021456

NABEEL RASHEED Flat # D-19, Crown Garden Block-4, Scheme-33, Gulistan-e-Jauhar, Main University Road, Karachi. Cell # +92 343 2550 599 / +92 300 2580 408 Phn # +92 213 4011 237 E-mail: [email  protected] com Career Object: Seeking a career with a future oriented organization, which will provide me the platform for becoming a well? Recognized profession†¦ Ultimately attaining prestige and pride for the organization and myself . Personal information: Father’s Name Date of Birth Nationality Religion Marital Status NIC # : : : : : : Abdul Rasheed December 14th, 1991 Pakistani Islam Single 42201-8923891-5Personal Qualifications: Masters Graduation : MBA marketing in process from KASBIT : B. com from Karachi University in 2011. B. S. S. Media Studies, 3 semesters from Bahria University in, 2009. Intermediate: I. Com. , from, Liaquat College of Management Sciences in, 2008. Matriculation: Computer Sciences from, The Kings School in, 2006. Experiences: ? Premiers International: (Feb 2012 till Nov 2012) Premiers is the largest Immigration Company in the entire Middle East with its full fledged processing department in its Head Office in Dubai.Premiers serve applicants from entire Middle East through its Head office in Dubai. With its Head office in Dubai & Branch Office in Abu Dhabi Premiers is serving expatriate community in the Middle East and has the honor of processing approximately 1000 cases per year. we have regional offices worldwide i. e: Cyprus, Canada, Abu Dhabi, Karachi, Tehran. Designation: Working as a Senior Customer Service Representative and a Immigration Councilor, from Feb, 2012 till Nov2012. ? Silk Bank LTD: (3 months)Saudi Pak was rebranded as Silk bank Limited on June 1, 2009. Under the new leadership the bank will continue to focus on SME & Consumer financing resulting in efforts of increased profitability. Designation: Sales Executive in personal loan department (Running Finance), from Aug, 2011 till Oct, 2011 ? United Bank LTD: (6 weeks) Pakistan’s second largest bank with more than 1300 branches nationwide and internationally in 4 continents, giving services with the glorious history of 52years.Designation: Operational Internee, gave my services in every depart, deal cash counter for 1 week, clearing counter for more than One week and deal as a Customer Service Representative for more than a month and have almost full command on it, in 2011 for 6 weeks. ? Used clothing export Pakistan (Fortune Group Canada): (1 year) This company based upon export of used clothing, soft/hard toys, house hold rummage, and etc from worldwide and sale it to local buyers in Pakistan. Designation:Office Administrator, in 2008 Till year end. ? NabCells (6 years) This company is based on Trading of cell phones nationwide and internationally through internet and other marketing, Established in 2007 Till 2012. Designation: CEO and Founder . ? E-management: (1 year) The organization is based upon event organizing like Concert o rganizing, Conference organizing, Convocations organizing etc, and specialized in wedding planning, in Co-operation with Mac caterers and decorators. Designation:Owner and Event manager for corporate events and wedding planning, in 2008-2009 Computer skills: ? ? ? ? ? Movie Editing Graphic Designing Flash animation Microsoft Office Windows and hardware assembling expert Hobbies: ? Movie making ? ? ? ? ? Photography Do work-out in Gym Eating out Car racing Travelling Extra skills: Brown belt holder in TAI-KWAONDO (Self-Defence) from, Aero Karate Club Karachi. Can speak British English, Urdu and Kokan Language of India (Puna) References: Will be furnished on request.

Call of Duty Essay

Premise: A new action-thriller game with trained soldiers and an arsenal of advanced, powerful, modern day firepower whom try and take down enemy combatants. The brutal opposition are threatening the world in various settings and scenarios. A story with twists and turns about soldiers fighting; using both ground-war technology and aerial strikes on a battlefield where speed, accuracy, and communication are the major factors in victory. Genre: Call for Action is a first-person shooter (FPS) which the person’s cross hairs are placed in the center of the screen and everything happens around it. Platform: Call for action has four different platforms. It is compatible with Microsoft Windows, PlayStation 3, Xbox 360, and Wii. The best platform for this game is PlayStation 3, because of its superior graphics software, easier controlling, and less hardware malfunctions. These reasons have been approved and guaranteed by users. The second best platform for this game is Xbox 360. It can handle the graphic and it’s easy to control, like PlayStation 3. Microsoft Windows and Wii are the other platforms which can be used in order to play Call for Action. Backstory: The story takes place in the year 2011, where several U.S. Sergeants and British SAS members find a nuclear weapon on a ship traveling to Africa. After the evacuations, they find evidence of ties between Germans and Russians. At the same time, the Russians want to distract people in order to achieve their goal. So they hire a local separatist leader, called Ivan, to execute the president of the United States to keep the military away. USMC 1st Force Recon team must find and rescue the president, but during the operation, United States Central Command is notified by Seal Team Six of a German nuclear weapon. Later on British SAS find and interrogate Ivan, he exposes that the German leader supplied the nuclear bomb in order to start World War III. Therefore, A combined operation, by U.S. Sergeants and British SAS members, is taken on to stop German leader. Target Rating Call for Action’s rating is M which stands for Mature. Content is generally suitable for ages seventeen and up because the content contains intense blood and gore, intense violence, and strong language. Target Market This game is originally for residents of the US, but later it can be available to other countries. The target audience is mostly teens generally above the age of 17. On the other hand, the game is only rated M because of parents not wanting their children playing a game with some blood in it. A game should only be rated M if it has sexual scenes not because of blood. Player Motivation This game has two versions, the fist version is, playing the normal mode which the player goes through the story and tries to finish the game, and the second version is the online version which players will compete with their friends in an online mode. Call for Action has a lot of motivations. First, the game finishing scene is the player needing to find the Germans leader in Africa and kill him. If the player kills him, he/she has the right to destroy the nuclear weapon. Second, in this game, not only you can kill people, but you can also drive a tank or a car. Third, when the player finishes the story, the game will give the player a set of special weapons for the online gaming. UPS There are some unique things in the game and about the game which makes it special. First, in this game players can shoot with their weapons, drive a car, or play as a pilot. (Drive an airplane) Second, it has a very high quality and graphic which gives the real feeling of the game. Third, it uses the PlayStation’s dual shocks, so every time players get hit, it will start shaking. The last reason that makes this game special is that players can check their friends’ progress and follow them. Therefore, this game helps the players to experience the war situations and teach the necessary information and acts that people need to do during the war. Competitive Analysis There are three other games which could be considered competitors of Call of Action. The first game called Battlefield 3. This game is a first person shooter by a Swedish developer. According to Wikipedia, â€Å"In-game, the European Union and the United States fight China and the Middle Eastern Coalition. It is known that in the game’s story, the EU and the US are allies and the EU has negotiated a peace deal with Russia.† The platforms for this game are same as Call for Action. (Microsoft Windows, PlayStation 3, and Xbox 360) The second game is Call of Duty Black Ops II which was developed by Treyarch. According to Wikipedia, â€Å"Black Ops II is the first game in the Call of Duty franchise to feature future warfare technology and the first to present branching storylines driven by player choice. It also offers a 3D display option. In this game the player campaign features two connected storylines, with the first set from 1986 to 1989 during the final years of the first Cold War, and the other set in 2025 during a second Cold War.† The platforms for this game are PlayStation 3, Xbox 360, Microsoft Windows, and Wii. The third game is Blacklight which was developed by Zombie Studios. According to Wikipedia, â€Å"Zombie is planning to make Blacklight a multimedia franchise that will include the video game, a feature film, and a trilogy of comic books. The idea was concepted by Zombie executives which later pitched the idea to several film and comic book production companies.† The platforms for this game are Games for Windows – Live, PlayStation Network, and Xbox Live Arcade. Based on the other three descriptions and Call for Action description, Call for Action has more options and futures. It may not be better than Call of Duty Black Ops II, but has the same quality and features. In this game, you can fly a plan, drive a car, or a tank. It will use the dual shock in order to give the real feelng to the player. It will attract players to finish the story by giving them prizes at the end. Therefore, it can be one the top competitions in the market. Goals The goal of this game is to give a player the time to enjoy, learn, and challenge themselves. In this game people can spend time and put themselves in a war situation. What needs to be done? How to control a gun? How to communicate with people in an emergency situation? Players can learn the name of all guns and get to know their specifications, how they are working and what they are good for. Also in an online game, people can compete with each other. Players can see their friends’ progress and play with them, or players can invite their friends, gather a team, and fight with other people. In this case, people will communicate with each other and learn a lot about the game by asking or watching other people playing.

