The Need for Federal Government in Education essays

The Need for Federal Government in Education essays The Need for Federal Government Involvement in Education Reform For centuries, generations of families have congregated in the same community or in the same general region of the country. Children grew up expecting to earn a living much like their fathers and mothers or other adults in their community. Any advanced skills they required beyond the three R's (Readin', Ritin' and Rithmatik) were determined by the local community and incorporated into the curriculum of the local schools. These advanced skills were taught to the up- and-coming generation so they could become a vital part of their community. The last several decades has greatly expanded the bounds of the "community" to almost anywhere in the country or anywhere in the world for that matter. Advances in transportation and communication has made the world a much smaller place then the world we knew as children. The skills our children need to realize parents' perpetual dream of "their children having a better life" are no longer limited to those seen in the local area. It is becoming more and more apparent that the education system of yesterday cannot adequately prepare students for life and work in the 21st Century. These concerns have prompted people across the country to take a hard look at our education system and to organize their efforts to chance the education system as we know it. There are two major movements in recent years whose focus is to enhance the education of future generations. The "Standards" movement focuses on educational content and raising the standards of traditional teaching and measurement means and methods. The "Outcome Based Education" (OBE) movement is exploring new ways of designing education and changing the way we measure the effectiveness of education by focusing on results or outcomes. In September 1989, President Bush and the nation's governors called an Education Summit in Charlottesvi...

Avoid These 5 Mistakes When NetworkingÂÂ

Avoid These 5 Mistakes When Networking   We all know how daunting networking can be. It’s often the last thing we want to do: going out to â€Å"socialize† when we could be on the couch with take-out and Netflix, having to sell ourselves in every conversation, having to get in front of the right people to make the right impression. But, it has to be done. And it should be done right. Here are 5 common networking pitfalls and how to avoid them.1. Don’t get caught with your pants downEven if you make a last-minute decision to attend, make sure you’re prepared. Don’t forget your business cards. Don’t go up to anyone uninformed. Spend 15 minutes before you hit the party making a game plan- who you’d like to introduce yourself to, what specifically you’d like to accomplish, etc. Do some research into the people and companies you’re likely to run into; this will make for better conversations and you’ll come across as intelligent and on top of your game. Pick yo ur marks and take accurate, appropriate shots.2. Don’t be unprofessionalYou don’t need to  make a special hair appointment or show up in a cocktail dress to a casual after-work event, but you also shouldn’t dress like a slob. Go no lower than business casual, and when in doubt, take your cues from coworkers or other contacts you know are also attending.Once you’re there, act like a professional human. Don’t dismiss people just because they don’t look important. Don’t go around collecting business cards as if you were trick-or-treating. Don’t lie- you’ll always get caught. And make sure to have your elevator pitch practiced and ready to go. There’s nothing worse than being asked what you’re looking for and having to reply â€Å"Uh†¦. Um†¦. Work and stuff?†3. Don’t be naà ¯veAct like you’ve been to a networking event before. Don’t expect a job from every decision-maker you happen to shake hands with. And make sure not to ask for too much from everyone you meet. This is where a little strategic planning can really come in handy. Plan your big asks before you go. Once you’ve made them, try to  relax, act normally, and enjoy yourself. People are just people, after all.4. Don’t be selfishNobody likes a party hog. Don’t be the kind of networker who talks only about herself, thinks only about her needs, barges into conversations uninvited, and otherwise monopolizes everything and everyone. That goes for the shrimp puffs, too.5. Don’t forget to follow upThis is perhaps the most important. If you’ve made good contact with anyone, make sure to send a polite follow-up email the following day. Or even a phone call, depending on your level of connection! And if anyone does you any favors- i.e. puts you in touch with someone or agrees to circulate your resume- make sure to send a gracious thank you ASAP.

Managerial Economics in MBA Essay Example | Topics and Well Written Essays - 1500 words

Managerial Economics in MBA - Essay Example Measuring marginal opportunity cost should reflect the intricate ecological and physical inter-linkages that exist within an ecosystem, allowing for the relationship between soil erosion, deforestation, sedimentation, and stream-flow. In turn, the marginal opportunity cost is comprised of direct costs from the use of resources, externalities that arise from inter-linkages of the ecosystem, and user component that comes from the use of resources in a non-sustainable way. 1. Most of Europe’s coal mines have closed down. There are still large reserves of coal available. Under what circumstances would you envisage businesses opening up coal mines and exploiting these resources? Europe still possesses plenty of coal resource reserves. In some cases, these are not easy to access although they can still be mined. The question that arises when considering the probability of their exploitation is their economic viability. The decline witnessed in the 80s regarding mining of coal, as well as the closure of mines, was done because extraction costs for coal became too high given the shifting focus of the global market (Ali & Jeffrey 21). The market began to move towards the use of gas to produce electricity, as well as the use of coal from countries where mining was extra economically viable. However, as Europe becomes a net exporter of gas and oil again as supplies start to run out, they will be forced to be more reliant on supplies of gas from unfriendly economies like Russia or price-hiking Sheikhs from the Middle East. As the price of gas continues to rise due to these factors, the development of technology will alter the relationship that exists between coalâ €™s marginal cost and its marginal revenue (Ali & Jeffrey 21). Another way that coal could become viable again is a new method of making it clean in order to offset its environmental destruction (Ali & Jeffrey 29). Coal causes major environmental destruction, and for its marginal revenue to be above its marginal costs, then it has to be cleaned. Several European countries have begun efforts towards this. One technology, which could see the environmental cost of coal go down, is carbon capture technology.

