps our understanding of how Rome was portrayed and show innocence compared to barbarity and order compared to disorder.During the battle Ridley Scott has created a distinct lack of dialogue between the characters, and when there is speech, it is used to advance the scene. There is one monologue as Maximus communicates with them regiment before the battle and he tries to inspire his cavalry ending with, What we do now echoes in eternity. From then on, the whole scene becomes gra phic and in a way this is more descriptive than it would have actually been with the use of dialogue.The director uses heavily exaggerated sounds during the battle scene as this helps to add to the all-encompassing effect of war. The galloping of the horses hooves upon the battlefield is one of these examples and makes the enemy turn and notice it because it is so loud, and this shows the audience the sheer scale of the Roman army. Another sound that was heavily exaggerated was the constant firing of flaming arrows whistling through the air, seemingly ceaseless giving a feeling of lost hope for the German army and in a way for Romes humanity. Also, the exploding fireball is a sudden burst of energy into what seems a dull landscape, charging the battle with more tension and excitement and reviving the energy of the scene.Another feature of the opening sequence is that it prepares us for future events in the film through symbolism. The dog that accompanies Maximus into the battle is s ymbolic of his loyalty to his family and emperor as dogs are widely known for their loyalty and this is noticeable in the fact that he dedicates his whole life to avenge the death of his family and emperor at any personal cost. The dialogue used by Maximus in this scene is also repeated later in the movie when he is a gladiator, and uses his skills to defeat his enemies. There is also the reoccurring event of him rubbing dirt on his hands before each battle, this is symbolic of his farming roots.In conclusion I think that the director did very well building up excitement as the scenes were filed with tension and expectation and this in coupling with the astounding musical abilities of Hans Zimmer brought Gladiator to what it is now. The film was so successful because it reflects a blood and glorious past, which we humans created and grew from, and how the grip of love reaches past all barriers to people. Overall I think that the director was very successful in the creation of this s cene and the whole opening sequence entices us to want more.