Anne Fleche – the Space of Madness and Desire

Tennessee Williams exploits the expressionistic uses of space in the drama, attempting to represent desire from the outside, that is, in its formal challenge to realistic stability and closure, and in its exposure to risk. Loosening both stage and verbal languages from their implicit desire for closure and containment, Streetcar exposes the danger and the violence of this desire, which is always the desire for the end of desire. Writing in a period when U. S. rama was becoming disillusioned with realism, Williams achieves a critical distance from realistic technique through his use of allegory. In Blanche's line about the streetcar, the fact that she is describing real places, cars, and transfers has the surprising effect of enhancing rather than diminishing the metaphorical parallels in her language. Indeed, Streetcar's â€Å"duplicities of expression†(3) are even more striking in the light of criticism's recent renewal of interest in allegory. 4) For allegory establishes the distance â€Å"between the representative and the semantic function of language† (I89), the desire that is in language to unify (with) experience. Streetcar demonstrates the ways in which distance in the drama can be expanded and contracted, and what spatial relativism reveals about the economy of dramatic representation. Tennessee Williams' plays, filled with allegorical language, seem also to have a tentative, unfinished character. The metalanguage of desire seems to preclude development, to deny progress. And yet it seems â€Å"natural† to read A Streetcar Named Desire as an allegorical journey toward Blanche's apocalyptic destruction at the hands of her â€Å"executioner,† Stanley. The play's violence, its baroque images of decadence and lawlessness, promise its audience the thrilling destruction of the aristocratic Southern Poe-esque moth-like neuraesthenic female â€Å"Blanche† by the ape-like brutish male from the American melting-pot. The play is full in fact of realism's developmental language of evolution, â€Å"degeneration,† eugenics. Before deciding that Stanley is merely an â€Å"ape,† Blanche sees him as an asset: â€Å"Oh, I guess he's just not the type that goes for jasmine perfume, but maybe he's what we need to mix with our blood now that we've lost Belle Reve† (285). The surprising thing about this play is that the allegorical reading also seems to be the most â€Å"realistic† one, the reading that imposes a unity of language and experience to make structural sense of the play, that is, to make its events organic, natural, inevitable. And yet this feels false, because allegorical language resists being pinned down by realistic analysis — it is always only half a story. But it is possible to close the gap between the language and the stage image, between the stage image and its â€Å"double† reality, by a double forgetting: first we have to forget that realism is literature, and thus already a metaphor, and then we have to forget the distance between allegory and reality. To say that realism's empiricism is indistinguishable from metaphor is to make it one with a moral, natural ordering of events. Stanley is wrong and Blanche is right, the moralists agree. But the hypocrisy of the â€Å"priggish† reading is soon revealed in its ambivalence toward Blanche/Stanley: to order events sequentially requires a reading that finds Blanche's rape inevitable, a condition of the formal structure: she is the erring woman who gets what she â€Å"asks† for (her realistic antecedents are clear). For the prigs this outcome might not be unthinkable, though it might be — what is worse — distasteful. But Williams seems deliberately to be making interpretation a problem: he doesn't exclude the prigs' reading, he invites it. What makes Streetcar different from Williams' earlier play The Glass Menagerie (I944)(5) is its constant self-betrayal into and out of analytical norms. The realistic set-ups in this play really feel like set-ups, a magician's tricks, inviting readings that leave you hanging from your own schematic noose. Analytically, this play is a trap; it is brilliantly confused; yet without following its leads there is no way to get anywhere at all. Streetcar has a map, but it has changed the street signs, relying on the impulse of desire to take the play past its plots. In a way it is wrong to say Williams does not write endings. He writes elaborate strings of them. Williams has given Streetcar strong ties to the reassuring rhetoric of realism. Several references to Stanley's career as â€Å"A Master Sergeant in the Engineers' Corps† (258) set the action in the â€Å"present,† immediately after the war. The geographical location, as with The Glass Menagerie, is specific, the neighborhood life represented with a greater naturalistic fidelity: â€Å"Above he music of the ‘Blue Piano' the voices of people on the street can be heard overlapping† (243). Lighting and sound effects may give the scene â€Å"a kind of lyricism† (243), but this seems itself a realistic touch for â€Å"The Quarter† (4I2). Even the interior set, when it appears (after a similar wipe-out of the fourth wall), resembles The Glass Menagerie in lay-out and configuration: a ground-floor apartment, with two rooms separated by portieres, occupied by three characters, one of them male. Yet there are also troubling â€Å"realistic† details, to which the play seems to point. The mise en scene seems to be providing too much enclosure to provide for closure: there is no place for anyone to go. There is no fire escape, even though in this play someone does yell â€Å"Fire] Fire] Fire]† (390). In fact, heat and fire and escape are prominent verbal and visual themes. And the flat does not, as it seems to in The Glass Menagerie, extend to other rooms beyond the wings, but ends in a cul-de-sac — a doorway to the bathroom which becomes Blanche's significant place for escape and â€Å"privacy. † Most disturbing, however, is not the increased sense of confinement but this absence of privacy, of analytical, territorial space. No gentleman caller invited for supper invades this time, but an anarchic wilderness of French Quarter hoi polloi who spill onto the set and into the flat as negligently as the piano music from the bar around the corner. There does not seem to be anywhere to go to evade the intrusiveness and the violence: when the flat erupts, as it does on the poker night, Stanley's tirade sends Stella and Blanche upstairs to Steve and Eunice, the landlords with, of course, an unlimited run of the house (â€Å"We own this place so I can let you in† 48 ), whose goings-on are equally violent and uncontained. Stella jokes, â€Å"You know that one upstairs? more laughter One time laughing the plaster — laughing cracked — † (294). The violence is not an isolated climax, but a repetitive pattern of the action, a state of being – it does not resolve anything: BLANCHE I'm not used to such MITCH Naw, it's a shame this had to happen when you just got here. But don't take it serious. BLANCHE Violence] Is so MITCH Set down on the steps and have a cigarette with e. (308) Anxiety and conflict have become permanent and unresolvable, inconclusive. It is not clear what, if anything, they mean. Unlike realistic drama, which produces clashes in order to push the action forward, Streetcar disallows its events a clarity of function, an orderliness. The ordering of events, which constitutes the temporality of realism, is thus no less arbitrary in Streetcar than the ordering of spade: the outside keeps becoming the inside, and vice versa. Williams has done more to relativize space in Streetcar than he did in The Glass Menagerie, where he visualized the fourth wall: here the outer wall appears and disappears more than a half-dozen times, often in the middle of a â€Å"scene,† drawing attention to the spatial illusion rather than making its boundaries absolute. The effect on spatial metaphor is that we are not allowed to forget that it is metaphor and consequently capable of infinite extensions and retractions. As we might expect, then, struggle over territory between Stanley and Blanche (â€Å"Hey, canary bird] Toots] Get OUT of the BATHROOM]† 367 ) — which indeed results in Stanley's reasserting the male as â€Å"King† (37I6 and pushing Blanche offstage, punished and defeated — is utterly unanalytical and unsubtle: â€Å"She'll go] Period. P. S. She'll go Tuesday]† (367). While the expressionistic sequence beginning in Scene Six with Blanche's recollection of â€Å"The Grey oy† (355) relativizes space and time, evoking Blanche's memories, it also seems to drain her expressive power. By the time Stanley is about to rape her she mouths the kinds of things Williams put on screens in The Glass Menagerie: â€Å"In desperate, desperate circumstances] Help me] Caught in a trap† (400). She is establishing her emotions like sign-posts: â€Å"Stay back] †¦ I warn you, don't, I'm in danger]† (40I). What had seemed a way into Blanche's char acter has had the effect of externalizing her feelings so much that they become impersonal. In Streetcar, space does not provide, as it does in realistic drama, an objective mooring for a character's psychology: it keeps turning inside out, obliterating the spatial distinctions that had helped to define the realistic character as someone whose inner life drove the action. Now the driving force of emotion replaces the subtlety of expectation, leaving character out in space, dangling: â€Å"There isn't time to be — † Blanche explains into the phone (399); faced with a threatening proximity, she phones long-distance, and forgets to hang up. The expressionistic techniques of the latter half of he play abstract the individual from the milieu, and emotion begins to dominate the representation of events. In Scene Ten, where Blanche and Stanley have their most violent and erotic confrontation, the play loses all sense of boundary. The front of the house is already transparent; but now Williams also dissolves the rear wall, so that beyond the scene with Blanche and Sta nley we can see what is happening on the next street: A prostitute has rolled a drunkard. He pursues her along the walk, overtakes her and then is a struggle. A policeman's whistle breaks it up. The figures disappear. Some moments later the Negro Woman appears around the corner with a sequined bag which the prostitute had dropped on the walk. She is rooting excitedly through it. (399) The mise en scene exposes more of the realistic world than before, since now we see the outside as well as the inside of the house at once, and yet the effect is one of intense general paranoia: the threat of violence is â€Å"real,† not â€Å"remembered† and it is everywhere. The walls have become â€Å"spaces† along which frightening, â€Å"sinuous† shadows weave — â€Å"lurid,† â€Å"grotesque and menacing† (398-99). The parameters of Blanche's presence are unstable images of threatening â€Å"flames† of desire, and this sense of sexual danger seems to draw the action toward itself. So it is as though Blanche somehow â€Å"suggests† rape to Stanley — it is already in the air, we can see it being given to him as if it were a thought: â€Å"You think I'll interfere with you? Ha-ha] †¦ Come to think of it — maybe you wouldn't be bad to — interfere with†¦ † (40I). The â€Å"inner-outer† distinctions of both realistic and expressionistic representation are shown coming together here. Williams makes no effort to suggest that the â€Å"lurid† expressionistic images in Scene Ten are all in Blanche's mind, as cinematic point-of-view would: the world outside the house is the realistic world of urban poverty and violence. But it is also the domain of the brutes, whose â€Å"inhuman jungle voices rise up† (40I) as Stanley, snakelike, tongue between his teeth, closes in. The play seems to swivel on this moment, when the logic of appearance and essence, the individual and the abstract, turns inside-out, like the set, seeming to occupy for once the same space. It is either the demolition of realistic objectivity or the transition-point at which realism takes over some new territory. At this juncture â€Å"objective† vision becomes an â€Å"outside† seen from inside; for the abstraction that allows realism to represent truth objectively cannot itself be explained as objectivity. The surface in Scene Ten seems to be disclosing, without our having to look too deeply, a static primal moment beneath the immediacy of the action — the sexual taboo underneath realistic discourse: BLANCHE Stay back] Don't you come toward me another tep or I'll STANLEY What? BLANCHE Some awful thing will happen] It will] STANLEY What