Discuss the use of sound in the film Psycho (1960 by Alfred Hitchcock) Essay

Discuss the use of sound in the film Psycho (1960 by Alfred Hitchcock) - Essay Example Hitchcock work was previously known to be filled with romantic elements. In psycho, Hitchcock tries to subvert these elements; in fact, romance is particularly elusive as the audience is denied clarity or fulfillment of romance throughout the film. In this work, the past of most characters is catching up with their present. Destructive histories of the main characters are the prelude of their ruin. For example, Marion one of the main characters skips town after stealing $ 40,000 from her realtor firm. This is catching up with her as an investigation is launched and she is a key suspect. Though the film had its share of controversy perhaps its biggest attribute is how sound and voice were used. This paper will review how Hitchcock uses sound to enhance key themes in the film Psycho. The shower scene is conceivably one of the most tantalizing in the film Psycho, it signaled the pivotal point of the movie. In 2013, it was voted as the best shower scene of all time. The US Library of Con gress has since selected the film Psycho for preservation at the NFR. Though Hitchcock had intended to have imagery as the imposing feature in this scene, Herrmann works his magic to bring out an authentic mise-en-scene by using sound. ... Ultimately, this score managed to bring out the abyss of human longing, regret, psyche, and fear. Though this sequence only run for three minutes, Hitchcock put a lot of work to come up with it. It has been alleged that the scene took about a week to shot and incorporated more that seventy different cameras. The sound track in this scene is made up of shrieking violins, cello, and violas that sound like birds (Hitchcock, Alfred, and Bill 262). The sounds that depict a knife entering human flesh, screams by Marion and the blood on the shower complete a captivating mise-en-scene. Hitchcock makes good use of sound effect to enhance specific themes. Both synchronous and asynchronous sound effects are evident throughout the film. In the sequence were Bates is chasing after Lila, on discovery of Mrs. Bates, she whispers â€Å"Mrs. Bates,† but mother does not respond. The silence that unfolds, then the swivel sound of her chair and finally screams by Lila on discovery of the desiccat ed body of mother is a classic example of use of synchronous sound effects. In this instance, Hitchcock uses synchronous sound effects to depict the theme of violence and grimness. Use of asynchronous sound effects is also evident in this work. In the scene where Arbogast is killed, though we do not get to see mother in this scene, we can hear her stumbling feet on the stairs as she chases Arbogast. The enhancement of the stumbling feet sounds underscores the danger that faces Arbogast. This sequence clearly accentuates themes such as dread and survival. Hitchcock makes good use of dialogue to characterize his plot. Throughout the film, the dialogue that unfolds bounces the viewer from one scene to the next. The tension between the conversation between

Fuddy Meers Essay Example for Free

Fuddy Meers Essay They play was quite an interesting play with its use of comedy and tragedy. The actors did a terrific job on portraying the characters. The set was small so it was much easier to see their reactions. The introduction to the play was pretty unique with those people in tight pants and glitter all over everybody in the lobby. They never broke character no matter what went on in the lobby. Later they used as prompts on stage which was pretty interesting because at times I was so into the play I forgot they were there acting as a car or a door. Although Claire was the main character, the actor who played Millet had the best acting on stage. They way he switch between the two personality was amazing and hilarious. He portrayed the character really well and had me believing for a bit that he actually had a dual personality. His entrance on to the stage in every scene was perfect, every time he can on he was really enthusiastic and his enthusiasm did not fluctuate too much in the play, even though he was not playing one but two characters. The actress who played Claire portrayed the character well. From the beginning to the end she really captured the characters and her emotions. When she first entered on stage I was confused of what was going as she was walking aimlessly across the stage but later realized that was the whole point. She wanted the audience to believe she was confused and lost; and she did. I notice her break the fourth wall every now and then as she looked into the audience. I suppose it was part of the scrip to interact with the audience because she mostly did it when she was on the side doing random things with the people in tight pants. Her entrances where perfect every time, even though the scenes where being switched off between her and Richard in the car, she never seen to loose focus. You could clearly see every expression on her face which made it more realistic to the audience. The actor who played Richard could have done a better job on portraying his character. He wasn’t terrible it just looked like he was trying to hard; it just didn’t seem as natural. For example in the scene he gets pulled over by the lady cop, he was a little too jittery; no one really acts like that. Overall he did pretty decent job but could have done much better. The limping man, who was Zack than later we found out he was Claire ex husband, did an amazing job portraying his character. It wasn’t only his facial deformation, which I have to admit looked pretty real to me, but was the way he acted out the character, from the lisp to the scary deep voice, that made him truly incredible. He made the audience believe he was really deformed. The scene when he first took Claire and he was struggle to enter the window was pretty hilarious but he also gave an insight to what he character was going through. They endowed many things on the set, most of the things looked pretty realistic. In the scene when Richard and his son go looking for Claire they used a paper joint to endow the marijuana they were smoking but they did not portray being under the influence as well as they could have. Usually people that smoke pot are really laid back and giggly with short term memory loss not knowing what their doing half the time. They also endowed the officer’s gun which still look pretty real. When Claire was running up and down the stage with that knife it seem pretty dangerous but from where I was sitting I couldn’t even tell if it was real or fake. The overall play was excellent and it gave me an opportunity to learn from these actors what to do and not to do. They really had some tremendous actors on this set who did an amazing job on convincing the audience on what was going on in the play.

What is The Right Stuff? :: The Right Stuff

The Right Stuff - What is the Stuff? As might be expected from the title, The Right Stuff is centered on the concept of having the right stuff. Author Tom Wolfe uses several recurring techniques and comparisons to describe this idea and its relationship to the men who took part in the Mercury program. An opening chapter of the book is devoted to the "right stuff" in order to explain the concept to the reader. In this chapter, Wolfe makes a clear distinction between the right stuff and simple bravery. He tells the reader that a possessor of the right stuff can not only risk his life. He "should have the ability to go up in a hurtling piece of machinery and put his hide on the line and then have the moxie, the reflexes, the experience, the coolness, to pull it back in the last yawning moment" (19). One critic interprets the distinction as being "between the actual experience of the right stuff- of being a fighter pilot and experiencing, for example, night landings on an aircraft carrier- and any prior effort to describe that experience in language" (Marowski and Matuz 419). In the same chapter, the reader is also introduced to an element which recurs throughout the rest of the book. The author compares a career in flying to the climbing of a ziggurat, an extraordinarily high and steep pyramid. In an especially vivid passage he writes: "the idea was to prove at every foot of the way up that pyramid that you were one of the elected and anointed ones who had the right stuff and could move higher and higher and even-ultimately...be able to join the very Brotherhood of the Right Stuff" (19 ). Through this pyramid the world is divided into those who had the stuff and those were just left behind. Another characteristic of the right stuff is the pilots' relationship with one another. These pilots seem to always want to associate only with one another. Wolfe shows the reader the pilots' belief that only other pilots can understand their daily life and death struggles. In their discussions, though, it is shown that the pilots never like to use words like "danger," "bravery," and "fear." Instead they use a special code or explain by example.