Google Earth and Archaeology

Google Earth and Archaeology Google Earth, software that uses high resolution satellite images of the entire planet to allow the user to get an incredible moving aerial view of our world, has stimulated some serious applications in archaeologyand seriously good fun for fans of archaeology.One of the reasons I love flying in airplanes is the view you get from the window. Soaring over vast tracks of land and getting a glimpse of large archaeological sites (if you know what to look for, and the weather is right, and youre on the right side of the plane), is one of the great modern pleasures of the world today. Sadly, security issues and rising costs have sucked most of the fun out of airline trips these days. And, lets face it, even when all the climatological forces are right, there just arent any labels on the ground to tell you what youre looking at anyway. Google Earth Placemarks and Archaeology But, using Google Earth and capitalizing on the talent and time of people like JQ Jacobs, you can see high resolution satellite photographs of the world, and easily find and investigate archaeological wonders like Machu Picchu, slowly floating down the mountains or racing through the narrow valley of the Inca trail like a Jedi knight, all without leaving your computer.Essentially, Google Earth (or just GE) is an extremely detailed, high resolution map of the world. Its users add labels called placemarkers to the map, indicating cities and restaurants and sports arenas and geocaching sites, all using a fairly sophisticated Geographic Information System client. After theyve created the placemarkers, the users post a link to them on one of the bulletin boards at Google Earth. But dont let the GIS connection scare you off! After installation and a little fussing with the interface, you too can zoom along the narrow steep-sided Inca trail in Peru or poke around the landscape at Stonehenge or take a visual tour of castles in Europe. Or if youve got the time to study up, you too can add placemarkers of your own.JQ Jacobs has long been a contributor of quality content about archaeology on the Internet. With a wink, he warns would-be users, Im glimpsing a possible forthcoming chronic disorder, Google Earth Addiction. In February of 2006, Jacobs began posting placemark files on his website, marking several archaeological sites with a concentration on Hopewellian earthworks of the American northeast. Another user on Google Earth is simply known as H21, who has assembled placemarkers for castles in France, and Roman and Greek amphitheatres. Some of the site placemarkers on Google Earth are simple location points, but others have lots of information attachedso be careful, like anywhere else on the Internet, there be dragons, er, inaccuracies. Survey Techniques and Google Earth On a more serious but downright exciting note, GE has also been used successfully to survey for archaeological sites. Searching for crop marks on aerial photos is a time-tested way to identify possible archaeological sites, so it seems reasonable that high resolution satellite imagery would be a fruitful source of identification. Sure enough, researcher Scott Madry, who is leading one of the oldest large-scale remote sensing projects on the planet called GIS and Remote Sensing for Archaeology: Burgundy, France, has had great success identifying archaeological sites using Google Earth. Sitting in his office at Chapel Hill, Madry used Google Earth to identify over 100 possible sites in France; fully 25% of those were previously unrecorded. Find the Archaeology Game Find the Archaeology is a game on the Google Earth community bulletin board where people post an aerial photograph of an archaeological site and players must figure out where in the world it is or what in the world it is. The answerif its been discoveredwill be in postings at the bottom of the page; sometimes printed in white lettering so if you see the words in white click and drag your mouse over the area. There simply isnt yet a very good structure to the bulletin board, so Ive collected several of the game entries in Find the Archaeology.  Sign in to Google Earth to play; you dont need to have Google Earth installed to guess. There is a bit of a process to trying Google Earth; but its well worth the effort. First, make sure you have the recommended hardware to use Google Earth without driving you and your computer crazy. Then, download and install Google Earth to your computer. Once it has been installed, go to JQs site and click on one of the links where hes created placemarks, follow another link in my collection, or simply search the Illustrated History bulletin board at Google Earth.After youve clicked on a placemark link, Google Earth will open and a marvelous image of the planet will spin to find the site and zoom in. Before flying in Google Earth, turn on the GE Community and Terrain layers; youll find a series of layers in the left hand menu. Use your mouse wheel to zoom in closer or farther away. Click and drag to move the map east or west, north or south. Tilt the image or spin the globe by using the cross-compass in the upper right hand corner.Placemarkers added by Google Earth users are indica ted by an icon such as a yellow thumbtack. Click on an i icon for detailed information, ground-level photos or further links for information. A blue-and-white cross indicates a ground level photograph. Some of the links take you to part of a Wikipedia entry. Users can also integrate data and media with geographic location in GE. For some Eastern Woodlands mound groups, Jacobs utilized his own GPS readings, linking online photography in the appropriate placemarks, and adding overlay placemarks with old Squier and Davis survey maps to display mounds now destroyed in their place.If you really get ambitious, sign up for a Google Earth Community account and read their guidelines. Placemarks you contribute will appear on Google Earth when they update. There is a fairly steep learning curve to understanding how to add placemarks, but it can be done. More details on how to use Google Earth can be found at Google Earth on About, from Abouts guide to Google Marziah Karch, or JQs Ancient Placemarkers page, or Abouts Space guide Nick Gr eenes Google Earth page. Flying and Google Earth Flying may not be an option for many of us these days, but this latest option from Google allows us to get much of the joy of flying without the hassle of going through security. And what a great way to learn about archaeology!

An advertisement Essay Example | Topics and Well Written Essays - 750 words

An advertisement - Essay Example The predominantly blue background, symbolizing a blue paper has lightening hue from darker shade at the top portion to lighter shade at the bottom. Thus, the white background representing the magazine page was seen to contain a supposedly sheared and crumpled blue paper symbolizing a perfectly slim image effectively complements the orange color of the product. The ad actually elicited enhanced audience appeal in terms of being intrigued and wanting to find out more about the product from the way the ad is presented. As such, the audience would find out greater details from the text and from the product label. However, since the presentation tends to be exhibited more on a formal structure, due to the absence of any model or celebrity to endorse it, it has tendencies to exclude luring appeal from the younger population. The product is the main thrust and focus in the ad: being at the center of the print ad and where the product image occupies more than 50% of the page. Thus, the product is obvious and easily detected. In addition, since its image is presented through the actual visual representation of the product, the appropriate product label that gives crucial information is effectively provided. There is a text message situated at the top-most portion of the page with large font and white in color over the blue background. Another smaller set of text messages is shown just above of the lid of the bottle in darker blue font. Plus, the printed page of magazine at the background could be seen as a typical full narrative page in black text and typical sized font on a predominantly white background. Finally, only the text from the product label could be seen in this ad. As above mentioned, the texts of the advertisements are diversely presented. The text at the topmost portion of the page says: ‘For a slimming feel’ which is typed in two different font sizes. The words ‘For a’ and ‘feel’ have the same white color and size; while