are you putting on now? They are now both inside the bedroom BLANCHE I warn you, don't, I'm in danger] (40I) What â€Å"will happen† in the bedroom does not have a name, or even an agency. The incestuous relation lies beyond the moral and social order of marriage and the family, adaptation and eugenics, not t o mention (as Williams minds us here) the fact that it is unmentionable. Whatever words Blanche uses to describe it scarcely matter. As Stella says, â€Å"I couldn't believe her story and go on living with Stanley† (405). The rape in Streetcar thus seems familiar and inevitable, even to its â€Å"characters,† who lose the shape of characters and become violent antagonists as if on cue: â€Å"Oh] So you want some roughhouse] All right, let's have some roughhouse]† (402). When Blanche sinks to her knees, it is as if the action is an acknowledgment. Stanley holds Blanche, who has become â€Å"inert†; he carries her to the bed. She is not only silent but crumpled, immobile, while he takes over control and agency. He literally places her on the set. But Williams does not suggest that Stanley is conscious and autonomous; on the contrary the scene is constructed so as to make him as unindividuated as Blanche: they seem, at this crucial point, more than ever part of an allegorical landscape. In a way, it is the impersonality of the rape that is most telling: the loss of individuality and the spatial distinctions that allow for â€Å"character† are effected in a scene that expressionistically dissolves character into an overwhelming mise en scene that, itself, seems to make things happen. The â€Å"meaning† of the rape is assigned by the play, denying â€Å"Stanley† and â€Å"Blanche† any emotion. Thus, the rape scene ends without words and without conflict: the scene has become the conflict, and its image the emotion. Perhaps Streetcar — and Williams — present problems for those interested in Pirandellian metatheatre. Metatheatre assumes a self-consciousness of the form; but Williams makes the â€Å"form† everything. It is not arbitrary, or stifling. Stanley and Blanche cannot be reimagined; or, put another way, they cannot be imagined to reimagine themselves as other people, in other circumstances entirely. Character is the expression of the form; it is not accidental, or originary. Like Brecht, Williams does not see character as a humanist impulse raging against fatal abstractions. (In a play like The Good Person of Setzuan, for example, Brecht makes a kind of comedy of this â€Å"tragic† notion — which is of course the notion of â€Å"tragedy. â€Å") Plays are about things other than people: they are about what people think, and feel, and yet they remove these things to a distance, towards the representation of thoughts and feelings, which is something else again. If this seems to suggest that the rape in Streetcar is something other than a rape, and so not a rape, it also suggests that it is as much a rape as it is possible for it to be; it includes the understanding that comes from exposing the essence of appearances, as Williams says, seeing from outside what we cannot see from within. At the same time, and with the same motion, the scene exposes its own scenic limitations for dramatizing that which must inevitably remain outside the scene — namely, the act it represents. Both the surface â€Å"street scene† and the jungle antecedents of social order are visible in the rape scene, thoroughly violating the norms of realism's analytical space. When Stanley â€Å"springs† at Blanche, overturning he table, it is clear that a last barrier has been broken down, and now there is no space outside the jungle. â€Å"We've had this date with each other from the beginning]† We have regressed to some awful zero-point (or hour) of our beginning. (A â€Å"fetid swamp,† Time critic Louis Kronenberger said of Williams' plays, by way of description. (7) We are also back at the heart of civilization, at its root, the incest taboo, and the center of sexuality, which is oddly enough also the center of realism — the family, where â€Å"sexuality is ‘incestuous' from the start. â€Å"(8) At the border of civilization and the swamp is the sexual transgression whose suppression is the source of all coercive order. Through allegory, W illiams makes explicit what realistic discourse obscures, forcing the sexuality that propels discourse into the content of the scene. The destruction of spatial oundaries visualizes the restless discourse of desire, that uncontainable movement between inside and outside. â€Å"Desire,† Williams writes in his short story â€Å"Desire and the Black Masseur† (I942-46), â€Å"is something that is made to occupy a larger space than that which is afforded by the individual being. â€Å"(9) The individual being is only the measure of a measurelessness that goes far out into space. â€Å"Desire† derives from the Latin sidus, â€Å"star† (â€Å"Stella for Star]† 250, 25I ); an archaic sense is â€Å"to feel the loss of†: the ndividual is a sign of incompleteness, not self-sufficiency, whose defining gesture is an indication of the void beyond the visible, not its closure. The consciousness of desire as a void without satisfaction is the rejection o f realism's â€Å"virtual space,† which tried to suggest that its fractured space implied an unseen totality. Realism's objectivity covered up its literariness, as if the play were not created from nothing, but evolved out of a ready-made logic, a reality one had but to look to see. But literature answers the desire for a fullness that remains unfulfilled — it never intersects reality, never completes a trajectory, it remains in orbit. The nothing from which literature springs, whole, cannot be penetrated by a vision, even a hypothetical one, and no time can be found for its beginning. As Paul de Man reasons in his discussion of Levi-Strauss' metaphor of â€Å"virtual focus,† logical sight-lines may be imaginary, but they are not â€Å"fiction,† any more than â€Å"fiction† can be explained as logic: The virtual focus is a quasi-objective structure osited to give rational integrity to a process that exists independently of the self. The subject merely fills in, with the dotted line of geometrical construction, what natural reason had not bothered to make explicit; it has a passive and unproblematic role. The â€Å"virtual focus† is, strictly speaking, a nothing, but its nothingness concerns us very little, since a mere act of r eason suffices to give it a mode of being that leaves the rational order unchallenged. The same is not true of the imaginary source of fiction. Here the human self has experienced the void within itself and the invented fiction, far from tilling the void, asserts itself as pure nothingness, our nothingness stated and restated by a subject that is the agent of its own instability. (I9) Nothingness, then, the impulse of â€Å"fiction,† is not the result of a supposed originary act of transgression, a mere historical lapse at the origin of history that can be traced or filled in by a language of logic and analysis; on the contrary fiction is the liberation of a pure consciousness of desire as unsatisfied yearning, a space without boundaries. Yet we come back to Blanche's rape by her brother-in-law, which seems visibly to re-seal the laws of constraint, to justify that Freudian logic of lost beginnings. Reenacting the traumatic incestuous moment enables history to begin over again, while the suppression of inordinate desire resumes the order of sanity: Stella is silenced; Blanche is incarcerated. And if there is some ambivalence about her madness and her exclusion it is subsumed in an argument for order and a healthy re-direction of desire. In the last stage direction, Stanley's groping fingers discover the opening of Stella's blouse. The final set-up feels inevitable; after all, the game is still â€Å"Seven-card stud,† and aren't we going to have to â€Å"go on† by playing it? The play's turn to realistic logic seems assured, and Williams is still renouncing worlds. He points to the closure of the analytical reading with deft disingenuousness. Closure was always just next door to entrapment: Williams seems to be erasing their boundary-lines. Madness, the brand of exclusion, objectifies Blanche and enables her to be analyzed and confined as the embodiment of non-being, an expression of something beyond us and so structured in language. As Stanley puts it, â€Å"There isn't a goddam thing but imagination] †¦ And lies and conceit and tricks]† (398). Foucault has argued, in Madness and Civilization, that the containment of desire's excess through the exclusion of madness creates a conscience on the perimeters of society, setting up a boundary between inside and outside: â€Å"The madman is put into the interior of the exterior, and inversely† (II). (I0) Blanche is allegorically a reminder that liberty if taken too far can also be captivity, just as her libertinage coincides with her desire for death (her satin robe is a passionate red, she calls Stanley her â€Å"executioner,† etc. . And Blanche senses early on the threat of confinement; she keeps trying perversely) to end the play: â€Å"I have to plan for us both, to get us both — out]† she tells Stella, after the fight with Stanley that seems, to Blanche, so final (320). But in the end the play itself seems to have some troub le letting go of Blanche. Having created its moving boundary line, it no longer knows where to put her: what â€Å"space† does her â€Å"madness† occupy? As the dialogue suggests, she has to go – somewhere; she has become excessive. Yet she keeps coming back: â€Å"I'm not quite ready. â€Å"Yes] Yes, I forgot something]† (4I2 4I4). Again, as in the rape scene, she is chased around the bedroom, this time by the Matron, while â€Å"The ‘Varsouviana' is filtered into a weird distortion, accompanied by the cries and noises of the jungle,† the â€Å"lurid,† â€Å"sinuous† reflections on the walls (4I4). The Matron's lines are echoed by â€Å"other mysterious voices† (4I5) somewhere beyond the scene; she sounds like a â€Å"firebell† (4I5). â€Å"Matron† and â€Å"Doctor† enter the play expressionistically, as functional agents, and Blanche's paranoia is now hers alone: the street is not visible. The walls do not disintegrate, they come alive. Blanche is inside her own madness, self-imprisoned: her madness is precisely her enclosure within the image. (II) In her paranoid state, Blanche really cannot â€Å"get out,† because there no longer is an outside: madness transgresses and transforms boundaries, as Foucault notes, â€Å"forming an act of undetermined content† (94). It thus negates the image while imprisoned within it; the boundaries of the scene are not helping to define Blanche but reflecting her back to herself. Blanche's power is not easy to suppress; she is a eminder that beneath the appearance of order something nameless has been lost: â€Å"What's happened here? I want an explanation of what's happened here. † she says, â€Å"with sudden hysteria† (407-8). It is a reasonable request that cannot be reasonably answered. This was also Williams' problem at the end of The Glass Menagerie: how to escape from the image when it seems to have bee n given too much control, when its reason is absolute? Expressionism threatens the reason of realistic mise en scene by taking it perhaps too far, stretching the imagination beyond limits toward an absoluteness of the image, a desire of desire. The â€Å"mimetic† mirror now becomes the symbol of madness: the image no longer simply reflects desire (desire of, desire for), but subsumes the mirror itself into the language of desire. When Blanche shatters her mirror (39I) she (like Richard II) shows that her identity has already been fractured; what she sees in the mirror is not an image, it is indistinguishable from herself. And she cries out when the lantern is torn off the lightbulb, because there is no longer a space between the violence she experiences and the image of that violence. The inner and the outer worlds fuse, the reflecting power of the image is destroyed as it becomes fully self-reflective. The passion of madness exists somewhere in between determinism and expression, which at this point â€Å"actually form only one and the same movement which cannot be dissociated except after the fact. â€Å"(I2) But realism, that omnivorous discourse, can subsume even the loss of the subjective-objective distinction — when determinism equals expression — and return to some quasi-objective perspective. Thus at the very moment when all space seems to have been conquered, filled in and opened up, there is a need to parcel it out again into clearly distinguishable territories. Analysis imprisons desire. At the end of A Streetcar Named Desire, there is a little drama. Blanche's wild expressionistic images are patronized and pacified by theatricality: â€Å"I — just told her that — we'd made arrangements for her to rest in the country. She's got it mixed in her mind with Shep Huntleigh† (404-5). Her family plays along with Blanche's delusions, even to costuming her in her turquoise seahorse pin and her artificial violets. The Matron tries to subdue her with physical violence, but Blanche is only really overcome by the Doctor's politeness. Formerly an expressionistic â€Å"type,† having â€Å"the unmistakable aura of the state institution with its cynical detachment† (4II), the Doctor †¦ takes off his hat and now he becomes personalized. The unhuman quality goes. His voice is gentle and reassuring s he crosses to Blanche and crouches in front of her. As he speaks her name, her terror subsides a little. The lurid reflections fade from the walls, the inhuman cries and noises die our and her own hoarse crying is calmed. 