Future stage Essay Example for Free

Future stage Essay Choose the stage that has been the biggest challenge for you, thus far. Explain what you have learned about a â€Å"future stage.† How will this information benefit you as you reach that stage? Choose at least three specific goals you have set for yourself as you continue through your lifespan and how you will achieve those goals. How has this course helped you determine those goals? I would have to say Stage 6 universal ethical principle orientation adopt an internal moral code base on universal values that takes precedence over social rules and laws. I have learned that even if you need something don’t steal it. Stealing is the most worst thing you could ever think of. This has reach me not to steal even though I don’t but I will never steal. My three goals is to have money to get what I want not to steal, earn things, and reach to get what and the things I would like to have in life. Choose the stage that has been the biggest challenge for you, thus far. Explain what you have learned about a â€Å"future stage.† How will this information benefit you as you reach that stage? Choose at least three specific goals you have set for yourself as you continue through your lifespan and how you will achieve those goals. How has this course helped you determine those goals? I would have to say Stage 6 universal ethical principle orientation adopt an internal moral code base on universal values that takes precedence over social rules and laws. I have learned that even if you need something don’t steal it. Stealing is the most worst thing you could ever think of. This has reach me not to steal even though I don’t but I will never steal. My three goals is to have money to get w Choose the stage that has been the biggest challenge for you, thus far. Explain what you have learned about a â€Å"future stage.† How will this information benefit you as you reach that stage? Choose at least three specific goals you have set for yourself as you continue through your lifespan and how you will achieve those goals. How has this course helped you determine those goals? I would have to say Stage 6 universal ethical principle orientation adopt an internal moral code base on universal values that takes precedence over social rules and laws. I have learned that even if you need something don’t steal it. Stealing is the most worst thing you could ever think of. This has reach me not to steal even though I don’t but I will never steal. My three goals is to have money to get what I want not to steal, earn things, and reach to get what and the things I would like to have in life. hat I want  not to steal, earn things, and reach to get what and the things I would like to have in life.

Strategic Leadership Essay example -- Business Management Studies

Strategic Leadership The only thing harder than being a strategic leader is trying to define the entire scope of strategic leadership a broad, difficult concept. We cannot always define it or describe it in every detail, but we recognize it in action. This type of leadership involves microscopic perceptions and macroscopic expectations. Volumes have been written on the subject, which may in fact contribute to the difficulty of grasping the concept. One finds confusing and sometimes conflicting information on this blended concept that involves the vagaries of strategy and the behavioral art of leadership. Sometimes the methods and models used to explain it are more complicated than the concept and practice of strategic leadership itself. Exercising this kind of leadership is complicated, but understanding it doesn’t have to be. Beginning with a definition and characterization of strategic leadership and then exploring components of the strategic environment may prove helpful. Future leaders must also recognize the nature of that environment. Finally, they should also have some familiarity with ways of developing competencies for dealing with the broad, new challenges that are part of leading in the strategic environment. What Is Strategic Leadership. The common usage of the term strategic is related to the concept of strategy—simply a plan of action for accomplishing a goal. One finds both broad and narrow senses of the adjective strategic. Narrowly, the term denotes operating directly against military or industrial installations of an enemy during the conduct of war with the intent of destroying his military potential. Today, strategic is used more often in its broader sense. Thus, we use it to relate something’s primary importance or its quintessential aspect for instance, the most advantageous, complex, difficult, or potentially damaging challenge to a nation, organization, culture, people, place, or object. When we recognize and use strategic in this broad sense, we append such meanings as the most important long-range planning, the most complex and profound decisions, and the most advantageous effects from a bombing campaign as well as leaders with the highest conceptual ability to make decisions. As mentioned earlier, strategy is a plan whose aim is to link ends, ways, and means. The difficult part involves t... ...e, again, to expand their perspective and increase their conceptual ability. In fact, many of them are experts in a number of unrelated fields. Becoming a dual expert helps one think in multiple dimensions. After committing to some or all of these development activities, potential leaders should reflect on each activity as a way of mining the total benefit and seeking greater meaning. They will also benefit from mentoring other leaders and being mentored themselves. When mentors share their experiences, they help others know and understand them. Conclusion The many components of the strategic-leadership environment challenge even the best leaders. The monumental consequences of strategic decisions call for individuals with unique performance abilities who can navigate the volatility, uncertainty, complexity, and ambiguity inherent in the nature of those decisions. Aspiring leaders can rise to the challenge by undergoing self-assessment and personal development. Accepting the demands of strategic leadership involves a transition from the art of the familiar to the art of the possible. This is the realm of strategic leadership and the strategic environment.

