I’m working on a business law exercise and need support to help me understand better.
CompetencyDescribe the nuances of affirmative action programs.ScenarioYou are a business advisor that has contracted with a growing technology company. The small, private organization has experienced huge success in the past year, and it is now hoping to attract and retain additional talent, with the greater goal of expanding to India. As an initial step, the company needs to confirm that its hiring practices agree with applicable affirmative action requirements. The company is seeking your guidancB237/PLA2476 Section 01 Employment Lawe regarding U.S. affirmative action standards and those that may be pertinent in its new location. The organization is specifically requesting information regarding both U.S. affirmative action policies and those recognized in India. It is still in the brainstorming stages regarding its global presence, and these details will be utilized in the overall planning process.As it is a non-government organization, you have determined that an official affirmative action plan is voluntary under U.S. laws. With that said, the organization’s compliance with Title VII and other Equal Opportunity laws is mandatory, and you will need to conduct research to obtain credible information that addresses these legal requirements.Regarding its prospective emergence in India, please review the essay titled Divergent Perspectives and Differing Logics: Making the Case for Affirmative Action in India. The piece address affirmative action/equality efforts in India, with particular consideration of the caste system (a socio-economic structure in which class and status are determined by birth). This article and its content should be incorporated into your work.InstructionsThe company has asked you to present a 3-4 page business report of your recommendations, which the organization will use to create an affirmative action plan for both the U.S. and India divisions. Your assessment should reflect strong analysis and should elaborate on the following items:Laws and regulations related to affirmative action in India (as addressed in the Rout article).U.S. laws and regulations that may be relevant or significant to the topic of affirmative action.Based on your findings, similarities and/or distinctions regarding affirmative action in the U.S. and India.Procedures the company can implement to ensure full compliance with legal standards in both the U.S. and India. How can it ensure that the organization satisfies Title VII and other Equal Opportunity laws in the U.S.? Likewise, what can it do to guarantee full adherence to India’s laws and policies?Further information that the company can utilize going forward. What are some helpful resources that the company may routinely use to research affirmative action requirements and other equal opportunity guidelines?Be sure to include in-text citations and a reference page according to APA guidelines.
PLA 2476 Rasmussen Affirmative Action Plan for Both the US & India Divisions Report
I’m working on a literature exercise and need guidance to help me understand better.
Discussion: An Occurrence at Owl Creek Bridge2121 unread replies.2121 replies.GoalOpinion/AssertionPostRead the criticism in this module [below], entitled, “Dancing Driftwood: An Occurrence at Owl Creek Bridge” and share your ideas about the criticism in a discussion post (you MUST quote the passage). The post is meant to be a response specifically to THIS CRITICISM. So write at least three full paragraphs [or more if you wish] on this criticism [in relation to the short story] for the full 20 points.GradingClick on the rubric to see how the discussion will be graded.Read the following criticism and post a reply to the threaded discussion.http://www.ambrosebierce.org/journal1baybrook.html (Links to an external site.) DANCING DRIFTWOOD IN “AN OCCURRENCE AT OWL CREEK BRIDGE”AMBROSE BIERCE’S “An Occurrence at Owl Creek Bridge” (1890) depicts the heroic delusions of a citizen saboteur as he is being hanged by the Union army. Peyton Farquhar believes — as do the readers — that he has escaped execution and, under heavy gunfire, has made his way back home. But by the end, he is dangling from a rope, his adventure unceremoniously squelched. Bierce does more in this story, however, than play with his readers’ assumptions. “Owl Creek Bridge” is also a case study in Farquhar’s moral deformity.A generation earlier, Edgar Allan Poe, with whom Bierce is often compared because of their interest in the psychology of the grotesque, had begun to investigate the deformities of self-engrossment, that wayward spirit of independence so determinedly American, like Emerson’s glossy and self-reliant Yankee or Dickinson’s brooding “Soul” that seals itself up in a vault of its own society. Milton, battling for the character of his own England during civil war, considered narcissism the precursor to anarchy. Satan is indicted in Paradise Lost (1667) as intractably “self-roll’d”; he cannot see beyond himself, a failure that darkens all of hell. Poe translates that hell of narcissism to a pitch-black apartment in which the speaker of “The Tell-Tale Heart” (1843) murders his landlord, whose “evil eye” has “vexed” him. The problem is that the speaker can’t shut up. Indeed, having exploded in a confession to the police, the convict now adjures his audience to “Hearken! and observe how healthily — how calmly I can tell you the whole story.” Even as he pleads obsessively to be judged sane, his maniacal focus on the audience’s eyes upon him mirrors his previous obsession with his victim’s. The madman is continually hanging himself — and hanging on to himself — with his tongue.  (Links to an external site.)In “Owl Creek Bridge,” the protagonist’s self-aggrandizing narrative appears, at first, to be perfectly realistic and reasonable.  (Links to an external site.) We know Poe’s speaker to be mad from the start, but Farquhar seems only to have bitten off more than he could chew — trying to burn down a bridge used by Union troops — so we forgive him for his error and indulge his final delusion. Bierce, however, does not. In fact, subtly though not always discreetly, he is hanging him for it. Why? Because Farquhar is an impostor. Genteel southern ideals about noble soldiering — “the larger life of the soldier, the opportunity for distinction” — have loomed over Farquhar like father and judge.  (Links to an external site.) They have been the vexing eye upon him, despite the absence of any condescension or condemnation from his community. In a bit of narrative reflexivity, Bierce’s description of the man mirrors Farquhar’s own warring consciousness: praise and sympathy — Farquhar “was at heart a soldier” — mixes uneasily with cryptically subversive commentary: “Circumstances of an imperious nature” had kept Farquhar, a well-to-do, politically-connected plantation owner, out of the war, apart from the “gallant” actions of soldiers, immobilized by “inglorious” and “humble” spectating (307). What “imperious” circumstances might prevent a wealthy politician from enlisting? The author’s innuendo soon verges on mockery: when the soldier requests water at the house, Mrs. Farquhar, says Bierce, fetches him water “with her own white hands,” nobly abasing herself in “aid of the South” (307). But nobility in the Farquhar family is always faintly ridiculous. The “thumbnail burlesque of martial rhetoric,” as F. J. Logan describes Farquhar’s delusory heroics, is established almost from the beginning of the story.  (Links to an external site.) Bierce comments that the patron himself, “without too much qualification,” accepted “the frankly villainous dictum that all is fair in love and war” (307).Toward dubious glory, then, as a guerrilla soldier, Farquhar has sought out the “great quantity of driftwood” that the disguised Union scout had told him one could ignite under the strategic Owl Creek Bridge (308). This sabotage will release Farquhar’s true “energies,” which the “inglorious restraint” of his having escaped — perhaps dodged — the Civil War has thus far suppressed (307). These supposed “energies” thus become the very substance of his fantasy escape. When Farquhar is hanged, his senses, like those of Poe’s narrator, expand and deepen to become “preternaturally keen and alert”; they are “exalted and refined,” recording phenomena “never before perceived” (309). Farquhar notes the minutest sensuous details of his surroundings and acquires astounding abilities, dodging and deflecting bullets (“Some of them touched him on the face and hands, then fell away” ), shrewdly calculating the timing and trajectory of cannon fire, and noting arcane military tactics. Farquhar has finally become a heroic soldier, “himself the pivotal point” (310).Most readers grow suspicious by the time Farquhar cries, “God help me, I cannot dodge them all!” (311) — a point that confirms the fantastic nature of his escape even as it foreshadows its collapse. Having fled the river and arrived at the street leading home, Farquhar hears “whispers in an unknown tongue” (312), and at that word — “tongue” — Bierce returns his protagonist to the reality of his hanging, contracting the play of Farquhar’s preternatural senses to the image of his tongue swelling and thrusting forward. The strange “whispers” he had been hearing were, in the clinical perspective of asphyxiation, the gasps emanating from that same tongue. Farquhar is literally choking on his own tale.Farquhar’s demise has come not through a beating heart, the “tell” convulsing in Poe’s madman, but through eyes that bulge and cannot close and through a tongue that whispers a tale of vanity. Why is Bierce so unyielding here? Perhaps because Farquhar’s vanity is deeper than we suspect. Back on the bridge, awaiting his execution, Farquhar was given one final moment to consider his moral plight — perhaps to focus on the family he had abandoned for his warrior’s adventure: “He closed his eyes in order to fix his last thoughts upon his wife and children” (306). But this narration actually occurs from within the fantasy already begun. His “last thoughts” before hanging were not of his family at all. On the bridge, having noted the swiftness of the stream’s current, Farquhar has observed a pivotal object floating upon it. This is the “tell” Bierce gives us. Time and space are suddenly altered, and Farquhar thinks, “What a sluggish stream!” (306). His dream begins, perhaps before the hanging itself commences. Fittingly, the object floating down the stream is a “piece of dancing driftwood” (306), the very same driftwood that, had he succeeded at burning it, would have served as the crowning instrument of his heroism. Torching that driftwood would have rescued Farquhar from a life of indistinction, illuminating the gallant knight of the Confederacy. In this moment of willful misperception, however, the man’s character turns grotesquely inward, toward a final self-absorption and delusion. Everything after that point is dancing driftwood, the idealized story of heroic piety. Farquhar thus adopts the stock portrait of the chivalrous southern soldier, the fearless patriot who, dwelling faithfully on wife and children, faces death with stoic endurance — and he rewards himself with a perilous escape.Apart from the question of why — and when — Farquhar enters this fantasy, Bierce’s story would amount to little more than an entertaining gimmick. But the driftwood becomes a metaphor for Farquhar himself. Like Poe’s insane narrator, Farquhar needs eyes upon him (a visual motif continued by the “Owl” moniker), so, upon his demise, he retreats not merely to southern pieties about caste and chivalry, which his and his wife’s “white hands” have exploited, but to the private vanity he has kindled from them.  (Links to an external site.) His enthrallment with the driftwood, fantastically distorting his perception of time and space, pre-empts any final reconnection to his life in a real world. This is Bierce’s most concentrated realism, unmasking the vainglory and personal arrogance of a Romantic culture.Unlike Poe’s narrator, Farquhar becomes his own vulturous eye, simultaneously judging and exalting himself. As hero manqué, his self-image is concocted not for his country or his family but wholly for reflection of himself. The Union soldier, for example, who, on the bridge, fires at Farquhar, has gray eyes not simply because such eyes, which Farquhar believes to be the “keenest,” increase the risk to him, nor simply because Confederate soldiers wear “gray” uniforms (310); the soldier has gray eyes because Farquhar’s own eyes are “large and dark gray” and must therefore be equally keen (306).  (Links to an external site.) Farquhar is populating his world with his own eyes. This mirror vision, like a Lacanian double, confirms his ideal stature within the fantasy. So he becomes his own seer, watching himself serve valiantly on both sides. Bierce hints at this conflation by referring to both players anonymously, as the “man”: “The man in the water saw the eye of the man on the bridge gazing into his own through the sights of the rifle” (310). With his gray eye looking squarely at himself and with his mind’s eye stuck fatally on the dancing driftwood, Farquhar never leaves the world to which his vanity has led him.Bierce allows his readers to believe in Farquhar’s fantasy because it builds on sentimental conventions about war, in which glory is a flash of fire away. And southern military idealism is archetypal because it evokes ancient European chivalric codes. Poe diagnoses the narcissism at the root of evil, but Bierce, if only briefly and cryptically, applies Poe’s insight to an entire culture. From beginning to end, the man of driftwood, dead inside already, floats on a romantic dream, lost in the imagined blaze of himself. Repentance, reflection, confession, moral protestation, love of friends or family or children — these are all just props in the narcissistic dance. So Bierce chokes his protagonist’s grandiose fantasy back down into the proportions of a footnote, a meager “occurrence” in which a minor bridge survives a vain and inglorious man.Discussion: Camus: The Guest1414 unread replies.1414 replies.GoalOpinion/AssertionPostRead the criticism in this module [below], entitled, “Camus’ The Guest: The Inadmissible Complicity” and share your ideas about the criticism in a discussion post (you MUST quote the passage). The post is meant to be a response specifically to THIS CRITICISM. So write at least three full paragraphs [or more if you wish] on this criticism [in relation to the short story] for the full 20 points.GradingClick on the rubric to see how the discussion will be graded.Read the following criticism and post a reply to the threaded discussion [available as a link].Camus Guest_ The Inadmissible Complicity.pdfActionsDiscussion: The House of Asterion2222 unread replies.2222 replies.GoalOpinion/AssertionPostRead the criticism in this module [below], entitled, “The Minotaur’s Redemption: The House of Asterion” and share your ideas about the criticism in a discussion post (you MUST quote the passage). The post is meant to be a response specifically to THIS CRITICISM. So write at least three full paragraphs [or more if you wish] on this criticism [in relation to the short story] for the full 20 points.GradingClick on the rubric to see how the discussion will be graded.Read the following criticism and post a reply to the threaded discussion.