4I7) Blanche's expressionistic fit is contained by the Doctor's realistic transformation: he is particularized, he can play the role of gentleman caller. â€Å"Jacket, Doctor? † the Matron asks him. † He smiles †¦ It won't be necessary† (4I7-I8). As they exit, Blanche's visionary excesses have clearly been surrendered to him: â€Å"She allows him to lead her as if she were blind. † Stylistically, he, realism replaces expressionism at the exact moment when expressionism's â€Å"pure subjectivity† seems ready to annihilate the subject, to result in her violent subjugation. At this point the intersubjective dialogue returns, clearly masking indeed blinding — the subjective disorder with a assuring form. If madness is perceived as a kind of â€Å"social failure,†(I3) social success is to be its antidote. Of course theater is a cure for madness: by dramatizing or literalizing the image one destroys it. Such theatricality might risk its own confinement in the image, and for an instant there may be a real struggle in the drama between the image and the effort to contain it. But the power of realism over expressionism makes this a rare occasion. For the â€Å"ruse,† Foucault writes, â€Å"†¦ ceaselessly confirming the delirium , does not bind it to its own truth without at the same time linking it to the necessity for its own suppression† (I89). Using illusion to destroy illusion requires a forgetting of the leap of reason and of the trick it plays on optics. To establish order, the theatrical device repeats the ordering principle it learns from theater, the representational gap between nature and language, a gap it has to deny: â€Å"The artificial reconstitution of delirium constitutes the real distance in which the sufferer recovers his liberty† (I90). In fact there is no return to â€Å"intersubjectivity,† just a kind of formal recognition of it: â€Å"Whoever you are — I have always depended on the kindness of strangers. † Streetcar makes the return to normality gentle and theatrical, while â€Å"revealing† much more explicitly than The Glass Menagerie the violence that is thereby suppressed. This violence is not â€Å"reality,† but yet another theater underneath the theater of ruse; the cure of illusion is ironically â€Å"effected by the suppression of theater† (I9I). The realistic containment at the end of Streetcar hus does not quite make it back all the way to realism's seamlessly objective â€Å"historical† truth. History, structured as it is by â€Å"relations of power, not relations of meaning,†(I4) sometimes assumes the power of reality itself, the platonic Form behind realism, so to speak, When it becomes the language of authority, history also assumes the authorit y of language, rather naively trusting language to be the reality it represents. The bloody wars and strategic battles are soon forgotten into language, the past tense, the fait accompli. Useless to struggle against the truth that is past: history is the waste of time and the corresponding conquest of space, and realism is the already conquered territory, the belated time with the unmistakable stamp of authenticity. It gets applause simply by being plausible; it forgets that it is literature. To read literature, de Man says, we ought to remember what we have learned from it — that the expression and the expressed can never entirely coincide, that no single observation point is trustworthy (I0-II). Streetcar's powerful explosion of allegorical language and expressionistic images keeps its vantage point on the move, at a remove. Every plot is untied. Realism rewards analysis, and Williams invites it, perversely, but any analysis results in dissection. To provide Streetcar with an exegesis seems like gratuitous destruction, â€Å"deliberate cruelty. † Perhaps no other American writer since Dickinson has seemed so easy to crush. And this consideration ought to give the writer who has defined Blanche's â€Å"madness† some pause. Even the critical awareness of her tidy incarceration makes for too tidy a criticism. In Derrida's analysis of Foucault's Madness and Civilization, he questions the possibility of â€Å"historicizing† something that does not exist outside of the imprisonment of history, of speech — madness â€Å"simply says the other of each determined form of the logos. â€Å"(I5) Madness, Derrida proposes, is a â€Å"hyperbole† out of which â€Å"finite-thought, that is to say, history† establishes its â€Å"reign† by the â€Å"disguised internment, humiliation, fettering and mockery of the madman within us, of the madman who can only be a fool of a logos which is father, master and king† (60-6I). Philosophy arises from the â€Å"confessed terror of going mad† (62); it is the â€Å"economic† embrace of madness (6I-62) To me then Williams' play seems to end quite reasonably with a struggle, at the point in the play at which structure and coherence must assert themselves (by seeming to) — that is, the end of the play. The end must look back, regress, so as to sum up and define. It has no other choice. The theatrical ending always becomes, in fact, the real ending. It cannot remain metaphorically an â€Å"end† And what is visible at the end is Blanche in trouble, trapped, mad. She is acting as though she believed in a set of events — Shep Huntleigh's rescue of her — that the other characters, by their very encouragement, show to be unreal. There is a fine but perhaps important line here: Blanche's acting is no more convincing than theirs; but — and this is a point Derrida makes about madness — she is thinking things before they can be historicized, that is, before they have happened or even have been shown to be likely or possible (reasonable). Is not what is called finitude possibility as crisis? † Derrida asks (62). The other characters, who behave as if what Blanche is saying were real, underline her absurdity precisely by invoking reality. Blanche's relations to history and to structural authority are laid bare by this â€Å"forced† ending, in which she repeatedly questions the meaning of meaning: â€Å"What has happened here? † This question implies the relativity of space and moment, and so of â€Å"ev ents† and their meanings, which are at-this point impossible to separate. That is why it is important that the rape suggest an overthrow of meaning, not only through a stylized emphasis on its own representation, but also through its strongly relativized temporality. (Blanche warns against what â€Å"will happen,† while Stanley says the event is the future, the fulfillment of a â€Å"date† or culmination in time promised â€Å"from the beginning. â€Å") Indeed, the problem of madness lies precisely in this gap between past and future, in the structural slippage between the temporal and the ontological. For if madness, as Derrida suggests, can exist at all outside of opposition (to reason), it must exist in â€Å"hyperbole,† in the excess prior to its incarceration in structure, meaning, time, and coherence. A truly â€Å"mad† person would not objectify madness — would not, that is, define and locate it. That is why all discussions of â€Å"madness† tend to essentialize it, by insisting, like Blanche's fellow characters at the end of Streetcar, that it is real, that it exists. And the final stroke of logic, the final absurdity, is that in order to insist that madness exists, to objectify and define and relate to it, it is necessary to deny it any history. Of course â€Å"madness† is not at all amenable to history, to structure, causality, rationality, recognizable â€Å"though† But this denial of the history of madness has to come from within history itself, from within the language of structure and â€Å"meaning. † Blanche's demand to know â€Å"what has happened here† — her insistence that something â€Å"has happened,† however one takes it — has to be unanswerable. It cannot go any further. In theatrical terms, the â€Å"belief† that would make that adventure of meaning possible has to be denied, shut down. But this theatrical release is not purifying; on the contrary, it has got up close to the plague, to the point at which reason and belief contaminate each other: the: possibility of thinking madly. Reason and madness can cohabitate with nothing but a thin curtain between. And curtains are not walls, they do not provide solid protection. (I6) Submitting Williams' allegorical language to ealistic analysis, then, brings you to conclusions: the imprisonment of madness, the loss of desire. The moral meaning smooths things over. Planning to â€Å"open up† Streetcar for the film version with outside scenes and flashbacks, Elia Kazan found it would not work — he ended up making the walls movable so they could actually close in more with every scene. (I7) The sense of entrapment was fundamental: Williams' dramatic language is its elf too free, too wanton, it is a trap, it is asking to be analyzed, it lies down on the couch. Kazan saw this perverse desire in the play — he thought Streetcar was about Williams' cruising for tough customers: The reference to the kind of life Tennessee was leading rear the time was clear. Williams was aware of the dangers he was inviting when he cruised; he knew that sooner or later he'd be beaten up. And he was. (35I) But Kazan undervalues the risk Williams is willing to take. It is not just violence that cruising invites, but death. And that is a desire that cannot be realized. Since there is really no way to get what you want, you have to put yourself in a position where you do not always want what you get. Pursuing desire requires a heroic vulnerability. At the end of â€Å"Desire and the Black Masseur† the little masochistic artist/saint, Anthony Burns, is cannibalized by the masseur, who has already beaten him to a pulp. Burns, who is thus consumed by his desire, makes up for what Williams calls his â€Å"incompletion. † Violence, or submission to violence, is analogous to art, for Williams: both mask the inadequacies of form. Yes, it is perfect,† thinks the masseur, whose manipulations have tortured Bums to death. â€Å"It is now completed]†(I8) NOTBS I Tennessee Williams, A Streetcar Named Desire, in The Theatre of Tennessee Williams, vol. I (New York, I97I), 246. Subsequent references are to this edition and rear nod by page number in the text. 2 See Conversations with Tennessee Williams, ed. Albert J. Devlin (Jackson, Miss . , I986). 3 Paul de Man, Blindness and Insight: Essays in the Rhetoric of Contemporary Criticism, 2nd ed. , revised (Minneapolis, I983), I2. See de Man, Blindness and Insight, I87ff, where he outlines the critical movements in Western Europe and the U. S. that have thus â€Å"openly raise d the question of the intentionality of rhetorical figures† (I88). Among the critics he cites are Walter Benjamin, Roland Barthes, and Michel Foucault (to whose work I will turn later in this essay). Subsequent references to Blindness and Insight are noted by page number in the text. 5 Tennessee Williams, The Gloss Menagerie (New York, I97I). 6 Stanley is quoting Huey Long. 7 See Gore Vidal's â€Å"Introduction† to Tennessee Williams' Collected Short Stories (New York, I985) xxv. 8 Michel Foucault, The History of Sexuality, vol. I: An Introduction, trans. Robert Hurley (New York, I978), I08-9. 9. Tennessee Williams, â€Å"Desire and the Black Masseur,† in Collected Stories (New York, I985), 2I7. I0 Michel Foucault, Madness and Civilization: A History of Insanity in the Age of Reason, trans. Richard Howard (New York, I965). II. Ibid. , 94. I2 Ibid. , 88. I3 Ibid. , 259-60. Subsequent references are noted by page number in the text. I4 Michel Foucault, Power/Knowledge: Selected