Internship writing assignment Essay

INTRODUCTION I’m Yanina Filipova, a major in Video Productions at Borough of Manhattan Community College. I chose Video Productions as my major because I’m very much interested in films. Ever since I was a kid, I have always been fascinated in watching movies, especially adventure movies. Whenever there is a chance, I always make it a point to watch the production documentaries of movies. I am fascinated with the production of such films. As such, I dreamed of producing and directing my own films and eventually have my own production company. Entering in a course in Video Productions trained me in creating professional video programs. It has prepared me in the twists and turns of producing your own film such as creating a budget, shooting a scene, and editing a final cut. It taught me things about collaborative filmmaking. In studying video production, I learned to like the profession more and more. In line with this, I interviewed three people with different jobs related to the field I want to pursue. In this interview, I expect to learn the twists and turns in the production business especially that the job of each of my interviewees has some connection with video and media production. I also want to know the advantages and disadvantages in working with video production. I want to learn what characteristics I must have to achieve my dreams. I want to seek their advice on how I can manage to pursue this career. In this way, I will know the things I must go through to attain my career goals. BODY Alfred Swanwick is a video producer for three years now at Heartbeat Digital, a company that creates custom websites that headquartered in Manhattan. As a video producer, he earns $2000 each month. His job description includes budgeting and scheduling video shoots and post-production editing, identifying and securing the appropriate crew for projects, coordinating crew shoots, working with clients to understand their business needs and creative vision to staff jobs appropriately and to manage their expectations, and working with various internal teams throughout the company to ensure a smooth and successful project implementation. He studied at Marymount Manhattan College where he studied as an Art major minor in Graphics Design. During his undergraduate years, he applied for internship in a media production company, called theU, in SoHo where he was trained to do online works by helping in building the company’s online community. He graduated in 1997 and immediately started applying for small jobs that has relations to his degree course because he really wanted to pursue a career in graphics design. His first job was as a personal assistant to the head of a small media shop where he worked for a year. In this job, he was trained to log and edit video using Photoshop and Flash. Then he worked as a junior editor for another three years where he learned to manage the company’s media network. Then he applied at Heartbeat Digital as an assistant media technician where he was responsible in the distribution of the hard copy of the company’s media. Through this training, the company made him the video producer after two years because the company saw his dedication and passion for his work. The company has since trusted him in leading the creation of their online network. Swanwick said that he wanted to do video productions since he is very interested in the media. Ever since he was in high school, he was always chosen as first place in website designing competitions. It was during these competitions that he learned the basics and thought to himself that he wanted to learn more about graphics design. When he graduated from high school, he then enrolled as an Art major minor in Graphics Design in Marymount Manhattan College. In here, he learned to create professional video and audio programs, create a budget, shoot a scene and edit a final cut. He also learned to design and program computer-based interactive products. He said that one of the advantages in working in this field is that salaries range from $1500 to $3000. Aside from that, since websites and web pages need to attract attention, one gets to develop and enhance his creative side. However, he said that while this job lets you earn more, you have to sacrifice your rest and sleep hours. You almost always have to stay up late because of creating and editing a media program. He said that sometimes you have to rack your brains out just to produce outstanding media productions. Being a perfectionist himself, he always strives to achieve excellent media productions. When asked on his view about the historical experiences of women, minorities and persons with disabilities in the field, his response is that he thinks these groups are under represented in the field. In the early days, these groups are often not qualified in taking jobs that are usually dominated by men. He said that women, minorities and person with disabilities should be given opportunity to prove that they can do what men can do. Swanwick’s hard work and determination earned him a successful career. He also said that one should have a burning passion in your chosen field so that you can attain your goals without having to worry too much of the consequences. He aims to become an executive producer someday and with his strong-willed personality, there is no doubt that he will achieve his ultimate goal. David Fisher works as a full-time assistant producer for almost two years now at Three on the Tree Productions, a company focused on music documentaries, videos and concert DVD’s, where he earns $28000 annually with benefits. His duties and responsibilities in the job include scheduling meetings and job workflow, budget management and organizing job files and folders. He also assists producers in bidding processes, production shoots, and edit sessions. He graduated three years ago from the School of Visual Arts in New York City with a degree in Film and Video. He was trained here in directing, screenwriting and editing his own films. One of the films he produced was even nominated in the Dusty Film Festival, sponsored by his school, and was shown on the big screen at one of New York’s theaters. He worked as an intern in Forbes. com where he exercised his knowledge in producing daily videos. When he graduated from college, he first worked as a digital technical assistant at a video post production and design company. Although this work requires very basic skills, this has introduced him to the kind of work he is now doing. After almost one year, he quitted his job because he believed that the job is not helping him develop his skills in video production. He then applied at his current company where he was immediately accepted as an assistant producer. Due to his outstanding capabilities in video production, he is now running for promotion to junior executive producer. He is currently undergoing trainings and seminars on video and film production to prepare him for his job as an executive producer. He said that this work taught him to be a sociable person since he is responsible for keeping employees up to date on the happenings of the company and so his communication skills are regularly practiced. He also learned to be organized and details-oriented. He said, however, that in his work, he always has to stay up late since his producer always calls him even in the middle of the night to give him orders or, sometimes, just to check that he has already done his work. But as he learned to keep up with his producer’s midnight calls he also learned to keep up with the fast-paced environment that his job has. There are women and minorities working in his company. In fact, one of their executive producers is a woman. When asked about his view on the issue of women, minorities and persons with disabilities, he said that in these modern times, they should be given equal opportunity with men. He said that women today are very competitive unlike in those days when they only do household work. One good reason for this is that they want to prove that they can do what men can do. He believed that it is a pity that in the early days, women and minority groups are discriminated because they are immediately judged when they do men’s work. In his line of work, Fisher said that you’ve got to be hard-working so that you can achieve your goals. Push yourself to the limits until you have achieved what you want. You’ve got to have specific goals — a concrete idea on where you want to go and what you want to achieve. By doing this, you have a concrete map that will guide you in going to the place you want to go. When you know what you want, then you know where you are going. You also have to be flexible in every aspect to be able to adjust to the fast changing environment that video and media production has. And just as Swanwick said, you have to be determined and passionate in what you are doing so that no matter what the consequence is, you can still pursue what you want to pursue. He concluded with a piece of advice for those who want to pursue a career in video productions. He said that we should let nothing get in the way of our dreams. If we do, then it was not our dream after all. Rowena Moore is the executive producer of the Digital Intermediate Department of Technicolor Content Services New York. She has been in the company for six years now where she first worked for two years as an executive assistant. She has been holding the job as an executive producer for the last three years. Her job includes bidding processes and deliveries to the Laboratory and overseeing all aspects of DI, VFX, and digital optical processes for feature films. She also produces and edits feature films and trouble-shoot technical issues. She is a graduate of New York University batch 1997 with a degree in Film and Television. In here, she was taught to produce and edit films. She worked as an intern at HDNet Films where she was introduced to work at a production and post production department. Although her duties in her internship are basic, it helped her develop her communication skills since she was given the opportunity to participate in working on a production set where different types of people are present. Because of her active participation, she was also given the opportunity to participate in a traditional 35mm film. After she graduated, she applied as an in-house motion designer for Adspace Mall Network, where she designed and animated 15-second commercials. In doing this first job, her imagination and resourcefulness were developed because her commercials need to be creative but her company have only limited assets. She also developed her communication skills since she is the one responsible for contacting the clients when they have production questions. She quitted the job after two years because her position became stagnant. For one year, she only does part-time jobs because she can’t find the work that she liked. Then she applied at Technicolor Content Services in New York as an assistant producer. It is good that she worked for Adspace Mall Networks for two years because the job she applied for required one to two years of related work experience. After a year, she was promoted to executive assistant producer where she writes coverage for screenplays and occasionally assists the line producer. Due to her hard-work and determination which her company recognized, she was promoted to executive producer after less than two years. She said that one of the advantages in pursuing a career in video production is that there are many job opportunities. These job opportunities range from the small to the largest video and media production companies. And although her work requires so much time because of the production and post production tasks she has to do, she says that it is worth it because she gets to do what she wants to do. In working as an executive, she developed her leadership skills because of her responsibility to inspire and direct other team players. More importantly, she learned to be a team player. Being a woman, she said that her gender did not get in the way of pursuing her goals. Although there is a prejudice on women in doing these jobs, it did not keep her company in recognizing her efforts and abilities. She is glad that today women are getting more and more active in the field because this just proves that women are also capable of the work that men can do. In line with this, she advises women to be more competitive and not to be afraid of the discrimination that society has against women. She said that if you really want to achieve your dreams, you should always work hard and never give up despite the consequences you have to endure. She also believes in what Swanwick and Fisher had said, you should be determined and never let the fire of passion run out. Determination and passion always help you hold on and continue achieving your dreams. She is a living proof that women nowadays are equally capable of the things that men can do. CONCLUSIONS All of these interviews discussed about the experiences of people in the field of video productions. As I expected, it has taught me the twists and turns of a production company especially the jobs of the people I interviewed. I learned the requirements needed for this profession. The interviews taught me to work hard and be determined in what I do. I learned that to be successful in your dreams, you have to be passionate in your work so that you will not have any reason to give up. The interview just increased my excitement in working in a production company. Upon graduation, I want to experience working in such a company first so that I will know how to run it before I begin to run my own production company. Doing this interview taught me to utilize my communication skills. I learned that this skill will come in handy when I start to work and eventually start my own business. I am still not certain about what will happen after graduation but I am sure that I will continue pursuing my goal of building my own production company. SOURCE: New York Craig’s List: Manhattan TV/Film/Radio/Video Jobs. (2006). Retrieved November 4, 2006, from http://newyork. craigslist. org/mnh/tfr/index300. html.