The Minotaur’s Redemption – “The House of Asterion” by Jorge Luis BorgesPOSTED ON OCTOBER 13, 2017 (Links to an external site.) BY BLOSSOM HOLLAND (Links to an external site.)Borges’ Myth of the Cretan MinotaurThe House of Asterion is a short, fantasy story that retells the classical myth of the Cretan Minotaur from an alternate perspective, written by the Argentinian writer Jorge Luis Borges. The House of Asterion presents the Minotaur, known as Asterion, who awaits “redemption” in his labyrinth. There are various literary critics who have proposed that the “Borgesian” labyrinth is a symbol for human existence and the universe itself. Furthermore, other critics have accurately explained Asterion’s ironic demise, by the “hero” Theseus, as his earnestly awaited redemption. Asterion’s redemption is not from the freedom offered through death, yet from a metamorphosiswhich surpasses his fictional universe. The dual redemption of Asterion is not only caused by the classical hero Theseus, but additionally by the reader, who through the method of reading, permits Asterion’s liberation from the labyrinth.InThe House of Asterion, Borges is consumed with the idea of the labyrinth, both in its physical and symbolic form, in addition to the concept of man at its core. In his work, dreams are exceptionally presented, as reality itself and as the benefactors of life. Furthermore, he is absorbed with the concept of time and the infinite, disloyalty, violence, treason, punishment and mirrors.The narrator, who is Asterion, starts by opposing some allegations made against him: such as how he is arrogant, insane and a cynic. Asterion then describes his residence, and explains why he cannot abandon it after what had occurred when he had done so once before. He continues to express how miserable he feels and that he is waiting for his “redeemer” to liberate him from this lonesome existence. The narrator then switches to the third person singular and the voice even shifts to that of Theseus speaking with Ariadne. This is when the reader becomes completely aware that this story is an adaptation of the myth of the Minotaur. The theme of the labyrinth is speckled throughout the text, a house with no doors or furniture, diverging basement hallways, ashen stone galleries, and identical rooms that are also ceaselessly duplicated. This house is Asterion’s universe and the universe is his house. Jorge Luis Borges even touches on the fact that Asterion is a monstrous beast, an extremely lonesome one, as a result of the hysteria experienced by the town’s people during Asterion’s first venture outside of his house.In the original Minoan myth, the Minotaur is confined in the labyrinth, designed by the inventor Daedalus, and every seven or nine years the “beast” is presented with a tribute of seven maidens and seven young men, so that a plague can be evaded. Even though Asterion opposes it passionately, he is a prisoner of his own isolation as well, his divergence, his condition of monstrous beast. Nine young men are delivered to his house every nine years for Asterion to “free from all evil”, with no explained intention. Contrary to the Minotaur, Asterion accepts Theseus and does not fight against his fate.For those who would like to read or re-read the classical myth of the Minotaur please click this link. (Links to an external site.)PostmodernismThe story does include one significant characteristic of postmodern fiction, which is the habit to draw the reader’s consideration to his or her own method of interpretation as he or she reads the narration. This ability to enhance the reader’s interpretative understanding is hinted at by literary critics who all illustrate this story as a journey from confusion to affirmation that Asterion, the narrator and central figure, is certainly the Minotaur of legend. The story allows this method of assurance by narrating the classical Cretan myth of the Minotaur but from the Minotaur’s view. For most readers, the point of realization about the narrator’s identity arrives at the end of the story where Theseus comments to Ariadne that “the Minotaur scarcely defended itself”. Through a stylistic analysis of the narration, one can observe that the central figure is not just proved as a common archetype, yet exalted to a superior realm that can solely be recognized by the reader.Labyrinths & MythologyThe House of Asterion is set in the Cretan labyrinth, which is illustrated in various works throughout history. From the second century AD to eighteenth century, adopted by Christians and Renaissance poets alike, the labyrinth held a significant symbol for many. In the eighteenth century the labyrinth had become a philosophical metaphor of the finite and the infinite, with the heart of the labyrinth depicting the unachievable meaning of the universe. This idea became more complex moving into the twentieth century, which is known as the “age of labyrinths”, as a result of the domination of labyrinths in literature at the time.Borges’ work presents labyrinths as a typical concept and it is frequently concerned with the diverse literary definitions which labyrinths have gained over the ages. The core of the Borgesian labyrinth has been understood as the core of human existence, or the core of the universe, and essentially all of Borges’ characters aim to encounter a moment of enlightenment at this core. In conjunction with existential concepts, the labyrinth has even a religious meaning. In certain ancient civilizations the labyrinth was at times a place for “actions of divinity”, in addition to rebirth.In the House of Asterion, Asterion regards his labyrinth as a religious place, he recounts how “every nine years, nine men come into the house so that I can free them of all evil”. This deed of divine redemption can be a euphemism for “killing” and certainly, Asterion might not realize that his alleged “god-like powers” do not in fact exist. Regardless, Asterion discovers purpose in his fairly purposeless existence. This alternate outlook destroys the “classic” forms of the narrative, which in spite of their several deviations with particular details, contribute a typical aspect, that of rejecting the Minotaur’s purpose.During the whole of history, the Minotaur has been depicted as either the manifestation of terror, the ramification of monstrosity, or the counter-character of Theseus. In George Frederick Watt’s painting, The