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Strategic management of Samsung - Essay Example While the company has diversified into several areas, it is still working hard to maintain market leadership in its core business. It was ranked first in the television industry according to its market share. Furthermore, the organisation enjoyed similar rankings in the mobile segment owing to its investment in smart phones. Despite all this, rivalry in the telecom business has put Samsung under intense financial stress. It may be leading in the industry but has lost some market share (Refer to appendix 2 on the situational analysis) when cable firms entered the touchtone phone, TV and PC market. Some of the new innovations from the company are more flexible than previous products. For instance, Samsung’s version of the Android device is more compatible with current software in the market. Market leaders like Apple are worried about this capability because their products lack the same features. Furthermore, the company now uses second mover advantage to address the flaws that were inherent in older products. It has worked on features such as security to make its devices stand out (Reed, 2013). The organisation has a reputation for innovation across new and existing product segments. In the year 2012, it recruited several researchers and innovators. This translated to the registration of over 5,000 patents in that year. For these reasons, the company got the first runner up position in the top US patented companies. Samsung has garnered a series of awards for its impressive performance. In Europe, it got four awards from EISA, which is an award program for audio and video industry players (Samsung, 2013). In theory, companies may also adopt a green strategy option that depends on technology, carbon use, and consumer recycling patterns among others (Kipley et. al., 2012). Samsung received recognition from the best Global Brands portfolio as it was ranked 9th in the industry. The latter achievement stemmed from its sponsorship of the London 2012 Olympics. O ther corporate sponsorship initiatives have also been on the organisation’s priority list. The firm’s commitment to corporate social responsibility is undisputed. It engages in a recycling program within its manufacturing sites. This move is in line with current environmental preferences for clean manufacture (Refer to appendix 5 on PESTLE analysis). Furthermore, it has committed to environmental protection by avoiding PVCs and other harmful materials (Guardian, 2012).These approaches may also give a company sustainable advantage according to green strategy theorists. Production within the company is also something worth noting. Samsung manages to keep its production costs down due to its choice of manufacturing centres. Since the firm is Asian-based, it is at a unique position to select cheap countries for manufacture. This has caused it to enjoy comfortable profit margins that emanate from controlled production costs. The global nature of the firm makes it poised to make such a choice. Operation costs have also been kept down by the organisation’s strong bargaining power. The company has considerable clout over its suppliers in the semiconductor, mobile phone and television set industries. This allows it to negotiate with such brands and thus establish lucrative ways of dealing with the differences. The latter move may be defined as cost leadership. Michael Porter identified certain generic strategies that companies may engage in, and cost leadership is one of them (Porter, 2008). Here, organisations reduce their