Discuss the Theatrical Device Essay

‘Aadhe Adhure’ or ‘Halfway House’ has often been described as a cross between Naturalist Theatre and Theatre of the Absurd. Interestingly, both these elements actually undercut each other as theatrical movements and are said to have polarized western theatre. Naturalism argues for heredity and a global perspective on human behavior, which is said to develop out of the social environment in which a particular individual lives. On the contrary, Absurdism believes that there are no solutions to the mysteries of existence because ultimately man is alone, forced to perform repetitive actions in a world without meaning. This play has many elements of Naturalist theatre, including a linear movement, a limited time span, an in-depth psychological characterization and a defined beginning, middle and end. However, the opening line– â€Å"Once again, the same thing all over again†¦Ã¢â‚¬  firmly typecasts it as a part of Absurdist theatre, as from the start itself there is a hint at circularity of events and a hopelessness and banality defined by the repetition of the word ‘again’ in the short sentence. Mohan Rakesh borrowed a common device from the theatre of the Absurd and in ‘Aadhe Adhure’, for the first time in Indian theatre the same actor was used to play five characters. According to Rakesh, â€Å"The woman is the central character and I want the four men to be played by the same actor. What I want to indicate by that is that it’s not the individual who’s responsible for his situation, for he would have made the same choice no matter what, regardless of the situation. Any choice anyone makes has a certain irony in it, for things turn out the same regardless of the choice. † Though it was passed off by some critics as a gimmick employed by the playwright, its thematic relevance came to the fore when Rajinder Nath, contrary to his own views on the importance of the technique, directed the play using five different actors for the roles. The conclusion was felt to be severely lacking as the notion of inherent ‘similarity’ in all the men which underlines the climax of the play failed to have the same impact. Interestingly, though Savitri implies that it is beneath their appearance, that this ‘same man’ exists, the implication is only forceful for the  audience because of the simultaneous visual impact of one man playing different roles. According to Nath himself it was a powerful theatrical device â€Å"to show how according to one’s convenience the same man can put on different masks depending on the situation in which he is placed†. That the authorial view corroborates with this statement is clear from the prologue where the ‘Man in the black suit’ equates identity with fluidity and calls himself undefined. Each character, given a certain set of circumstances, can occupy the place of another. This also follows the assumption that there is no real development or evolution of character; the character at the beginning of the play will not be shaped differently by the situation, enforcing the idea of a universality of experience, that â€Å"things turning out the same regardless of choice†. The prologue defines the play as ‘amorphous’. The audience is told that there is a bit of each character in all of them. Those watching the play and even those outside the theatre. The characters are said to be people â€Å"you bump into by chance in the street† stressing the alienation of urban crowd from one another as the source of difference as well as similarity, since they are all nameless, faceless people who can easily get lost in a crowd comprising of the same. Therefore, one man can play five characters because they are, in essence, the same man. This likeness is reiterated by the naming of the characters in their dialogues, not individually, but rather as First Man, Second Man, etc. According to the Hindi version of the play, the Man in the Black Suit â€Å"has a look of civility with a touch of cynicism†; the face of the First man â€Å"expresses the helpless anguish of having lost the battle of life†; the Second Man is â€Å"self-satisfied and yet a little insecure†; the Third Man â€Å"projects an air of someone who is committed to a life of convenience†; and the Fourth Man â€Å"looks older, quite mature and shrewd†. They have different characteristics, lifestyles and manners of speech, yet according to critics Nita Kumar and N. S. Dharan, this device makes use of  the inherent notion of playacting which includes the concept of freedom; to pretend and be whatever one likes. Every man remains an actor and therefore, it is easy for him to put up a facade and to hide his interiority according to the demands of the situation. This concept is emphasized not by the fact that the same man plays all the characters, but rather by the fact that it is possible for the same man to play all the characters. Simply by changing his costume and facial expression, he manages to change into a different person entirely. Therefore, the assertion of the prologue of the interchangeability of these characters is understandable. The problematic element in the play arises out of the contention of the Man in the Black Suit that interchange of roles can take place not only between the men in the play but also between the man and the woman. This strikes a discordant note as, according to critic Arti Mathur, it negates Savitri’s gender-specific struggle against social constraints. One of the biggest contributions to the ‘sameness’ of the multiple characters is that they are all men. And men, by the patriarchal definition especially prevalent in urban middle-class India, have a certain societal role which leads to their convergence into one man. Irrespective of circumstances their position in society is defined while that of the woman is defined in relation to the man. However, the statement is not entirely wrong either as Savitri, as the breadwinner of the household is actually the ‘man of the house’. Every society has an economic base and a cultural superstructure, which is derived from the base. In Halfway House, the base has shifted and it is the wife who is economically independent, however, the tragedy of the ironically named Savitri lies in the fact that the superstructure has not shifted in accordance with the base. Mahendranath has not become the domestic centre just because of his confinement to the house; Savitri is still required to fulfill her ‘womanly’ domestic duties. She is defined by the context of what it means to be a woman and has internalized the patriarchal system. This is also made clear by Savitri’s contempt of what she believes is Mahendranath’s lack of manliness. She despises his dependency on herself as well as Juneja and constantly searches for escape routes through other, more suitable men. An element of unrealism is brought in, in which even the characters seem to be aware of an underlying similarity between the men, a device not available to them as characters. Askok’s sketch of Singhania leads Savitri to ask Binni if the portrait reminds her of someone, and on being asked, â€Å"Whom†, she replies â€Å"Your father. † This intermingling of the play and the outside elements draws attention to this device. There is irony in the fact that one of the ways in which these men are actually the ‘same’ is in their exploitation of Savitri. According to critic Veena Das, these characters are seldom all of a piece, they are the broken images of a decomposing society. Mahendranath is a self-described ‘parasite’ and is later shockingly revealed to be a former wife-beater. His inability to hold the position of the ‘head’ of the family has made him bitter and suspicious; suspecting his wife of illicit liaisons, which, although hinted at are never confirmed by the text. His ‘unmanliness’ makes Savitri lose all respect for him, till their marriage is reduced to a sham of public expectations. Singhania treats Savitri with condescension and his ‘favors’ are granted with an obvious air of patronization. His pompous manner and speech is calculated to make the listener feel inferior, a fact that is explicitly stated by Ashok. However, in Savitri’s eyes his position as her boss and his salary makes him ‘superior’ and she remains silent in face of his thinly-veiled innuendos and his humiliation positioning of her as â€Å"one of his child’s ‘aunties’†. His crude behavior is a caricature of the sexual exploitation that women have to deal with in work places. Jagmohan is introduced almost an antithesis of Mahendra. He is suave, successful, with a man-of-the-world air and is presented as the eleventh hour rescuer. He is the only outcome available to her from the â€Å"hell† that her house has become to her. However, this apparent proactive position loses much of its worth as it is weakened by the fact that she waits for Jagmohan to ‘fetch’ her. She overlooks his barbs at her expense and goes with him willingly, an act in defiance of society which is only rewarded by  rejection. Again, this seemingly perfect man is unable to provide her with emotional support or security. Her disillusioned return drives home the point that there