Minotaur (1885), the lonesome creature is gazing out to sea when a bird crumbles under his hand. He appears to be awaiting the arrival of someone, and an appearance of melancholy in his posture conveys that he is as dismal as he is bestial. This painting influenced Borges, who suggests an identical uncertainty in his adaptation. Thus, Asterion tests and enhances the classical myth.There are numerous variations regarding the myth of the Minotaur; however, each version is mainly a retelling of the same myth with a concentration on the progression of events instead of the character’s evolution. Nevertheless Borges’ story is different, because it is an interpretation of the myth from the Minotaur’s own perspective. Asterion is locked up in his house with no obvious explanation as to why and lives there on his own, spending the majority of his time pretending, and interacting with his imaginary friend – which is a projection of himself. It is unfortunate that his only experiences with true interaction, is with the doomed youths to be sacrificed. From Asterion’s narrative it is obscure whether the sacrificed are actually murdered or not, yet there are implications that he commits this deed with the belief that murdering the youths is a morally respectable act. This could be a result of Asterion’s conviction that he is assuredly the one to free these people from evil.Subsequently in Borges’ adaptation, amid a human sacrificial ceremony, a dying man foretells that Asterion’s “redeemer” will come, albeit the demand of redemption is never clarified, Asterion is consumed with the idea of his “saviour”. The irony of Asterion’s redemption is because it is through death, murdered by the “hero” Theseus and he is in this manner “redeemed” from his imprisonment. These occurrences are all narrated by Asterion in the first person, thus Borges’ overturns the legend, reinventing the Minotaur, and formerly immersing him once more into the mythical canon. Hence establishing the labyrinth as a site of transformation and rebirth.Faith & RedemptionAsterion’s obsessive faith in his “redeemer” is strengthened by the particular design of the text. In a desperately desolate world, essentially devoid of human interaction it is not unforeseen that Asterion vigorously hunts for meaning in his macabre contact with people. Furthermore it is no wonder that Asterion implicitly believes an outsider who foretells the arrival of a “redeemer”. Those words are arguably the only words ever uttered by an actual person to Asterion. The linguistic choice implies that for Asterion, loneliness and the loss of human life are not as significant as the advent of his “hero”. He awaits “redemption”, in whatever form, counting down days and years, and possibly even feeling let-down when those audible footsteps are nothing more than sacrificial youths.In accordance with the classical myth, Theseus enters the labyrinth with a crowd of sacrificial contributions and slaughters the Minotaur. Amid the Renaissance period, this achievement was exalted as a heroic victory of good over evil, however in Borges’ narrative the achievement appears trivial and empty, being that Asterion embraces his ironic fate without resistance. In the story, Asterion declares how he takes pleasure in pretending to be hunted, even heaving himself off rooftops. Conceivably Asterion knows the horrible reality of his existence and undertakes self-destructive actions while he waits for the ultimate redemption of death. He believes that the reason for his imprisonment in the labyrinth is because of his royal lineage and how that forbids him from interacting with commoners. Could this be another of Asterion’s misbeliefs, or is he conscious of his abominable nature and merely prefers not to confront it?Freedom from a Nightmarish ExistenceThe House of Asterion allows the reader to connect personally with Asterion’s psyche and experience the world through consciousness. The classical myth narrates how the Minotaur was condemned to the dark and dreadful labyrinth because of his beastly description. Asterion assures himself that he is not a prisoner, but a godly being of sorts who is capable of absolving evil, and in his forlorn attempt to discover meaning, he cultivates a blind faith in “redemption”. His fate then unravels into two independent levels of reality, the Minotaur is liberated from the labyrinth of his existence through death. Furthermore, ironically Asterion’s “redeemer” is none other than Theseus, whose conventional heroic role is overturned when he slaughters a vulnerable and pitiful creature. The moment of discovery is pronounced by an immediate switch to an all-knowing third person narration: The morning sun shimmered on the bronze sword. Now there was not a trace of blood left on it.Through Borges’ narration, Asterion is transformed in the reader’s mind as a conscious individual that endures the same anguish, the same solitude, and the same confusions as any other person. At that final moment in the story, when the impossible is ultimately possible, the Minotaur dies and is reborn as Asterion, an aristocratic son doomed to a life of misery. In the mind of the reader, Asterion is liberated from the labyrinth of his conventional fictional world and from his archetypal role of a monster in classical mythology. The godlike redeemer whose visible appearance Asterion can only conceive, is literally the reader of the story, who by the means of reading, completes the magical rite of metamorphosis and the abominable beast into a symbol of the human condition. The story concludes with a line from Theseus – “Would you believe it, Ariadne? The Minotaur scarcely defended himself.” — Which ultimately confirms to the reader that Asterion is undoubtedly the Cretan Minotaur.
UCLA Camus Guest The Inadmissible Complicity Discussion
Here is the video
and this is the requirments
After either attending a live rock concert or watching a youtube video of a previously recorded live performance, answer the questions below. The concert should be a minimum of 30 minutes long and if it is a youtube video should be of a live performance, not a studio recording that has been edited. Click the blue start assignment button in the top right corner to begin the assignment.
1. Who/When/Where? (1-2 sentences)
a. Who is performing?
b. When and where was the concert?
c. What are the names of the songs/pieces performed?