The Programme Director Essay Example for Free

The Programme Director Essay I would like to apply for the Nursing Programme in your esteemed university. I firmly believe that my interests in the field of nursing, my confidence and my experience hold me in good stead over my colleagues for this programme. I have had a lot of experience in patient care, laboratory work and clinical examination over the years. I was a Medical Assistant at Bryman College in 1996 January, after which I shifted to Phlebotomy Plus (Walnut Creek) in Nov 1999). From Jan 2000 to Jun 2000, I worked as Front and Back Office Medical Assistant at Pacific Coast Internal Medical Group (San Francisco, CA). I was fortunate to gain a lot of experience while on this job, where I was involved in patient scheduling, completing and recalling medical charts of patients. I recorded vital statistics patients for the physician. I administered injections to adult patients and processed urine samples also. I also used to liase with the local pharmacy in helping patients get their prescriptions filled. This position involved a lot of responsibility and I was successful in carrying out what was expected of me. From July 2002 till Dec 2002 I was at the acute triage unit at the San Francisco General Hospital where I performed phlebotomies. I also performed clinical examination of pediatric patients within the triage unit. I maintained the patient charts, and recorded the vital statistics of patients. It was also my responsibility to ensure sending of samples to the laboratory and getting back the reports. Between Jun 2000 to May 2004, I was also at the Labcorp/Quest Diagnostics as the Phlebotomist and Office Manager in San Francisco. The unit was a busy one and I managed a team of 1-2 phlebotomists in carrying phlebotomies in this high volume unit. I also processed specimen samples, and carried out patient registration. I successfully maintained very high lab standards according to California OSHA standards 3. From Jun 2005 to present, I am currently holding the post of Lab Technician at Kaiser Permanente, Oakland, CA. Here, I am a part of a research team conducting a study on growth and development of girls between 6-8 years. I conduct phlebotomies, urine collection, and DNA collection. I do the logging of all samples and ensure shipping to CDC. Data entry of patient information is among some of my other responsibilities. In view of the experience I have gained in laboratory and clinical work, which has included research work, I believe I have the requisite qualifications for this programme. My diligence and meticulousness build up my confidence; I believe I will be an asset to any university I attend. I hope my application gets the best attention it deserves. Â  In anticipation of a favourable response

The Need For Natural Resource Preservation Environmental Sciences Essay

The Need For Natural Resource Preservation Environmental Sciences Essay Introduction Natural resources are those things that exist naturally within the environment and subsist relatively undisturbed in a normal and natural form. The world is blessed with diverse natural resources wealth that has helped mankind meet their daily needs for food, shelter, clothing, medicine and other important chemical elements that are vital for making useful products. Uplifting the life standards of human beings depend wholly on the wise use of the available natural resources (Phil, 2010). The primary natural resources include air, sun, forests, land, water, minerals, wildlife, and fisheries. Natural resources protection or conservation involves employing and adopting environmental protection techniques that will prohibit further destruction or unwise use of our natural resources. Studies indicate that, despite the vast significance of protecting and conserving natural resources, there are also far-reaching demerits in relation to the same. This paper is going to discuss the advantages and disadvantages of conserving natural resources. Advantages For the world to sustain future generations, the human community at large should embrace conservation of natural resources both renewable and non-renewable. Recent studies have estimated that many of the natural resource exploited by people has decreased to less than 25%, particularly oil and coal (Phil, 2010). This therefore, implies that the world cannot even support the present human population indefinitely. It should be noted that coal and oil (non-renewable resources) are one of the primary sources of energy, and without limiting and regulating exploitation of these vital natural resources then it means that, the coming generation will be deprived for these resources. In addition, in order to avoid future starvations, deaths, and conflicts over the scarce natural resources; we need to wisely use the available resources (Phil, 2010). Human physical and industrial activities have played a big role in depleting the beauty of our environment. For instance, the agricultural activities in Egypt and Asia; burning of agricultural wastes like rice straws and garbage has led to the formation of black cloud. This is where soot, dust particles, and other lethal elements are deposited into the atmosphere polluting the air natural resource. These particles interfere with the normal environmental setting and contributing to global warming effects. Elements like nitrous oxides, methane and carbon monoxide readily combine with vapor in the atmosphere to form acidic rains. Acidic rains are responsible for corroding and destructing manmade structures, destroying plants and animals. Through good environment conservation practices, the environment will remain pure and a good habitat for all organisms (Phil, 2010). Everything that we throw a way in the form of waste has diverse impact on degrading and destroying our natural resources. For instance, landfills have taken up valuable space and have contributed to both ground water pollution and air pollution by releasing significant amount of air pollutants like methane, and other greenhouse gasses in the atmosphere (Recharge Colorado, 2010). Natural resources conservation through reducing, reusing and recycling helps in decreasing household waste thus reducing landfills. In essence reducing involves manufacturing, designing, purchasing or using materials like products and packaging materials in manner that decreases the overall toxic levels of trash. On the other hand, reusing entails avoiding disposal of an item by reusing it in a similar way or devising a new way to use it (Recharge Colorado, 2010). Recycling is another key factor in natural resources conservation, for example, items that could have been used by consumers and discarded form the raw material for manufacturing other items. Recyclable items can be recollected and redeveloped into new products that are of equal importance (Jay, et al. 2010). This reduces pressure on exploitation of natural resources thus protecting them. Nevertheless, recycling saves energy conserves natural resources like timber, water and mineral salts thereby inhibiting and preventing environmental pollution. Consequently, it provides room to preserve resources for future generations. The commonly recycled materials are; papers, yard Trimmings e.g. grass, leaves, and shrubs which are recycled through compositing, Glass, bottles and jars, Aluminum à ¢Ãƒ ¢Ã¢â‚¬Å¡Ã‚ ¬ mostly beverage containers, and plastics like soda bottles, milk jugs, plastic bags and detergent containers (Jay. et al. 2010). Energy is what drives the world economy, without energy the world will be a very different place. Electrical energy has greatly transformed various sectors such as education, manufacturing, farming, lighting and agriculture. Conserving this primary and original natural resource will provide diverse innovations and development in the world as a whole. The lighting element of energy is widely used allover the world, therefore, conserving this natural resource is of great importance. This can be done through use of compact fluorescent lamps/bulbs (CFL), which has been found to be the more appropriate way of conserving electricity as opposed to using ordinary incandescent bulbs. According to a study done in relation to this issue, it was established that, household electricity consumption in the US accounted for 9% in 2001(Keefe, 2007). Also it was established that for a given light output fluorescent tubes/bulbs use approximately 20 to 33 percent of the power consumed by incandescent la mps/ordinary bulbs (Keefe, 2007). When incandescent lamps were replaced by the fluorescent tubes the total household electricity consumption decreased form 9% to 7% (Keefe, 2007). Disadvantages Raw materials, food and technology all come about as a result of exploitation of natural resources. Food industries and factories rely on the agricultural produce as their basic raw materials. For these raw materials to be available, forests and grasslands must be cleared to pave way for agricultural activities to take place. Energy, for instance, used in these industries must also be available for industries and factories to completely manufacture relevant products that help satisfying basic human needs (Phil, 2010). Fossil energy like coal and petroleum must be extensively utilized to provide the required energy. Without exploitation of these natural resources the economic development we all want will not be achieved. Exploitation of these natural resources is the sole drive for economical growth in all economies. The learning process since time immemorial has fundamentally relied on paper. The primary source of paper is trees or forests. Without cutting these trees and processing them into paper, education sector will suffer greatly, so will other sectors that depend on paper. As Phil (2010) adds, management in almost all kinds of institutions and record keeping which are very crucial entities in smooth running of any institution rely on paper. Exploitation of these natural resources has resulted into employment opportunities, where many individuals earn their livelihood from. If exploitation of these resource is stopped, many people jobless hence jeopardizing their daily well being. Though natural resources are scary, people still have to continue exploiting them to survive, what can be done is creating new innovative ways to exploit these resources. In deed, many US based car manufacturing companies have been forced to be more innovative to meet the needs of their customers. Instead of relying solely on cars that use petroleum as the only source of combustion energy in their combustion engines, they have devised new electrical cars that use electrical energy in their electrical engines. In relation to this, it is clear that, natural resources should be exploited to the maximum in order for persons to be innovative with regard to the prevailing situation. In the US, Americans have turned trash or waste into a new source of opportunity. For instance the Reduce, Reuse and Recycle agencies have come up with a single most idea to conserve the environment. But letà ¢Ãƒ ¢Ã¢â‚¬Å¡Ã‚ ¬Ãƒ ¢Ã¢â‚¬Å¾Ã‚ ¢s view it from this perspective, if it were not for destroying and destructing the environment by throwing waste and trash, and creating more landfills, the Reduce, Reuse and Recycle program could have not been there at all. These programs have both economic and environmental benefits in the US (Recharge Colorado, 2010). It has created more employment opportunities for the US citizens. In view of these arguments, it can be stated that though natural resource should be conserved for sustainable development, their exploitation should continue. In deed people have the ability to come up with new and better ways of using these natural resources when they understand that they are scarce. Conclusion In conclusion, conservation of natural resources is something that should be undertaken with serious consideration. In order to create a favorable environment for future economic growth in the world, we should develop strategies that promote more conservation than exploitation. On a wider view of this matter, there should be in place programs that regulate human population growth to ease pressure on the few remaining natural resources. Sustainable proper use of the existing natural resource should be encouraged by all governments to give room for both economical growth and environmental conservation (Phil, 2010).