The Beta Group Case Study Example | Topics and Well Written Essays - 500 words

The Beta Group - Case Study Example Beta became a successful group in corporate world because it created and offered new technological solutions in certain business sectors such as medical, consumer products, and industrial technology. The group actually identified where the gaps exist in the market and how they could be matched through use of technology and research & development. The actual business model of The Beta Group is known as Business Engineering that refers to development of a concept and business strategy through comprehensive marker research followed by analysis of potential and scope of certain products and technologies. Indeed, the group first identifies an opportunity in the marketplace after which it initiates research and evaluates the competition, underlying issues and how the needs could be met. If research proves successful then the needs are matched through hunting and development of a proprietary technology or an innovative process. Nevertheless, it is justified to argue that Beta Group has tran slated innovation into value through creation of new technologies by using innovative ideas. As a result, the proprietary technologies have benefited in meeting consumer meets for which no solutions were previously available in market. In short, the aforementioned created value for patients and customers from every walk of life.

Progressive Insurance Essay Example for Free

Progressive Insurance Essay Teenagers and young adults in today’s time usually have minds of their own. I honestly believe family, friends, and the media all play major parts in their lives and have great influence on them. Most people think that television, cellphones, and social networking are the causes of their corrupt minds, but in all reality every little aspect has influence on them in some way. Television, cellphones, and social networks, better known as â€Å"the media† plays a great influence on teenagers that’s the new trend at this present time, that’s all teenagers know. Even though family and friends are teenager’s biggest support, they feel the need to run to more. Teenagers and young adults honestly feel as if they can be themselves on these sites sad, but very true. You will soon find out that teenagers will open up and express themselves to Facebook, twitter, and instagram before they open up and talk to their parents about life issues they go through. Right now that’s all teenagers really knows to do. Parents do not enforce rules like they use too. Parents do not make it mandatory that the family have dinner together at the family table. Most parents don’t sit down and talk to their children to make sure they’re doing a good job in school. Days now have parents working two jobs because there’s only one parent in the homes. You also have parents on these social websites with their children making them feel as if it’s okay to do some of those things. After observing the masses, the media has the most influence over our teenagers. It’s sad, but it’s definitely true. Parents need to go back and fix these things, and make better examples for their young ones. It’s never too late.

Character in Katherine Anne Porters The Jilting of Granny Weatherall :: The Jilting of Granny Weatherall