2. Musical Elements (3-5 sentences)
a. Describe the performance using musical terminology (melody, harmony, rhythm, timbre, texture, form)b. Describe the quality of the performance. How well did they play? What did you notice about their precision in terms of tuning, rhythm, style, etc.?
3. Expressive Elements (3-5 sentences)
a. What mood/emotion/character/feeling was being conveyed by the performance?
b. How effective were the musicians at evoking the desired mood/emotion/character/feeling?
c. Did you like the performance? Did you like the music? Would you recommend?
d. Synthesize all elements of the performance into an informed aesthetic critique.
Cuyamaca College A song for Rob DeChaine Concert Report
Learning from Failure
Learning from Failure. I need an explanation for this Environmental Science question to help me study.
Assume you are a new safety and health manager for a mechanical contractor. Your predecessor was recently terminated due to the fact that he was unable to effectively reduce injury experience, because of uncontrolled safety issues prevalent at job sites and because the elevated experience modification factor is now hampering the company’s ability to successfully bid and receive contracts. Based on your initial audits and work, you have decided that you want to enhance the learning and reporting culture within the organization.
You have a meeting with the Vice President of Construction Operations. Provide a detailed and convincing statement that you will discuss with her, as to how a learning culture, which instills the importance of learning from failures, and how a reporting culture can enhance workplace safety and health. Your statement should be succinct, but detailed and convincing. An APA formatted paper is not necessary; however, do cite and give reference to any resources utilized.
Learning from Failure
Utilitarian Principles in Business Ethics Essay
custom essay Usefulness of Utilitarian Ethical Principles in Solving Ethical Issues Utilitarianism is a philosophical approach that is very often applied to ethics. As an ethical theory, it was supported by the works of John Stewart Mill and Jeremy Bentham. Generally speaking, utilitarian philosophy teaches that the consequences of actions are always of great importance and that justice and beneficence should be the guiding principles while making decisions (Hales 1608). Utilitarian ethical principles are broadly used in public relations and solving ethical issues even when it comes to business settings. When speaking of business matters, ethical matters may come up in the case of treating somebody differently in the working place or during the working process whether based on age, race or gender. Such behavior may be considered as discrimination. It is undoubtedly unethical but can be viewed from the utilitarian perspective. Bearing in mind that “utilitarianism asks us to look beyond self-interest to consider impartially the interests of all persons affected by our actions” (Velasquez et al. par. 10) and that happiness of the majority is more important than the happiness of the one if treating somebody differently is beneficial to the others, it may be acceptable from the utilitarian perspective. The only problem with this approach is that not everyone is happy while using it, so there are always those who will be upset, but the majority of the team is happy. Importance of Freedom of Choice from an Ethical Perspective Viktor Frankl (1905–1995) once said: Everything can be taken from a man but one thing; the last of the human freedoms – to choose one’s attitude in any given set of circumstances, to choose one’s way. (Frankl 86) To my mind, and I completely agree with Frankl’s opinion, it is significant that everyone should have the freedom to choose one’s way even though it is not always possible. For example, when speaking of business matters and cooperation in the working place, sometimes employees are forced to carry out the edicts from their bosses no matter what their opinion is. Nevertheless, such situations occur, and employers might not agree with the decisions of those on the high, they are always free to choose their attitude to the situation. It is what matters from the ethical perspective. I do believe that the freedom to choose one’s attitude has an impact on business success because it affects the atmosphere in the team and the atmosphere, from my point of view, is what influences the outcome of the business activities. Efficacy of Social Contract Theory in Describing Issues Related to Business Ethics Social contract theory teaches that “persons’ moral and/or political obligations are dependent upon a contract or agreement among them to form the society in which they live” (Friend par. 1). The efficacy of social contract theory cannot be underestimated when it comes to discussing ethical issues. That means that everyone should remember that we all live in a society and have to keep to particular rules that it functions under. So, this is the contract theory that helps us understand why we should adhere to the rules. It teaches us that sticking to a so-called social contract we can live in peace and safety and make the world better. Get your 100% original paper on any topic done in as little as 3 hours Learn More When it comes to business ethics, one should remember that living following social contract very often limits the freedoms and one should tame his sights low, but instead he has a chance to live in civil liberty and social harmony (Rousseau 27-28). That means that conducting business should be the same as living in a society, i.e. one should not do whatever he wants but scale back his ambitions and adhere to the social contract thus creating an atmosphere of credibility and trust in a team that would positively affect business performance. Works Cited Frankl, Victor E. Man’s Search for Meaning. New York, NY: Simon
The Family Setting Essay