Quality Improvement Organizations For The Healthcare Sector Nursing Essay

Quality Improvement Organizations For The Healthcare Sector Nursing Essay The National Healthcare Quality report released by the Agency for Healthcare Research and Quality (AHRQ) found that healthcare quality in America is suboptimal and that the receipt of needed healthcare varies widely (Kneipper, 2009). A report published by the Institute of Medicine, To Err is Human, diagnosed the quality problem in health care caused by people struggling to perform within a system riddled with opportunities for mistakes (Buchbinder and Shanks, 2007). While it is recognized that even the most strenuous accreditation programs will never eliminate all the issues in the facilities and services being accredited; it is important that steps are taken to significantly improve quality and reduce risk. Pursuing accreditation demonstrates a commitment to improving quality in health care. Numerous accrediting bodies exist in the U.S. with each having their own particular area of focus. This paper will examine three that are responsible for monitoring quality in health care organi zations. Joint Commission, founded in 1951, is a health care accreditation agency known for its high-quality patient care standards. It develops standards for quality and safety and evaluates performance within healthcare organizations based on these standards. In addition, it strives to enhance the effect that performance measures have on improving health outcomes for patients. The duties of the Joint Commission are numerous. The Joint Commission assesses organizational compliance through unannounced surveys that include direct observations, data analysis and staff interviews. It accredits and certifies over 18,000 health care organizations and programs in the US. It has identified hundreds of performance standards that represent the highest in quality health care. It publishes quarterly reports that track performance on quality of care measures. It issues annual reports as part of its ongoing efforts to emphasize the health importance of accountability and continuous improvement. The Joint Commission monitors quality by continually reviewing the best practices that optimize patient care. It works with various subject matter experts to identify quality measures. Hundreds of performance standards guide health care providers in administering care and improving performance. Hospitals are expected to adhere to standardized processes for quality measurement, reporting and improvement. The Joint Commission requires annual periodic performance reviews. A health organization must conduct a self-assessment ascertaining its compliance with the Joint Commissions standards and submit a report to them. Joint Commission uses this information as part of its Periodic Performance Review. Joint Commissions efforts promote quality of care. Its annual reports identify the top compliance issues each year which include quality standards that were the most difficult for hospitals to meet. Joint Commissions collaborative efforts with clinicians, health care providers, hospital associations, performance measurement experts, and health care consumers identify quality measures that reflect the best evidence-based treatments for specific medical conditions. Through this collaboration, a set of standard national measures are created that allow comparisons across health organizations. To help hospitals make a significant impact on patient outcomes through performance measurement, the Joint Commission introduced an approach placing greater emphasis on an organizations accountability measures (measures of evidence-based care that yields the greatest the most favorable impact on patient outcomes) and less on non-accountability measures (suitable for secondary use). In 2009 it formed the Center for Transforming Healthcare that works on developing collaborative programs with leading health care systems to identify causes of breakdowns in patient care. The Joint Commission collaborates with other organizations, including the Centers for Medicare and Medicaid Services (CMS) and the National Quality Forum (NQF), to align quality measures with other measurement efforts to ease data collection efforts and ensure that the data is gathered and calculated consistently across all organizations. Another organization responsible for monitoring quality is the Commission on Accreditation of Rehabilitation Facilities (CARF) which has accredited programs in five continents. Founded in 1966, CARF accredits in the areas of behavioral health, aging services, child and youth services, employment and community services, and medical rehabilitation. Through a consultative accreditation process, CARFs attention focuses on enhancing the lives of the people with disabilities. Their consumer-focused standards help organizations measure and improve the quality of the programs and services that achieve optimal outcomes. CARF assists providers and organizations in improving the quality of its services and demonstrating value. It accredits providers for many specific programs and services that support rehabilitative health, with many providers seeking CARF accreditation in multiple areas. It publishes standards manuals that correspond to the fields served that relate to health and safety, risk management, and corporate compliance. These nationally and internationally recognized service standards are developed with input of key stakeholders such as professionals, organizations, surveyors, purchasers, and those served. They are reviewed and revised annually at a national and international level to ensure they exhibit standards for quality that are current, relevant, and practical. For monitoring quality, a quality improvement plan that matches the needs of the program or services is a critical part of the accreditation process. Rather than an inspective approach, a survey team employs a consultative methodology to conduct an on-site survey to evaluate its services. Once the report information has been reviewed the organization and survey team partner to develop a quality improvement plan to improve the operations and service delivery. An accredited provider participates in reviewing its practices on an annual basis. The organizations leadership sends a signed commitment to CARF affirming that it continues to their standards to guide their organization. To promote the quality of care, every year CARF creates standards that help programs monitor their services, quality, recovery and business. Surveyors are peers in the field with experience in the programs and services that are accredited. They are matched to organizations they survey based on the organizations characteristics and program types. CARF accreditation assures the public that the provider/organization is committed to improving the quality of services with a focus on service outcomes as well as customer satisfaction. A third organization responsible for monitoring quality in medical imaging and radiation oncology is the American College of Radiology (ACR). The ACR is the most recognized medical imaging and radiation oncology accrediting body that began accreditation in 1987. It continually promotes recognition for issues of quality and safety in radiologic procedures. ACR accreditation consists of a self-assessment and an independent external expert audit that assesses personnel qualifications, policies and procedures, equipment specifications, quality assurance activities, patient safety, and the quality of patient care. The ACR is involved in numerous undertakings. It has established over 150 practice guidelines and technical standards to improve how imaging, radiation therapy, and interventional services are delivered. Currently, eight accreditation programs have been established by the ACR and there are plans to add more. Over 160 sets of evidence-based guidelines have also been set up to assist referring physicians in making the most appropriate imaging or treatment decision. The ACR uses several methods to monitor for quality. Accreditation requires active participation in a physician-peer review program. Radiology exams must be systematically reviewed and evaluated for the appropriateness of the exam as well as for the accuracy of interpretation as part of the overall quality improvement program at that facility. Complications and adverse events must be monitored, analyzed and reported as required. They must also be regularly reviewed to identify opportunities for improving patient care. Imaging facilities must have documented policies and procedures for monitoring and evaluating the effective management, safety, and operation of equipment. ACR accreditation promotes quality of care in several ways. It focuses on factors unique to imaging that includes image quality, dose monitoring, phantom testing, equipment evaluation, calibration and maintenance, and personnel qualifications. The Appropriateness Criteria enhance quality-of-care decisions; contribute to the most effective use of radiology; help providers address issues of overutilization of radiological care, and in the near future, will provide information on appropriate radiation dose. In conclusion, people seek medical attention to improve their health. The economic pressures of spiraling healthcare costs and suboptimal health outcomes are intensifying the search for new approaches to health management. Accreditation helps to ensure that patients will receive adequate and appropriate health care according to nationally accepted standards and it demonstrates commitment to improving quality in health care.