Character in Katherine Anne Porter's â€Å"The Jilting of Granny Weatherall† â€Å"The Jilting of Granny Weatherall,† a short story by Katherine Anne Porter, describes the last thoughts, feelings, and memories of an elderly woman. As Granny Weatherall’s life literally â€Å"flashes† before her eyes, the importance of the title of the story becomes obvious. Granny Weatherall has been in some way deceived or disappointed in every love relationship of her life. Her past lover George, husband John, daughter Cornelia, and God all did an injustice by what Porter refers to as â€Å"jilting.† This unending cycle of wrongdoing caused Granny to be a mixture of strength, bitterness, and ultimate fear as she faces her last moments in life. Granny gained her strength by the people that she felt jilted by. George stood Granny up at the altar. He never showed at all and it is never stated that she heard from him again. The pain forced Granny to be strong as is proven by her thoughts when she is asked if anything could be done for her. â€Å" I want you to find George. Find him and be sure to tell him I forgot him. I want him to know I had my husband just the same and my children and my house like any other woman†¦ Tell him I was given back everything he took away and more† (Porter 584). Granny did marry a man named John, but her strength was again tested when he died at a young age, leaving her to raise their children on her own. â€Å"Sometimes she wanted to see John again and point to them and say, well, I didn’t do so badly did I?† (582). She had been strong enough to carry the burden of two lost loves and raise good children at the same time. It was one of these children, Cornelia, who made her act somewhat bitterly in her last days. With her daughter whispering about her and saying she should be humored at her old age, Granny felt like she had been in some way betrayed. â€Å"It was strange about children. They disputed your every word† (584). She felt like Cornelia was treating her like a child. â€Å"The thing that most annoyed her was that Cornelia thought she was deaf, dumb, and blind. Little hasty glances and tiny gestures tossed around her and over her head saying, ‘Don’t cross her, let her have her way, she’s eighty years old,’ and she sitting there as if she lived in a thick glass cage† (582). Character in Katherine Anne Porter's The Jilting of Granny Weatherall :: The Jilting of Granny Weatherall Character in Katherine Anne Porter's â€Å"The Jilting of Granny Weatherall† â€Å"The Jilting of Granny Weatherall,† a short story by Katherine Anne Porter, describes the last thoughts, feelings, and memories of an elderly woman. As Granny Weatherall’s life literally â€Å"flashes† before her eyes, the importance of the title of the story becomes obvious. Granny Weatherall has been in some way deceived or disappointed in every love relationship of her life. Her past lover George, husband John, daughter Cornelia, and God all did an injustice by what Porter refers to as â€Å"jilting.† This unending cycle of wrongdoing caused Granny to be a mixture of strength, bitterness, and ultimate fear as she faces her last moments in life. Granny gained her strength by the people that she felt jilted by. George stood Granny up at the altar. He never showed at all and it is never stated that she heard from him again. The pain forced Granny to be strong as is proven by her thoughts when she is asked if anything could be done for her. â€Å" I want you to find George. Find him and be sure to tell him I forgot him. I want him to know I had my husband just the same and my children and my house like any other woman†¦ Tell him I was given back everything he took away and more† (Porter 584). Granny did marry a man named John, but her strength was again tested when he died at a young age, leaving her to raise their children on her own. â€Å"Sometimes she wanted to see John again and point to them and say, well, I didn’t do so badly did I?† (582). She had been strong enough to carry the burden of two lost loves and raise good children at the same time. It was one of these children, Cornelia, who made her act somewhat bitterly in her last days. With her daughter whispering about her and saying she should be humored at her old age, Granny felt like she had been in some way betrayed. â€Å"It was strange about children. They disputed your every word† (584). She felt like Cornelia was treating her like a child. â€Å"The thing that most annoyed her was that Cornelia thought she was deaf, dumb, and blind. Little hasty glances and tiny gestures tossed around her and over her head saying, ‘Don’t cross her, let her have her way, she’s eighty years old,’ and she sitting there as if she lived in a thick glass cage† (582).