The family is the basic unit of the society and is primarily composed of the parents and their children. The family structure is made up of the executive subsystem and the sibling subsystem. The executive subsystem consists of the parents (husband and wife) while the sibling subsystem is comprised of the children. Within this setting, there are usually invisible boundaries that separate the two subsystems and dictate how the two should relate and how they should not relate. There are usually unspoken rules about what the two groups should engage in. These boundaries are important since they ensure that the different groups carry out their respective activities while maintain the connection to each other. The family has a hierarchical structure that is made up of the parents at the top and the children below them. Healthy marriages assume the husband and the wife as equals. They should be united and their relationship should be at the top of their priorities. The children stem from the unity and love between the husband and wife. Children should not dictate how the parents should go about with parenting or prevent them from seeing themselves as a couple. On the other hand, the parents should not neglect their children’s needs due to their romantic relationship. The children should respect the hierarchical structure in order to maintain healthy relationships with the parents and ensure harmony in the home. Sometimes, boundaries may be weak and this may be seen in the way the different systems interrelate with each other. For example, a mother who constantly calls her children while at the workplace in order to instruct them to do their duties may show an over-involvement with the sibling subsystem. Another example is a husband who is always too quick to inform his mother whenever he has an argument with his wife. This is an indication of a weak boundary between the immediate family and the extended family. A mother and her infant would operate as a unit at first. However, when the child stops breastfeeding, he learns that there are certain boundaries that should not be crossed. Healthy parents do not allow their children into their bedroom as they share intimate moments. Therefore, healthy boundaries promote behaviour that enhances respect between the parties involved. Children should be trained how to respect boundaries so that they may grow into responsible adults. For example, those children that are trained how to behave while in their relatives’ homes would understand how to behave with other people. However, they should also be trained to know how to make the correct decisions when situations demand. For example, children should not be expected to obey without questioning. They should also know how to protect themselves from being exploited. Get your 100% original paper on any topic done in as little as 3 hours Learn More Since the family system works as a unit, every component affects all the others. For example, an alcoholic family member may distort the whole family since everyone would be affected by it. They would be affected by his violence, ill health and unavailability. Therefore, they would try to cover up for his mistakes and bail him out from jail when caught due to alcohol-related issues. Such families are referred to as a destabilizing family system. In conclusion, the boundaries, hierarchies and the structure subsystems in the family setting are important aspects to observe in order to maintain healthy relationships within the family.
How Disney Pixar Runs Their Films for Families? Report
Table of Contents Introduction Disney Pixar film content Target audience Promotion techniques Reception of Disney’s ‘Brave’ film Conclusion Reference List Introduction Many people have numerous questions about the success of Disney Pixar in the animation film industry. People wonder what makes the company to be so appealing. Besides, a majority of people wonder how the company manages to turn an ordinary world into a magical world. Disney Pixar started by coining the idea of walking and talking toys (Abel 2004). No other company had come up with such a notion before; therefore, Disney Pixar knew that it was out to make something big out of the idea. The company released A Bug’s Life and later Toy Story, which were two animated movies. The two films were set in the usual world, but they depicted an extraordinary scenario. Leskosky and Berenbaum (1998) posit, “A Bug’s Life brings the insect world to life and it meant that children grew up with awareness that bugs are alive and connected to each other” (p.61). Disney Pixar took every aspect of life that the audience would take for granted and transformed it to bring out a different picture altogether. The company is capable of developing intelligent films that attract the audience from all the age brackets. This capacity makes the company unique. As the world continues to adopt new technology, Disney Pixar continues to improve its creativity in the film industry (Abel 2004). Through the help of sophisticated equipments, the company has given life to monsters and made them act like human beings. This aspect has helped the company to open a novel world to adults and children, a phenomenon that is astonishing and hitherto still linked to the universe through clandestine doors. Over time, Disney Pixar has continued to relate with its vast audience through passing across information regarding the extraordinary world in a fascinating and enlightening order (Abel 2004). Disney Pixar focuses mainly in the production of family films. Through its experienced personnel, the company produces numerous animated films intended for children, adults exclusively as well as others intended for both children and adults. Currently, the company serves a wide target audience comprising of people from different age brackets, gender, and different backgrounds. This paper aims at analysing how Disney Pixar runs its films for families. The paper will analyse the company’s target audience and focus on its marketing strategies. Disney Pixar film content Film producing companies articulate the contents of their films based on the target audience. The companies develop scenes and use languages that their target audience would understand. Disney Pixar has made the effort to engage its audiences through the contents of its films. For instance, in some of its trailers, the company includes scenes that consist of a language and jokes that only adults can understand (Booker 2010). Besides, the company uses its characters carefully based on the target audience. In Toy Story, the company used cute toys with an intention to engage its younger audience. The company is always keen to the rule of content, which dominates the film and media industry. Failure to include the appropriate content in the film or media coverage drives the target