First-class Opportunities for Mature Students Essay -- Postgraduate Stu

A recent report has outlined several ways for universities to adapt to the rising amount of older learners seeking higher education. Published by Universities UK, the document addresses the growing demand for courses which are tailored to the needs of students who have completed their careers. The text says that, due to the projected rise in older learners – based upon the increased life expectancy of the UK population and the multiplying numbers of HE applications by this market – universities need to ‘find fresh ways of adapting to and supporting an ageing population’. Within the document, the authors call on universities to assist in promoting demographic change; Professor Chris Phillipson and Jim Ogg (both Keele University staff) say that a changed perception of older generations, and their role within society, can be promoted by higher education institutions through the introduction of fundamental alterations. The text advises universities to increase their involvement with support services aimed at older people, and to actively encourage psychological health in over 50s, ...

Virginia Woolfs A Room of Ones Own Essay -- Virginia Woolf Room One

Virginia Woolf's A Room of One's Own Missing works cited In A Room of One's Own, Virginia Woolf ponders the plight of women throughout history. Woolf 'reads the lives of women and concludes that if a woman were to have written she would have had to overcome enormous circumstances' (Woolf xi). Woolf's initial thesis is that 'a woman must have money and a room of her own if she is to write fiction' (Woolf 4). Throughout the book, however, she develops other important conditions for artistic creation. Woolf mentions many nineteenth century female writers in order to explain these conditions, but she does not mention Mary Shelley. Woolf most likely excludes the author of Frankenstein because her writing contains considerable male influence. The circumstances of Shelley's life, however, meet Virginia Woolf's basic requirements for the production of good fiction. Mary Shelley possesses a well-rounded education, encouragement, and an 'androgynous and incandescent' mind (Woolf 98). In A Room of One?s Own, Virginia Woolf suggests women produce so little literature because of the tremendous discouragement and criticism that female writers face. She discusses the effects of opposition and disapproval upon the artistic mind. The opinions of others greatly affect artists, and it is those of genius who are most sensitive to criticism. Woolf proposes that it was literally impossible for a talented woman to write well during the sixteenth century: ?A highly gifted girl who had tried to use her gift would have been so thwarted and hindered by other people, so tortured and pulled asunder by her own contrary instincts, that she must have lost her health and sanity to a certainty? (Woolf 49). To further illustrate her poin... ...tial thesis is that ?a woman must have money and a room of her own if she is to write fiction? (Woolf 4). Throughout the book, however, she develops other important conditions for artistic creation such as a wellrounded education, encouragement, and an ?incandescent and androgynous? mind (Woolf 98). Although Virginia Woolf does not mention Mary Shelley in A Room of One?s Own, probably because of the strong male influence in Shelley?s writing, the circumstances of her life meet Woolf?s basic criteria for the production of good fiction. Mary Shelley?s excellent literary education, stimulating life experiences, encouragement from family, and lack of anger, bitterness, and fear in her writing grant her the status of one of the most famous female writers of the nineteenth century. Works Cited: Woolf, Virginia. A Room of One's Own. New York: Harcourt, 1989.

Memorable Moments with My Sibling Essay

A relationship with a sibling is everlasting: last longer than the bond with a spouse, parent, or friend. Have you ever thought about the times you have spent with your siblings? Those are memorable moments that I would always cherish. The bond with my sibling taught me many lessons in life. My childhood relationship with my sibling has changed since I became an adult. The communication and the people we associate with had changed between us. During any oppression we had gone through, our love still remains the same. Since adolescence my younger sister, Genesis, and I were inseparable. We were like the cartoon characters Tom and Jerry. Genesis used to tell me everything; I was like her secret diary. For example, Genesis would come home to our two bedroom apartment from Attucks Middle school and used to tell me how wonderful or miserable her day went. When she had a delightful day coming home would be satisfying and a little annoying for me. She would tell me how stunning a boy was in her class and was disturbing for me. I didn’t want to hear about her Prince Charming. However, you could tell when she had a dreadful day, she would come home slamming the front door and leaving an echo in the vague hallway. She would run to our cluttered room and jump on her twin size bed. Walking towards her I could hear her calling my name â€Å"Eric†. I said â€Å"Genesis are you feeling ok, what’s wrong? † Genesis said â€Å"There is a boy in my math class calling me a nerd. † I would then comfort her by giving her a hug and tell her not  to worry. You know what they call nerds in the future? Boss! † I said. Genesis always felt safe around me I was there to protect her from any harm like a father figure. However, I joined the United States Army; our molded relationship became more distant. I would only see her physically when important events occurred. For instance, I saw her three months after I graduated from basic training in Fort Jackson, South Carolina. Communicating through Skype and the six hours difference between Germany and Florida makes it difficult to talk my sister. Our daily conversation about are experiences since we were younger became weekly or monthly as we matured. Overall, age and the distance between us had caused our connection to fade. When I was younger I used to consider Genesis annoying, because of her eager desire to hang out with my friends living around Coolidge Street, Florida. For example, when I got invited to house parties, Genesis assumed she was automatically invited. Of course she was wrong; a house full of 18 year old teenagers partying had no business interacting with a 14 year old girl. As I got older Genesis became a young adult; the age difference didn’t seem to matter anymore. Now that Genesis became mentally matured, she is acceptable to be in my group of friends. A couple of my friends spend time with my sister watching movies and taking her to different vicinities. My sister and friends took a trip to Rapids Water Park in West Palm Beach, Florida. They enjoyed having a blast in the refreshing pool and the water coasters. In brief, since my sister and I share common friends, we socialize more than the past. The love between my sister and I will remain the same. Even through any tribulation that had occurred toward us, we would always be there for each other. For example, my sister would try to hide the fact that she had a fear of crossing the road every morning to the bus stop; I had an intuition that she was, so every morning at 5 o’clock I would walk my sister five blocks and cross  the street with her to the bus stop, sacrificing two hours of my sleep to ensure that she would arrive safely and according to schedule. Genesis is currently nineteen years old, she had two car accidents and is going through some hardships because she is unemployed and her insurance bill went up. I manage to help her financially until she’s on her feet. Vice versa she also helps motivate me with her encouraging words and accomplishments. She graduated top ten percent of her graduating class and did early admissions while in high school. I was discouraged to enroll into University of Maryland University College while being in the military; by her achievements I was inspired to enroll into UMUC and take a writing 101s course. As you can see, during any discomfort Genesis and I will go through, we will always take care of each other. In conclusion, since childhood my relationship with my sister has changed, our communication had faded over time. Some of the friends we spend time with, are the same. When we had gone through any problems, we would help each other. Why is our bond so strong? We had been there for each other our whole life. Even the distance between us, would never break our love for one another.