The Bloody Chamber Notes

The Bloody Chamber Quotes – ‘like an extraordinarily precious slit throat’ – ‘bright as arterial blood’ – ‘faery solitude’ – ‘so many mirrors’ – ‘as if he were stripping the leaves off an artichoke’ – ‘instruments of mutilation’ – ‘the walls†¦gleamed as if they were sweating with fright’ – ‘an armful of the same lilies with which he had filled my bedroom’ – ‘the trumpets of the angels of death’ Characters – Heroine – ‘seventeen and knew nothing of the world’ – ‘the white-faced girl from Paris’ – ‘I was only a baby’ – Marquis – ‘dark leonine shape of his head’ – ‘opulent male scent’ – ‘dark mane’ – ‘waxen face’ Mother – ‘indomitable mother ’ – ‘wild thing’ AO2 – language, form and structure and how they shape meaning – Language – Juxtaposition – ‘lascivious tenderness’ – Metaphor – the Marquis as a beast, or as God – ‘the eye of God – his eye’ – ‘Subterranean privacy’ of the chamber – likening bloody chamber to Hell – Form – Castle is a Gothic reinterpretation of the fairytale template – Reworked fairy tales – Carter called them ‘new stories’ not ‘versions’ – Short stories maximise the impact of Carter’s messages – Novelette – the slow pace of which mirrors the brief lifestyle of the heroine in her new life Structure – Long descriptive paragraphs followed by very short sentences e. g. ‘Dead as his wives. ’ – isolated simile – Longer sentences with commas increase the sus pense, short sentences create a sense of fear – Ellipsis also used AO3 – connections between texts and different interpretations – Child like language – ‘Baby mustn’t play with grownups’ toys’ (see EK, COW) – Fairy tale motifs – ‘All the better to see you’ – links to fairy-tale form (see EK, LOTHOL) – References to the modern world – ‘shrilling of the telephone’ (see COML) – Aggressive male language – ‘pistons ceaselessly thrusting’ (see EK)Gothic Features – Weather/setting – Castle is isolated, heroine sees its ‘faery solitude’ – how she chooses to view it, away from reality – Walls of the chamber ‘sweating with fright’ – as if guilty themselves – Marquis calls bloody chamber his ‘enfer’ – French word for Hell, ‘subterranean privacy’, ‘ like the door of Hell’ – Carter contrasts light and dark – ‘Lights! More lights! ’ – Foreshadowing – ‘the necklace that prefigures your end’, ‘bright as arterial blood’, ‘like an extraordinarily precious slit throat’ – all foreshadow the heroine’s decapitation Heroine escapes her fate – makes her an even stronger character – Dominant males – Marquis likened to God and a lion/animal – Passive females – Heroine accepts her fate quickly – Religion – Marquis is placed in the role of God – Refers to the heroine as ‘my little nun’, pornography referred to as ‘prayer-books’ shows Marquis’ lack of religion – Bloody chamber as Hell – see setting – Supernatural – ‘as if the key itself were hurt, the bloody token stuck’ AO4 – contextual factors and how they af fect the text – Angela Carter was a feminist – Published in 1979 – after the sexual revolution of the 1960s ‘Carter flirts with elements of the Gothic in many of the tales’ – S. Roberts – Same for all texts The Courtship of Mr Lyon Quotes – ‘one white, perfect rose’ – ‘there was no living person in the hall’ – ‘a lion is a lion and a man is a man’ – ‘there was an air of exhaustion†¦ in the house’ – ‘her own image reflected there’ (in the Beast’s eyes) – ‘Fast as you can’ – ‘an attic, with a sloping roof’ – ‘the roses†¦were all dead’ – ‘as if, curious reversal, she frightened him’ Characters – Beauty – ‘looked as if she had been carved out of a single pearl’ ‘she smiled at herself with satisfaction’ â₠¬â€œ ‘Miss Lamb, spotless, sacrificial’ – Beast – ‘some kind of sadness in his agate eyes’ – ‘a man with an unkempt mane of hair’ – ‘he was so different from herself’ AO2 – language, form and structure and how they shape meaning – Language – Extensive imagery of snow symbolises Beauty’s purity – ‘white and unmarked as†¦ bridal satin’ – Personification of the house – ‘the chandelier tinkled†¦ as if emitting a pleased chuckle’ – ‘Pearl’ – pure, beautiful, valuable – Form – Reworked fairy