is no escape route left available for her. The point of concern becomes the fact that though Savitri is an economically independent woman, her means of ‘escape’ from the house is linked to a man. Savitri, in her search for the â€Å"complete man† speaks in the language of patriarchy, as the concept of ‘masculinity’ is a derivative of society. Even though she is a ‘modern, independent’ woman, she is unable to cut off the suffocating patriarchal bonds of the environment in which she lives. The Fourth Man, Juneja is introduced onto the stage around this point. He gains the sympathy of the audience by showing kindness towards Kinni, a character who is almost absolutely neglected in the play. He comes as a voice of rationality; as an almost omniscient character. He seems to have intimate knowledge of both Savitri and Mahendranath, as well as their circumstances. His seems to be the projected authorial voice in the play. His looks and manner of speech is structured so as to make the audience favor his point-of-view and assessment of character. Juneja espouses the belief that to Savitri the meaning of life is â€Å"how many different things you can have and enjoy at the same time. † He lays the blame for the current situation of hopelessness squarely on her shoulder and her quest for the â€Å"complete man†. According to him the problem is not a social reality, but instead lies in the psychological realm. All of the men she encounters are incomplete and therefore her solution is multiplicity. Her way of filling her void is â€Å"excess†. And she is only attracted to men because, â€Å"they are not Mahendra. † According to Juneja, if she had married one of the men whom she is attracted to she would have still felt she had married the wrong man. Juneja brings in another element of unrealism by accurately recounting the encounter between Jagmohan and Savitri because â€Å"in his place I would have said the same†. Once again this brings forth the ‘sameness’ of these characters, as Juneja’s claim is validated by Savitri’s shattering  realization- â€Å"All of you†¦every one of you†¦all alike! Exactly the same. Different masks, but the face†¦? The same wretched face†¦every single one of you! † The tragedy of the realization is heightened by Juneja’s ruthless perusal- â€Å"And yet you felt you had a choice†¦? Was there really any choice? Tell me, was there? † In the above dialogues lies the greatest significance of that particular theatrical device. It brings out a clear dichotomy between the ideal and the real. What Savitri has been pursuing all along, the ‘ideal man’ does not in fact exist. The notion of her having had a ‘choice’ has been illusory all along; she is trapped in a world with no exit. The play shifts focus to lack of freedom for a female in urban, middle-class India. The tragedy is that Juneja’s speech provides a dual closure for Savitri; both in her search for the ‘perfect’ man who can â€Å"fill her void†, as well as an acknowledgment that she shall never gain satisfaction, and related to that, happiness. In naturalism, free will is not denied but is contained and confined within the environment in which the individual lives. Savitri’s free will is her ability to choose but the fulfillment of that choice depends on the context. Her freedom is linked to a man. She is free to choose which man, but it has to be a man. The illusion of choice arises from the four men and her ‘independence’ is related to shifting from one man to the other. In the prologue, the Man in the Black Suit had asked the existentialist question of ‘who am I’. This is now problematized, as the dramatic innovation of using the same man for multiple characters casts doubt on whether there is an ‘I’ at all. ‘I’ refers to individuality, the existence of a self different from the ‘other’, a projection that the men in the play are all different which is negated through Juneja’s speech. Savitri uses the language of social realism to justify her belief that she moves on to other men because Mahendra is not the right man. Juneja uses the language of absurdism to articulate that there is no ‘right man’; her search is futile because such a man does not exist. All the men in her life are essentially the same man and can only satisfy her for a limited period of time. Surprisingly, the text does not lead up to its realist conclusion; that she is trapped because of the prohibitions of the society in which she lives, a world in which a woman has no choice in her own destiny. It, in fact, veers from its apparent initial realist stance of ‘all men are the same in a patriarchy’ and seems to suggest that all men are the same only to Savitri. Halfway House has often been described as a woman-centric misogynistic play. â€Å"Even as the play builds up a dark vision of trapped humanity, it weakens the force of its statement by simultaneously cutting Savitri’s credentials. † (Nita Kumar). The play does not imply that if the only conditions were different or could be changed then Savitri would be able to escape from the ‘trap’, instead her sexuality is morally condemned, she ought not be able to escape. Juneja contends that all the men who had come into her life were different. They were individuals with their own diverse characteristics and, according to critic Veena Das, what made Savitri see them as parts of the same fractioned entities was her own â€Å"diseased imagination†. Juneja, in saying that all men are the same, is trying to define the essential nature of desire. Desire is always in excess of the individual and can never be completely satiated. The frightening aspect of desire lies in its limitlessness. All men are the same because they are looked at through Savitri’s desire, the fact that they will all eventually be unable to satisfy her is the reason for their ‘sameness’. Their amorphousness derives from the fact that they change in accordance with Savitri’s assessment of them. The transcendental nature of desire will always make her move on to other men and search for completeness. It seems to suggest that every being is half-incomplete, it is not a tragedy, but rather a fact of existence, and Savitri, in her search for masculine perfection and inability to accept this fact, is herself responsible for her ruination. Unexpectedly again, the play doesn’t build up even to the absurdist conclusion; it does not suggest that everybody in essentiality is like Savitri, because desire is universal, exceeding every individual. Instead,  the elements of Naturalism as well as Absurdism are developed only to lay the blame on Savitri’s inherent nature, which is considered responsible for the destruction of this particular family. She stands the last accused and the play ends before there can be any possibility of defense on her behalf. Interestingly, though certain relationships in life are deterministic, including that of a mother-daughter, sister-brother, etc, the same cannot be said about spouses; however, in this very context the language used by Juneja is the final language of containment, of absolute, rigid determinism. As earlier mentioned, the device of one man playing multiple roles is that of the actor and is not available to the character, and therefore it is significant that the visual of the play itself shows that nothing can be changed. Juneja’s speech corresponds to the structure of the play, which has to come from without and therefore indicates a concurrence with the playwright’s view. According to critic Kirti Jain, this device loses a little of its relevance in the actual stage performance as the focus of the audience is drawn primarily towards the clothes, mannerisms and voice of that one actor rather than the thematic import. However, there is no ambiguity on the fact that the nature of the play cannot be understood without a reference to this particular device. Through this, the area of thrust changes entirely from the ‘universality of human experience’, and the ultimate censure is not of society, or even the circumstances, but rather of Savitri’s desiring nature. Her lack of constraint and implicit sexuality stand accused as the essential reasons for what makes her home an incomplete, halfway house. Bibliography i. All textual quotes are from Worldview Critical Edition of ‘Halfway House- Mohan Rakesh’ ii. Halfway House: A House Divided by Nita N. Kumar iii. A Note on Indian Theatre by Kirti Jain iv. The Director’s Viewpoint by Om Shivpuri v. A Thematic Interpretation of One Actor and Five Roles in Halfway House by Arti Mathur vi. Lust For Life: A Study of Savitri in Halfway House by Naresh K. Jain vii. Halfway House: Absurdism of the Indian Middle Class by Bharat Gupt viii. Uncertain Circumstance, Undefined Individuals: A Study of Halfway House by S. G. Bhanegaonkar ix. Sexism and Power Games by Manchi Sarat Babu x. Halfway House: Some Stray Comments Only by Dilip Kumar Basu xi. There is Something in this House by N. S. Dharan xii. Halfway House: A Play of Incomplete Utterances by Veena Nobel Das xiii. Realism and the American Dramatic Tradition by William Demastes xiv. Mohan Rakesh, Modernism, and the Postcolonial Present by Aparna Dharwadker.