audience away (Booker 2010), which underlines the reason why Disney Pixar insists on content in all of its releases. The majority of the company’s films feature extraordinary phenomena. For instance, the company manages to give life to monsters and enable them to assume different personalities, which makes the films attractive, thus attracting a wide audience across the globe. The release of The Incredibles helped the company to recreate the world in a surprising manner (Booker 2010). The film made the public to believe that nothing is impossible. It comprised of a poor middle-aged man, who acted as the main protagonist. The film not only helped the company to connect with the children, but it also helped it to connect with youths as well as the old generation. In 2008, the company released WALL-E. Unlike other films, WALL-E did not depict the world as extraordinary or magical (McNaughtan 2012). The film seemed so calm, but very enlightening. The film’s content intended to bring hope to people. The film featured a deserted universe that had no signs of hope. Nevertheless, a little robot in the universe kept pushing on no matter the situation. Such content aimed at giving the audience hope despite the hardship it encounters in life. Besides, the film brought out the theme of love and friendship, something that most of the previous films did not portray. WALL-E captured the attention of the target audience thus reigniting its love for Disney Pixar (Wiersma 2000). The introduction of WALL-E to the market and the reception it got marked the turning point for Disney Pixar in terms of film contents. The company embarked on developing films that captured the emotions of the target audience. Disney Pixar started coming up with films that encouraged people to pursue their dreams in life regardless of their age. The company sought to help people to keep their hopes alive. In the process, it managed to capture another group of movie lovers. Shortly after WALL-E, the company came up with Up. This emotional film focused on an old man who lost his true love (McNaughtan 2012). Despite the loss, the old man kept the faith and struggled to pursue his dreams. Until now, the company continues reaching its target audience through releasing animated films full of delight and enchantment. Millions of people watch Disney Pixar’s animated films; therefore, the films have a high propensity for influencing children’s development with respect to cultural beliefs. Besides, some of the films convey different messages regarding families. The films portray different types of families. One of the films whose contents convey information regarding family life is Finding Nemo. According to Price (2008), Disney “Pixar’s films depict three categories of fatherhood” (p.17). They portray fathers as aggressive, controlling, and protective disciplinarians. Besides, some portray fathers as affectionate, caring, and self-sacrificing. Finding Nemo depicts a father with a number of these qualities. Such a depiction of the family facilitates in establishing a strong cohesion between children and their parents. Besides, it helps children to learn and understand their parents. Get your 100% original paper on any topic done in as little as 3 hours Learn More Target audience Revisiting the history of animation, one learns that branding did not play a significant role in yesteryears. By then, Disney was a studio whose role was to guide the audience who made the films. Nevertheless, the success of Mickey Mouse allowed Disney to change its image forever (Price 2008). The company dictated on the quality of animations that the audience could get. The audience had no control over the animation industry, which has significantly changed in the modern animation industry. Today, Disney Pixar targets audiences from different backgrounds. The majority of its films do not have complex plots and they use simple language. These films target audiences with limited knowledge, particularly those that are academically challenged (Giroux 1999). Besides, the company makes its plot and language simple to cater for children. On the other hand, Disney Pixar has a set of the target audience that is educated and sensitive to plot complexity and level of artistry in a film, which underlines why the company produces some complex films. It seeks to serve audiences from the different backgrounds. Upon its establishment, Disney Pixar targeted children. This target group of the audience is aged between one to ten years. For instance, its initial films like Toy Story and A Bug’s Life targeted the children. Nevertheless, after Bob Iger took control of the company, he decided to expand its target audience (Giroux 1999). Currently, the company has a wide target audience that ranges from children, teens, adults and is currently focusing on professionals. Besides, the company puts gender into consideration in its target audience. One of the major target audiences of Disney Pixar is children. When developing its animated films, the company considers the child’s mind as a blank book (Jackson 1996). Hence, it seeks to assist the child to write some information it its mind as it grows. The company seeks to ensure that it comes up with films that help children to grow morally. Today, Disney Pixar’s television programs and DVDs are used as babysitters in most families. The company has developed programs that seek to trigger creativity in the minds of children (Jackson 1996). Children enjoy programs that create a sense of adventure. They enjoy watching that are appealing and adventurous films, which underlines the reason why Disney Pixar makes sure that it develops animation films with a simple plot and appealing characters for the children. This group of the target audience is very sensitive to images and pays no attention to the message conveyed in a film (Stone 1995). For children, they enjoy watching characters performing humorous stunts without following the plot of the story. One of the Disney’s animated films that attracted a lot of attention from children is Up. Even though the story in the film is upsetting, children remain glued to screens because of the fascinating characters. Another group of the target audience for Disney Pixar comprise young adults. This group does not enjoy watching characters in a film; on the contrary, it enjoys following the story in the film (Leskosky