tales – Carter called them ‘new stories’ not ‘versions’ Carter extracts ‘latent content’ – Short stories maximise the impact of Carter’s messages – Beauty and The Beast – both characters change, not just the Beast – rol e reversal of princess in the tower – Structure – ‘I hope he’ll be safe’ – no speech marks, highlighting Beauty’s lack of a voice AO3 – connections between texts and different interpretations – References to the modern world – ‘the snow brought down all the telephone wires’ (see BC, LOTHOL) – Fairy tale references – she reads ‘elegant French fairy tales’, ‘Fast as you can’ (see BC, EK, LOTHOL) Gothic Features – Weather/setting ‘Palladian house that seemed to hide itself shyly’ = ‘he forced himself to master his shyness’ – ‘Thin ghost of light on the verge of extinction’ – no signs of Spring at the Beast’s house – reflects what has happened to him – Bloody chamber = Beast’s attic – he is trapped and dying, claustrophobic setting – Roses die as the beast dies: â₠¬ËœThe roses†¦were all dead’ – Countryside = place of purity and femininity, town = masculine place of corruption – Foreshadowing – ‘she smiled at herself in mirrors a little too often’ – pride comes before a fall – Dominant males – no longer dominant ‘a cracked whisper of his former purr’ – ‘I am sick and I must die’ – Passive females – Objectification of women – she is called ‘Beauty’ but gets an identity at the end – ‘Mrs Lyon’ – Supernatural – Magic of the house – her father can call the garage even though the phone lines are down – ‘All the natural laws of the world were held in suspension here’ The Tiger’s Bride Quotes – ‘my father lost me to The Beast in cards’ – ‘I have lost my pearl’ – ‘the lamb must learn to run with the t igers’ Characters – Heroine – ‘always the pretty one’ – ‘Christmas rose’ – ‘no more than a king’s ransom’AO2 – language, form and structure and how they shape meaning – Language – description of â€Å"glossy, nut-brown curls† and â€Å"rosy cheeks† is repeated to highlight the similarities between the narrator and her â€Å"clockwork twin – Structure – Heroine is given a voice unlike Beauty in COML – objectification of women in a different way – Written in the past tense but changes occasionally to the present to suggest continuity The Erl King Quotes – ‘Erl-King will do you grievous harm’ – ‘the wood swallows you up’ – ‘the stark elders have an anorexic look’ – ‘everything in the wood is exactly as it seems’ ‘easy to lose yourself’ – ‘ What big eyes you have’ Characters – Erl-King – ‘an excellent housewife’ – ‘came alive from the desire of the woods’ – ‘tender butcher’ – ‘skin the rabbit, he says! ’ – ‘Eyes green as apples. Green as dead sea fruit’ AO2 – language, form and structure and how they shape meaning – Language – Oxymorons such as â€Å"the tender butcher† and â€Å"appalling succulence† highlight the narrator’s conflict – Isolated similes such as â€Å"green as dead sea fruit† add emphasis to the comparisons – Metaphor is used to link sex to drowning e. g. his ‘dress of water’ that ‘drenches’ her Structure – ‘Erl-King will do you grievous harm’ – one line paragraph to emphasise significance – Switches between tenses and points of view in order to disorient the reader, cre ating a Gothic sense of uncertainty, and reflecting the feelings of the protagonist AO3 – connections between texts and different interpretations – Fairy tale references – ‘What big eyes you have’ (see BC, EK) – Superstition – ‘he says the Devil spits on them at Michaelmas’ (see W, COW) – Aggressive language – ‘he could thrust me into the seed-bed’ (see BC) Gothic Features – Weather/setting Wood is personified and isolated – ‘the wood swallows you up’ – More fairy-tale than Gothic – Bloody Chamber = Erl-King’s dwelling – Idea of confinement – ‘vertical bars of a brass-coloured distillation of light’ look like bars of a prison/cage – Erl-King can tie ‘up the winds in his handkerchief’ – Dominant males – childlike, less predatory – Romantic hero, she falls in love with him – Pa ssive females – none, she is mature and purposeful – Supernatural – ‘magic lasso of inhuman music’ – He has a ‘bird call’ – Religion – ‘he says the Devil spits on them at Michaelmas’ The Snow ChildQuotes – ‘midwinter – ‘invincible, immaculate’ – ‘the Countess hated her’ – ‘a feather†¦a bloodstain†¦and the rose’ – ‘It bites! ’ – ‘the whole world was white’ – ‘a masculine fantasy’ – Cristina Bacchilega Characters – Snow Child – ‘as white as snow’ – ‘as black as that bird’s feather’ – ‘as red as blood’ – ‘the child of his desire’ – ‘high, black, shining boots with scarlet heels’ AO2 – language, form and structure and how they shape meaning – Language – Alliteration of ‘invicible, immaculate’ exaggerates the extremity of the weather – Rose is a symbol of femininity or the vagina Snow Child bleeds, symbolising menstruation – Bite symbolises the suffering that accompanies being female – childbirth, hymen breaking, menstruation – Form – Vignette – a small, literary sketch – Structure – Written in the 3rd person but from the perspective of the Count – ‘So the girl picks a rose; pricks her finger on the thorn; bleeds; screams; falls. ’ – isolated paragraph, one sentence, uses idea of ‘three’ AO3 – connections between texts and different interpretations Gothic Features – Weather/setting – Bloody Chamber = Snow Child’s vagina – ‘White’ setting and snow symbolises purity and virginity, Dominant males – Masculine control of female identity – Coun t = Marquis from BC – Creates both women – Countess cannot exist without a Count – Passive females – Countess belongs to Count – she is only a Countess because of him – Price of being the Countess – subservience and a loss of identity – Neither female can exist without the Count – he gives them their power – One must die for the other to survive – Literal objectification of women – Count undresses and dresses Countess as he pleases, creates Snow Child – Incestuous rape – she was not expected to receive pleasure in having sex, she was his sexual objectThe Lady of the House of Love Quotes – ‘Vous serez ma proie’ – ‘Too many roses’ – ‘Now you are at the place of annihilation’ – ‘Fee fie fo fum, I smell the blood of an Englishman’ – ‘A single kiss woke up the Sleeping Beauty in the Wood’ â₠¬â€œ ‘wisdom, death, dissolution’ – ‘chinoiserie escritoire’ – ‘this ornate and rotting place’ – ‘Can a bird†¦learn a new song? ’ – ‘the bicycle is the product of pure reason applied to motion’ Characters – Countess – ‘her beauty is an abnormality’ – ‘hunger always overcomes her’ – ‘white lace negligee stained a little with blood’ ‘the fangs and talons of a beast of prey’ – ‘a cave full of echoes’ – ‘the fragility of the skeleton of a moth’ – Soldier – ‘pentacle of his virginity’ – ‘youth, strength and blonde beauty’ – ‘symbol of rationality’ (bicycle) – ‘the trenches of France’ AO2 – language, form and structure and how they shape meaning – Language – Foreign wo rds are slipped into the narrative – allows reader to enter Countess’s bilingual mind e. g. ‘chinoiserie escritoire’ meaning Chinese-style desk/cabinet – Form – Reworked fairy tales – Carter called them ‘new stories’ not ‘versions’ Short stories maximise the impact of Carter’s messages – Structure – Broken up by inset couplets of thoughts, either fairy tale villains’ famous lines, or menacing French phrases, which suggest this is the inner voice of her predatory nature – increase ambiguity – Story is divided in two – first half is present tense, second half is past tense – more fairy-tale like AO3 – connections between texts and different interpretations – References to the modern world – ‘the trenches of France’ (see BC) – Humour – ‘you will be led by hand to the Countess’s larder’ (see PIB, COW) Gothic Features Weather/setting – ‘cracked mirrors’ – the Countess does not bear a reflection – ‘Too many roses’ – roses are beautiful and dangerous like her – Bird in the cage symbolises her entrapment in her vampiric body – ‘she likes to hear it announce how it cannot escape’ – Predatory females – ‘the fangs and talons of a beast of prey’ yet she evokes sympathy as she tries to change her fate – ‘Fee Fie Fo Fum’ places her in the role of the villain, ‘Sleeping Beauty’ places her in the role of