Arrhenius Equation Formula and Example

Arrhenius Equation Formula and Example In 1889, Svante Arrhenius formulated the Arrhenius equation, which relates reaction rate to temperature. A broad generalization of the Arrhenius equation is to say the reaction rate for many chemical reactions doubles for every increase in 10 degrees Celsius or Kelvin. While this rule of thumb isnt always accurate, keeping it in mind is a good way to check whether a calculation made using the Arrhenius equation is reasonable. Formula There are two common forms of the Arrhenius equation. Which one you use depends on whether you have an activation energy in terms of energy per mole (as in chemistry) or energy per molecule (more common in physics). The equations are essentially the same, but the units are different. The Arrhenius equation as its used in chemistry is often stated according to the formula: k Ae-Ea/(RT) k is the rate constantA is an exponential factor that is a constant for a given chemical reaction, relating the frequency of collisions of particlesEa is the activation energy of the reaction (usually given in Joules per mole or J/mol)R is the universal gas constantT is the absolute temperature (in Kelvins) In physics, the more common form of the equation is: k Ae-Ea/(KBT) k, A, and T are the same as beforeEa is the activation energy of the chemical reaction in JouleskB is the Boltzmann constant In both forms of the equation, the units of A are the same as those of the rate constant. The units vary according to the order of the reaction. In a first-order reaction, A has units of per second (s-1), so it may also be called the frequency factor. The constant k is the number of collisions between particles that produce a reaction per second, while A is the number of collisions per second (which may or may not result in a reaction) that are in the proper orientation for a reaction to occur. For most calculations, the temperature change is small enough that the activation energy is not dependent on temperature. In other words, its usually not necessary to know the activation energy to compare the effect of temperature on reaction rate. This makes the math much simpler. From examining the equation, it should be apparent the rate of a chemical reaction may be increased by either increasing the temperature of a reaction or by decreasing its activation energy. This is why catalysts speed up reactions! Example Find the rate coefficient at 273 K for the decomposition of nitrogen dioxide, which has the reaction: 2NO2(g) → 2NO(g) O2(g) You are given that the activation energy of the reaction is 111 kJ/mol, the rate coefficient is 1.0 x 10-10 s-1, and the value of R is 8.314 x 10-3 kJ mol-1K-1. In order to solve the problem, you need to assume A and Ea dont vary significantly with temperature. (A small deviation might be mentioned in an error analysis, if you are asked to identify sources of error.) With these assumptions, you can calculation the value of A at 300 K. Once you have A, you can plug it into the equation to solve for k at the temperature of 273 K. Start by setting up the initial calculation: k Ae-Ea/RT 1.0 x 10-10 s-1 Ae(-111 kJ/mol)/(8.314 x 10-3 kJ mol-1K-1)(300K) Use your scientific calculator to solve for A and then plug in the value for the new temperature. To check your work, notice the temperature decreased by nearly 20 degrees, so the reaction should only be about a fourth as fast (decreased by about half for every 10 degrees). Avoiding Mistakes in Calculations The most common errors made in performing calculations are using constant that have different units from each other and forgetting to convert Celsius (or Fahrenheit) temperature to Kelvin. Its also a good idea to keep the number of significant digits in mind when reporting answers. Arrhenius Plot Taking the natural logarithm of the Arrhenius equation and rearranging the terms yields an equation that has the same form as the equation of a straight line (y mxb): ln(k) -Ea/R (1/T) ln(A) In this case, the x of the line equation is the reciprocal of absolute temperature (1/T). So, when data is taken on the rate of a chemical reaction, a plot of ln(k) versus 1/T produces a straight line. The gradient or slope of the line and its intercept can be used to determine the exponential factor A and the activation energy Ea. This is a common experiment when studying chemical kinetics.