Effective ways of teaching method Essay

The purpose of this study was to determine the effectiveness of various teaching methods used for teaching students at secondary level, i search about perceptions of best and effective teaching methods and the reason for that. I searched that most of the students rated lecture method as the best teaching method. Becuse of the teacher provides all knowledge related to topic, time saving, students attentively listen lecture and take notes. The group discussion was the second best method of teaching because of more participation of students, the learning is more effective, the students don’t have to rely on rote learning, and this method develops creativity among students. To make an effective learning methods first Remember that your students are supposed to be the beneficiaries of your communication. Don’t make too many assumptions about your students. â€Å" This Research indicates also that students are the most qualified sources to report on the extent to which the learning experience was productive, informative, satisfying, or worthwhile. While opinions on these matters are not direct measures of teacher’s effectiveness, they are legitimate indicators of student satisfaction, and there is substantial research linking student satisfaction to effective teaching. This research aim to tell you some methods on how the student may learned through effective learning strategies that the teacher may use. Teaching strategies refer to methods used to help students learn the desired course contents and be able to develop achievable goals in the future. Teaching strategies identify the different available learning methods to enable them to develop the right strategy to deal with the target group identified. Assessment of the learning capabilities of students provides a key pillar in development of a successful teaching strategy. BIBLIOGRAPHY A. BOOKS Danielson, Charlotte – Path ways to teaching series Merrill/Pearson,2010 – Education Frey, Nancy phD – the effective teacher’s guide M. E. S. ELIZABETH – methods of teaching english English language – 2004 B. INTERNET Clas. web. nthu. edu. tw/esfiles Effective teaching methods I. INTRODUCTION II. BODY OF CONTENT A. Why is it important ? B. Teaching Methods b1. Lecture Methods b2. Discussion Methods b3. Role Play b4. Case Study b5. Brain Storming b6. Assignment Methods IV. RECOMENDATION V. BIBLIOGRAPHY EFFECTIVE WAYS OF TEACHING METHODS AT SECONDARY LEVEL. II. Why is it important ? Teaching is extraordinarily important, complex, and demanding work,and a teacher’s workday consists of making hundreds of decisions that promote high-level student learning. The work is and should be daunting. Grounded and concise, this first edition text provides readers with theory-based practices that will illuminate the art and craft of teaching. The literature on teaching is crammed full of well researched ways that teachers can present content and skills that will enhance the opportunities for students to learn. It is equally filled with suggestions of what not to do in the classroom. However, there is no rule book on which teaching methods match up best to which skills and/or content that is being taught. Students often have little expertise in knowing if the method selected by an individual instructor was the best teaching method or just â€Å"a method† or simply the method with which the teacher was most comfortable. There is much debate within the higher education community on how teaching or teaching effectiveness may be defined that is why this kind of research is important for them to have an idea how they will be able to conduct an effective teaching methods for their student. III. TEACHING METHODS LECTURE METHOD Lecture Method: A lecture is a talk or verbal presentation given by a lecturer,trainer or speaker to an audience. With all the advancement of training systems and computer technology, lecture method is still a backbone widely used in teaching and training at higher level of education. This method is economical, can be used for a large number of students, material can be covered in a structured manner and the teacher has a great control of time and material. A study conducted by Benson, L. , Schroeder, P. , Lantz, C. , and Bird, M (n. d. ). provides evidence that students may place greater emphasis on lecture material than on textbooks. Lecturing is not simply a matter of standing in front of a class and reciting what you know. The classroom lecture is a special form of communication in which voice, gesture, movement, facial expression, and eye contact can either complement or detract from the content. Teaching Methods† stated strengths of lecture method that it presents factual material in direct, logical manner, contains experience which inspires, stimulates thinking to open discussion, and useful for large groups. Our findings also revealed that most of the students considered lecture as best method because according to opinion of students it creates new ideas, it is good for large class, develops creativity among students, teacher is experienced and has mastery on subject, explain all points and can answer all questions by students. Lecture gives the pupils training in listening and taking rapid notes. For Improving Lecture Methods. †¢ Lecture material should be stimulating and thought provoking. †¢ Information should be delivered dramatically by using example to make it memorable. †¢ The teacher needs to use questions throughout the lecture to involve students in the learning process and to check their comprehension. †¢ Reinforce learning by using visual supports like transparencies, flip charts, whiteboard/ black board etc. †¢ Teacher should take feedback of students to improve lecture meth †¢ DISCUSSION It is a free verbal exchange of ideas between group members or teacher and students. For effective discussion the students should have prior knowledge and information about the topic to be discussed. discussion as, pools ideas and experiences from group, an allows everyone to participate in an active process. Our study also revealed that the students rated group discussion (class discussion) as the second best method by giving reasons that; it has more participation of students, the learning is more effective, the students don’t have to rely on rote learning, every student give his/ her opinion, and this method develops creativity among students. For Improving Discussion Methods †¢ The teacher should spend sufficient time in