the victim – Supernatural – Soldier does not believe in supernatural: ‘this lack of imagination gives heroism to the hero’ Foreshadowing – The Tarot cards change for the first time ever The Werewolf Quotes – ‘they have cold weather, they have cold hearts’ – ‘supernumerary nippl e’ – ‘Harsh, brief, poor lives. ’ – ‘she prospered’ – ‘they stone her to death’ Characters – Child – ‘good child’ – ‘coat of sheepskin’ – Wolf – ‘grizzled chops’ – ‘less brave than they seem’ AO2 – language, form and structure and how they shape meaning – Language – Very unemotional in places – ‘they stone her to death’, ‘she prospered’ – detached narrator – Tricolons emphasise repetition and simplicity of their lives – ‘harsh, brief, poor lives’ Extensive description of superstitions highlights their importance – also seen in Company of Wolves – Pathetic fallacy – ‘cold weather†¦ cold hearts’ – setting mirrors personalities of inhabitants – Very simple language – fairy tale lang uage, childlike, simple to understand – Structure – Isolated paragraph with one sentence – ‘Winter and cold weather. ’ AO3 – connections between texts and different interpretations – Superstition – ‘wreaths of garlic on the doors’ (see COW, EK, LOHOL) Gothic Features – Weather/setting – Pathetic fallacy – Supernatural – Superstitions – wolves, witches, devil – Foreshadowing Descriptions of superstitions at the beginning The Company of Wolves Quotes – ‘you are always in danger in the forest’ – ‘a man who vanished clear away on her wedding night’ – ‘the forest closed upon her like a pair of jaws’ – ‘they are grey as famine’ – ‘you will suffer’ – ‘we try and try’ – ‘blood on snow’ – ‘Quack, quack! went the duck’ Characte rs – Heroine – ‘she is an unbroken egg’ – ‘she knew she was nobody’s meat’ – ‘she has just started her woman’s bleeding’ – ‘so pretty’ – Wolf – ‘the tender wolf’ – ‘fear and flee the wolf’ AO2 – language, form and structure and how they shape meaning Language – Narrator addresses the reader – ‘you are always in danger’, ‘you will suffer’, ‘we try and try’ – Written as if to recreate the oral tradition of fairytales – ‘Quack, quack! went the duck’ – ‘hurl your Bible at him’, ‘call on Christ†¦but it won’t do you any good’, It is Christmas Day, the werewolves' birthday’, ‘canticles of the wolves’ – undermining religion (canticle = short song/hymn) – ‘The forest closed on her like a pair of jaws’ – isolated simile, only sentence in paragraph, highlight isolated setting – typically Gothic (see ‘Dead as his wives’ simile in BC = isolated) Fairytale – ‘What big eyes you have’, ‘All the better to see you with’ (‘All the better to see you’ = BC) – Metaphor – ‘night and forest has come into the kitchen’ – Structure – Lengthy introduction highlights importance of superstitions and wolves in the lives of the people – Opens reader’s mind to the supernatural – it is common here – No speech marks increase the strangeness of the story – also, there would be no speech marks in oral tradition AO3 – connections between texts and different interpretations – Fairy tale motifs (see BC, EK, LOTHOL) – Personification of the woods (see EK) Gothic Features Religion – ‘you must run as i f the Devil were after you’ – Weather/setting – Personification of the forest ‘like a pair of jaws’, also simile, similar to EK – Night time setting – typically Gothic, increases ambiguity – Dominant male – wolf – Non-passive female – she laughs at him, ‘she knew she was nobody’s meat’ Wolf Alice Quotes – ‘the corners of his bloody chamber’ – room of clothes where Duke’s prey live – ‘it showed us what we could have been’ – ‘her pace is not our pace’ – ‘the wise child who leads them all’ Characters – Duke – ‘his eyes see only appetite’ – ‘he is white as leprosy’ Wolf Alice – ‘not wolf or woman’ AO2 – language, form and structure and how they shape meaning – Language – Carter quickly allies herself with the read er and separates Wolf-Alice – ‘her pace is not our pace’ – Religious reference to Garden of Eden – ‘wise child who leads them all’ – Duke is ‘cast into the role of the corpse-eater’ – not the whole truth? – ‘She could not put her