Hypertension Nursing Diagnosis 6 Care Plans for Any Patient

Hypertension Nursing Diagnosis 6 Care Plans for Any Patient SAT / ACT Prep Online Guides and Tips Hypertension, or high blood pressure, is an issue that affects millions of people around the world. If not properly treated, hypertension can lead to serious issues, including heart attack or stroke. That means it’s imperative to have an accurate nursing diagnosis for hypertension as well as an effective care plan. After explaining what hypertension is, what causes it, and what common symptoms are, this guide explains six key hypertension nursing diagnoses. For each diagnosis, the NANDA definition, potential evidence, and desired outcomes are explained, as well as steps to take for the nursing intervention. Nursing Diagnosis for Hypertension: What Is It? Normal blood pressure is when blood pressure is lower than 120/80 mmHg most of the time. A patient is diagnosed with hypertension, the medical term for high blood pressure, when their blood pressure is 140/90 mmHg most of the time. There are several levels of hypertension: Normal Blood Pressure: Lower than 120/ 80 Prehypertension: 120-139/80-89 Stage 1 Hypertension: 140-159/90-99 Stage 2 Hypertension: 160+/100+ Hypertension can be dangerous because it can make the heart work harder to pump blood to the body, which can increase the risk of heart failure, stroke, and hardening of the arteries. What Causes Hypertension? The exact cause of hypertension is not often known. Primary (or essential) hypertension is when hypertension has no known cause, or there is no evidence to link it to a specific cause. Primary hypertension makes up about 90% of all hypertension cases. Secondary hypertension is high blood pressure that does have an identifiable cause. Potential causes of hypertension (primary or secondary) include: Being overweight or obese Smoking Genetics/family history of hypertension A diet high in salt Consuming more than 1-2 alcoholic drinks a day Stress Old age Lack of exercise Sleep apnea Kidney disease Thyroid disorders Signs and Symptoms of Hypertension Hypertension does not always cause symptoms; in fact, about a third of people who have hypertension don’t know they have it because of no or few symptoms. Below are some of the most common symptoms of hypertension: Headache Ringing or buzzing in the ears Fatigue Irregular heartbeat Confusion or dizziness Nosebleed Blurred vision Difficulty breathing Chest pain Blood in the urine Nursing Care Plans for Hypertension Once a patient is found to have high blood pressure, it’s important to follow the appropriate nursing diagnosis and nursing care plan for hypertension in order to reduce the effects of hypertension and keep the patient’s health and quality of life high. Below are six nursing care plans for hypertension. These six care plans cover the main issues associated with hypertension. Each one includes its own nursing diagnosis, NANDA definition, possible signs of evidence, desired outcome, and nursing interventions. Use the NANDA definition and potential evidence to determine the correct nursing care plan for hypertension. Some patients may require multiple care plans. Hypertension Nursing Diagnosis #1: Risk for Decreased Cardiac Output NANDA Definition: Inadequate blood pumped by the heart to meet metabolic demands of the body. Possibly Evidenced By: N/A. This intervention is used to in order to prevent decreased cardiac output from occurring. Desired Outcomes: Show stable cardiac rhythm and rate. Maintain blood pressure within an acceptable range. Participate in activities that lower blood pressure and cardiac load. Interventions: Check patient’s lab data (cardiac markers, blood cell count, electrolytes, ABGs, etc.) to determine contributing factors. Monitor and record blood pressure in both arms and thighs Measure blood pressure in both hands. Auscultation of breath sounds and heart rhythm. Observe patient’s skin color, temperature, and capillary refill time. Advise the patient on reducing sodium intake, if needed. Administer medication, if needed. Hypertension Nursing Diagnosis #2: Acute Pain (Typically Headache) NANDA Definition: Pain is whatever the experiencing person says it is, existing whenever the person says it does; an unpleasant sensory and emotional experience arising from actual or potential tissue damage or described in terms of such damage sudden or slow onset of any intensity from mild to severe with an anticipated or predictable end and a duration of. Possibly Evidenced By: Patient reports throbbing pain in head, most often upon awakening. Changes in appetite. Patient reports neck stiffness, blurred vision, dizziness, nausea, and/or vomiting. Desired Outcomes: Patient states they are no longer suffering from a headache and appear comfortable and pain-free. Interventions: Determine the specifics of the pain, such as intensity, where it is located, and how long it has been going on. Note the patient’s attitude towards pain and any history of substance abuse. Encourage rest during severe pain episodes. Recommend methods of relief, such as neck and back rubs, applying cool cloths to the forehead, and avoiding bright lights. Limit how much the patient moves around. Provide medication, if needed. Hypertension Nursing Diagnosis #3: Activity Intolerance NANDA Definition: Insufficient physiological or psychological energy to endure or complete required or desired daily activities. Possibly Evidenced By: Patient reporting weakness or fatigue. Abnormal heart rate as a result of activity. Exertional discomfort or dyspnea. Electrocardiogram (ECG) changes reflecting ischemia; dysrhythmias. Desired Outcomes: Patient participates in necessary and/or desired activities. Uses identified techniques to enhance activity tolerance. Reports a measurable increase in his/her tolerance for activity. Demonstrates a decrease in noticeable signs of intolerance. Interventions: Note each of the factors that contribute to fatigue (age, health, illness, etc.). Evaluate the patient’s degree of activity intolerance and when it occurs. Monitor how the patient responds to activity (pulse, heart rate, chest pain, dizziness, excessive fatigue, etc.). Explain energy conserving techniques (shower chairs, sitting to brush teeth, etc.). Assess any emotional factors that may be contributing to activity intolerance (such as depression or anxiety). Encourage the patient to engage in self-care and progressive activity when possible. Hypertension Nursing Diagnosis #4: Ineffective Coping NANDA Definition: Inability to form a valid appraisal of the stressors, inadequate choices of practiced responses, and/or inability to use available resources. Possibly Evidenced By: Patient states he/she is unable to cope; patient asks for help. Worry, irritability, anxiety, and/or depression as a result of hypertension diagnosis. Destructive behavior such as overeating, lack of appetite; excessive smoking/drinking, and/or alcohol abuse Desired Outcomes: Patient can identify his/her ineffective coping techniques and their consequences. Verbalizes awareness of own coping abilities. Identifies potentially stressful situations and takes steps to avoid or modify them. Shows the use of effective coping skills. Interventions: Determine what specific areas the patient has difficulty coping with. Assess the effectiveness of the patient’s current coping skills and where improvements can be made. Help the patient identify specific stressors and how to cope with them. Work with the patient to develop a care plan, and encourage participation in the plan. Help the patient identify and begin planning for necessary lifestyle changes. Encourage the patient to evaluate his/her priorities and goals in life. Hypertension Nursing Diagnosis #5: Imbalanced Nutrition (More Than Body Requirements) NANDA Definition: Intake of nutrients that exceeds metabolic needs. Possibly Evidenced By: Patient’s weight is 10%–20% more than ideal his/her height and frame. Reported or observed dysfunctional eating patterns. Desired Outcomes: Patient understands the relationship between hypertension and obesity. Initiates/maintains an appropriate exercise program. Shows changes in eating patterns, such as food choice and/or quantity, to attain a healthier body weight. Interventions: Assess the patient’s understanding of the relationship between hypertension and obesity. Discuss the relationship between hypertension and obesity with the patient. Discuss the need for a decreased caloric intake, as well as a limited intake of salt, sugar, and fat. Determine the patient’s desire to lose weight. Help the patient establish a realistic exercise plan. Help the patient establish a realistic nutrition plan. Refer the patient to a nutritionist, if needed. Hypertension Nursing Diagnosis #6: Knowledge Deficit NANDA Definition: Absence or deficiency of cognitive information related to a specific topic. Possibly Evidenced By: Verbalization of the problem. Patient requires information or more information, or he/she doesn’t understand the information given. Patient inaccurately follows instructions. Patient appears agitated, hostile, or upset when the condition and ways for managing it are discussed. Desired Outcomes: Patient can express his/her knowledge of the management and treatment of hypertension. Patient correctly uses the drugs they are prescribed and understand their side effects. Interventions: Determine what information the patient currently understands. Assess readiness and blocks to learning. Include the patient’s partner, if possible. Describe the nature of hypertension, how it affects different parts of the body, and how it can be treated. Avoid using the term â€Å"normal BP†. Instead use the term â€Å"well-controlled† to describe patient’s BP within desired limits. Discuss with the patient changes he/she can make in order to manage hypertension. Discuss the importance of maintaining a stable weight. Discuss the need for low-calorie diet, low in sodium to order. Help the patient create a schedule for taking medications. Direct the patient to other resources that can be used to better understand and manage hypertension. Review: Diagnosing and Treating Hypertension Hypertension, the medical term for high blood pressure, is an issue that can have serious and long-term health effects if it isn’t properly managed. Therefore, having an effective nursing care plan for hypertension is important. While it’s often difficult to pinpoint the cause of hypertension, high blood pressure may be caused by the weight, smoking, high sodium intake, and/or genetics, as well as other factors. Some symptoms of hypertension can include headache, dizziness, fatigue, difficulty breathing, and/or chest pain, although some patients with hypertension don’t show any symptoms. There are six key nursing diagnoses for hypertension. Risk for decreased cardiac output Acute pain (typically headache) Activity intolerance Ineffective coping Imbalanced nutrition (more than body requirements) Knowledge deficit For each nursing diagnosis for hypertension, it’s important to know the NANDA definition, possible signs of evidence, desired outcome, and nursing interventions. What's Next? Thinking about exploring a career in healthcare administration? Read our complete guide to getting a healthcare administration degree, with explanations for what levels of qualification you need for different careers.