preparing the process and steps of discussion. †¢ Different aspects of the topic and the parameters should be selected for the focused discussion. †¢ Sufficient time should be allotted to discuss all the issues. At the same time students should know the time limit to reach a conclusion. †¢ The teacher in the beginning should introduce the topic, the purpose of discussion, and the students participating in discussion. †¢ Before the start of discussion, background information about the topic should be provided. †¢ There is a need to include questions to provide direction. †¢ Relaxed environment should be created to foster the process of discussion †¢ Teacher after opening the discussion should play the role of a facilitator involving every one and at the end should summarize the discussion. †¢ Encourage students listen other’s point of view and then evaluate their own. †¢ Teacher should give value to all students’ opinions and try not to allow his/her own difference of opinion, prevent communication and debate. †¢ROLE PLAY occurs when participants take on differentiated roles in a simulation. These may be highly prescribed, including biographical details, and even personality, attitudes and beliefs; or loosely indicated by an outline of the function or task. These techniques have already demonstrated their applicability to a wide range of learners, subjects and levels. It is a memorable and enjoyable learning method. To gain maximum benefits from this method, the incidents selected for enactment should be as realistic as the situation allows. For Improving Role Play Method Before the role play, the teacher should brief participants about the roles they will play, give them time for preparation, confirm confidentiality of role play, and ask participants to behave naturally. †¢ Teacher should select ; brief observers about their roles. †¢ During the role play, the teacher must keep quiet, listen ; take notes, avoid cutting role play short, but give time warning if previously agreed. The teacher should be prepared for some action if participants dry up and can intervene as a last resort. †¢ After the role play, the teacher thanks participants, ask for feed back from lead participants, take comments from observers, ask other participants to comment, †¢ The teacher should use role names not those of participants, summarize, drawing out learning points, leaving the participants with positive comments and feelings. †¢CASE STUDY Primarily developed in business and law contexts, case method teaching can be productively used in liberal arts, engineering, and education. This method is basically used to develop critical thinking and problem-solving skills, as well as to present students with real-life situations. The students are presented with a record set of circumstances based on actual event or an imaginary situation and they are asked, -to diagnose particular problem only. -to diagnose problem ; provide solution. -to give reasons ; implications of action after providing both problem ; solution. It is a time consuming method and sometimes the case does not actually provide real experience. It could be in-conclusive, and insufficient information can lead to inappropriate results. At the end, the students want to know the right answer by the teacher. The role of the teacher in conducting the case study should be to, -read the case and determine the key problems faced by the decision maker, -determine the data required to analyze the problems and for a synthesis into solutions, -develop, analyze, and compare alternative solutions, and recommend a course of action. For Improving Case Study Methods †¢ Cases should be brief, well-written, reflect real issues, and open to a number of conflicting responses. †¢ Students should work in group to prepare a written report and/or a formal presentation of the case. †¢BRAINSTORMING It is a loosely structured form of discussion for generating ideas without participants embroiled in unproductive analysis. It is a very useful technique for problem solving, decision making, creative thinking and team building. It develops listening skills. For Improving Brainstorming Method Ground rules for running brainstorming Methods: †¢ There should be no criticism and the wild ideas should be encouraged and recorded without evaluation. †¢ Emphasis should be placed on quantity of ideas and not the quality. †¢ There is a need of equal participation of members. †¢ It can be unfocused so teacher should know how to control discussion and facilitate issues. †¢ It works well in small group. †¢ASSIGNMENT METHOD Written assignments help in organization of knowledge, assimilation of facts and better preparation of examinations. It emphasizes on individual pupil work and the method that helps both teaching and learning processes, For Improving Assignment Method †¢ Teacher should describe the parameters of the topic of assignment. †¢ Fully explain assignments so that students know how to best prepare. When the inevitable question, â€Å"Will we be tested on this? † arises, make sure your answer includes not only a â€Å"yes† or â€Å"no,† but a â€Å"because . . . †¢ Davis (1993) suggests that â€Å"Give assignments and exams that recognize students’ diverse backgrounds and special interests. For example, a faculty member teaching a course on medical and health training offered students a variety of topics for their term papers, including one on alternative healing belief systems. A faculty member in the social sciences gave students an assignment asking them to compare female-only, male-only, and male-female work groups. † IV. RECOMENDATION †¢PARENT To evaluate teaching effectiveness different methods can be used including peer review, self-evaluation, teaching portfolios, it can also be done in home in the youngest children , to prepare for schooling. †¢STUDENTS student achievement and students’ ratings of teaching methods used by their teachers. students provide anonymous feedback at the end of each course they complete, faculty and will be used to improve the teaching and learning in the course otherwise they are unlikely to take the rating process seriously †¢TEACHERS Teachers need to educate students in effective ways of giving precise feedback that addresses specific aspects of their learning experience. Teachers need to continually assure students throughout the semester that the ratings will be used for productive changes in teaching/ learning process and that there will be no chance of retribution to the students.