finger on’ – finger in italics, reminds us she is human AO3 – connections between texts and different interpretations Gothic Features – Weather/setting – Duke’s castle – Gothic reinterpretation of the fairytale castle ‘Moony metamorphic weather’ – setting mirrors Duke – Presence of the moon – time, menstruation, Gothic night time, when the Duke is awake – Graveyard settings – Dominant males – Duke – not a real man, doesn’t cast a reflection, doesn’t have a soul, does have physical strength, doesn’t talk to her – ‘separate solitud es’ – Passive females – Wolf-Alice is a strong female, physically, and becomes intellectually stronger throughout the story – Supernatural – Duke is a werewolf/vampire – Superstition/religion – ‘Young husband’ fills a church with silver bullets, holy water, ‘bells, books and candles’

The Avant-Garde Characteristics of Samuel Becketts Play

A Discussion of the Avant-Garde Characteristics of Samuel Becketts Play The term avant-garde means literally in French the fore guard, the part of the military that goes before the main force. (Calinescu, 1987) In this going before, the avant-garde of a military force not only exposes itself to greater risks from enemy positions (which may or may not be known), but it also can avail itself of greater strategic and tactical opportunities if it finds the enemy unprepared. As a term of art to describe what Calinescu calls a self-consciously advanced position in politics, literature and art, religion, etc., (p. 97) the avant-garde is both analogous to its military sense and contrary – while the avant-garde of literature and art may†¦show more content†¦133) Applied to Becketts Play, one can see this deconstruction of individuality clearly. The voices of each of the characters are only activated when the light falls on their urn – they possess no self-determination. Similarly, their narratives are fragmented and jumbled out of order, wi th the suggestion that any narrative consistency that the characters might have had in life has evaporated after death. The way the characters talk reminds one of how a machine that was resurrected from the junkyard might operate – glitchy and stuttering, yet basically functional. This kind of characterization is meant to reflect modern understandings of the person, i.e. that there is no soul that becomes disembodied at death, but rather than the description of a person is exhausted in the description of embodiment itself. The women and man in Play cannot avoid their post-mortem embodiment, and yet also they are deprived of the illusory autonomy they appeared to possess in life. A third characteristically avant-garde dimension of Play is its style of speech. Stream of consciousness is the name of the writing style that Beckett employs for each of the characters. Rather than addressing either each other or the audience, the characters in Play appear to be addressing either themselves or (more likely) no one at all. Their talk is mereShow MoreRelatedRhetorical Analysis Of Harold Pinter s The Room 9709 Words   |  39 PagesINTRODUCTION I’m convinced that what happens in my plays could happen anywhere, at any time, in any place, although the events may seem unfamiliar at first glance. If you press me for a definition, I’d say that what goes in my plays is realistic, but what I’m doing is not realism† (Pinter, Harold Pinter: Plays, 2 ix) Widely acknowledged as one of the great post-war generation dramatists, Harold Pinter’s fame rests on not only his popular dramas but also on his political activism which is rooted inRead MorePostmodernism in Literature5514 Words   |  23 PagesModernist literature. Postmodern literature, like postmodernism as a whole, is difficult to define and there is little agreement on the exact characteristics, scope, and importance of postmodern literature. However, unifying features often coincide with Jean-Franà §ois Lyotards concept of the meta-narrative and little narrative, Jacques Derridas concept of play, and Jean Baudrillards simulacra. For example, instead of the modernist quest for meaning in a chaotic world, the postmodern author eschews