What an Intellectual property is Essay Example | Topics and Well Written Essays - 2500 words

What an Intellectual property is - Essay Example The intention of this study is intellectual property (IP) that connotes to the conceptions of the mind; which includes names, symbols, artistic and literary works, inventions and images employed by the business community to distinguish their products or creation from others in the market. Intellectual property can be divided into two divisions. Industrial property means patents for industrial designs, inventions, trademarks and geographical indications. Copyright engrosses literary creations like plays, poems, novels, films, musical works, and artistic works like photographs, paintings and drawings, architectural designs and sculptures. Like any other property, intellectual property rights (IPR) are enforceable under the law, and they permit the author or an owner of a trademark, copyright or patent holder to derive advantage from his own investment, creation or work. These privileges are stated in Article 27 of the Universal Declaration of Human Rights, which states that the privile ge to derive advantage from the safeguarding of material and moral interests emanating from authorship of any literary , scientific or artistic work. The significance of intellectual property was first acknowledged in the† Paris Convention for the Protection of Industrial Property in 1883† and in the â€Å"Berne Convention for the Protection of Literary and Artistic works in 1886.† Both the above- mentioned treaties are being managed by the WIPO. The privileges offered under intellectual property are considered as a powerful mechanism for cultural, social well-being and for economic development of the society in general. It is aiming to strike a balance between the public’s interest and the interests of the innovator. IP rights reward human endeavour and creativity, which stimulate the advancement of the mankind. Without copyright protection, the existence of the multi -billion -dollar industry, of film making, software development, publishing industry whic h offers pleasure to billions of people around the world would not be possible. Without any reliable, global trademark protection and implementation, consumers around the world have no means to purchase services or products confidently, and strict enforcement mechanisms under IP regime help to discourage piracy and counterfeiting. Inventors and researchers around the world would have little encouragement to prolong producing more efficient and better products for consumers around the world without the rewards offered by the patent system. (WIPO 2003:3). Safeguarding the development of ideas and the creation of ideas is the prime aim of the intellectual property law. New ideas are necessary to stimulate to enhance and to stimulate the creation, development and spreading of ideas, which are essential for the economic progress. Misuse can be stopped by barring the value of an idea being stolen by others. Ideas may vary in nature from material property and hence, they are more susceptib le to imitation. Without any safeguard or protection, ideas are vulnerable to be stolen by business rivals no sooner a product becomes

Social Awarness Essay Example | Topics and Well Written Essays - 500 words

Social Awarness - Essay Example In a way some sick audience may become victims to such ill movies, which hasn't got any social message. The movies which are actually made for entertainment if causes damage to the society must not be made available to all except to adults under strict rules and regulations. I would to like to take the movie Frankenstein as part of subject to evaluate. This was originally a novel written by Mary shelly, which was later made as a movie. The title name Frankenstein (Victor Frankenstein) is a name of a scientist who is obsessed and crazy of creating life in a dead body. The very first intention of the director to make a horror movie of such genera is it self a matter of concern. It is not that such movies should not be made but basing the total movie on a point like regeneration of human life is unethical and paranoid. Not even the very own base of the movie, the way the movie is made clearly indicates the mediocre and harming the society's nature towards the humanity. He spent many years to acquire dead bodies from grave and also by torturing animals. After ten years of wild goose chase he was finally ready to induce life into his creation. Frankenstein asks his assistant (Fritz) to bring a brain from the university. He drops the normal one and steals a criminal's brain from a dead body. Finally Frankenstein manages to put life into his imagination.