God and School

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What does this dollar; this nickel and this penny have in common? They all have the words "In God We Trust" written on the back. My question to you tonight is why can I carry these words in my pocket but not inside my school? As a high school student, in a public school, I would like to encourage you to help put God back in school.

These four words are what our country was founded on. Our forefathers came to this land in search of freedom of religion, speech, and a democratic government. President Eisenhower put this phrase on the US currency in the 150's as a message to the Americans. He wanted to give them a sense of security. Our schools could definitely use that security today. Since prayer has been banned from schools there has been an increase in violence, teen pregnancies and drop out rates. Yet when any of these tragedies occur, fingers point quickly to God. But how can god help if he isn't allowed in the building.

The right to pray should be protected by our first amendment, not limited by it. Arguments have been raised that a prayer to one person's god might offend a bystander who believes in a different god. This is where our democratic government comes in. If an area is predominantly Orthodox Christian, then let them pray to God, if the area is mainly Muslim, let them pray to Allah, or if there is still a problem, don't specify a God.

Another important issue is whether or not to teach about Jesus Christ in school. Textbook companies have every right to print history books with references to Jesus Christ in it. If you open a standard History book and turn to the index, you will find listings for Hitler, Buddha, Muhammad, and even the KKK, but you will not find anywhere a listing for Jesus Christ. If I have to sit and take notes on the teachings of Buddha in my American High School, then why can't topics concerning my God be covered? In a standard Biology book, you will find an entire chapter devoted to evolution and the beliefs of Charles Darwin, and the Big Bang theory, but Creationism hardly gets it's own page.

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Even if not taught as a correct religion, the Bible has several things to offer as teaching material. It sets a guide of moral and ethical standards. It teaches values such as love thy neighbor as thy self, and do unto others, as you would have them do unto you.

In conclusion, I want to tell you what you can do to help.

Number one for parents teach your children to always stand up for what they believe in. Proverbs 6 states "Bring your child up in the ways he should go and he shall not depart from it."

Number two for students encourage your school's administration to have a nationally recognized program such as a "see you at the pole rally" where students voluntarily meet at the flag pole for prayer before school

And Number three for teachers and faculty, obey the rule or your job is at stake, but talk to your principal or school board about adding a club at your school for students who believe. At my school we have a club called HOPE club where we meet every Friday morning for a short devotion and time of prayer.

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Is The opening scene of Jurassic park III effective

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In Jurassic Park III the opening is effective because the tension built is enough to keep me watching. The music gives emphasis of various atmospheres and moods.

In the title scene an Amblin entertainment logo is distorted by a ripple. The sound effects give the impression of the footstep of a dinosaur. The Jurassic Park Logo emerges and by super imposed graphics three claw marks appear. There is then a transition between the title and the first scene, accompanied by a sound affect which gives the impression of a dinosaur rushing past you.

The first thing you see is the lush green island, blue sea and sky. A title fades up "ISLA SORNA 07 miles west of Costa Rica". Then a large red title flashes up onto the screen "RESTRICTED". The colour gives an impression of danger. In the centre frame there is a rock which is a tooth like shape, reminiscent of a dinosaur. There is an over head view of the speed boat, the wake from which again has a sharp, tooth like appearance.

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The colour contrast gives off impressions. The deep blue of the sea and sky against the actors red and orange clothing, which gives the idea that the characters may be in danger. The island is green against the blue sea and sky, and looks lush and full of life.

The characters during the first scene are easily understood just by the simple fact of them being in the restricted area.

Enrique is a Costa Rican who is paid money by tourists to parasail from his boat off the Costa Rican Coast. Obviously in this situation he has been offered more money to sail by the coast of a dangerous island and Enrique is aware of the dangers

"…you do not want to get eaten!" He says at one point to Eric and Ben. This shows Enrique is willing to take risks for money and put his own and other peoples lives in danger. He is willing to give them a light hearted warning as he wouldn't want put his customers off parasailing over the island.

You can relate Enrique to Dr Alan Grant who appears after the first scene, as they both get offered money to be put in dangerous situations and accept.

Ben is a man who is also willing to risk the life of himself and the child in his care by asking to be flown over the island.

"Try and get as close as you can, I'll pay extra for a good time!" he says to Enrique. Ben must be an ambitious man to be able to pursue a parasailing trip such as this one.

Eric is obviously not aware of the sort of danger he is being put in and is willing to parasail with Ben but when it all starts to go wrong he panics. Later on in the film we realise Eric is very experience with fending for himself and knows more about how to survive than the audience first thinks.

To set the action during the scene many camera shots are used. At the start of the scene the camera looks towards the sky to see a plane flying at a very high altitude this is due to restrictions. A high angle view is then used to suggest the view that a plane would have of the speed boat. Enrique is using his binoculars; he is obviously checking that they haven't been seen. As Ben and Eric Parasail Enrique and his partner realise the rocks ahead they speak in Spanish this builds tension. A cloud suddenly blocks the view that Eric and Ben have of the boat and anything below them. At this point the music changes and the pace quickens.

As the camera takes the view of the boat the music is dramatic and danger is obvious, then above the cloud with Eric and Ben the music is calm and has a light atmosphere, they are unaware of the dangers unfolding below them. Slopping noises and a choppy sea suggest munching and the pace is now becoming faster as the parachute rope starts to tug, Eric and Ben become anxious. With a sudden swoop the cloud clears leaving an empty boat with blood over the sides. Then the rocks are spotted ahead and they both panic, the cross cutting camera from the nearing rocks to Eric and Ben, and the music, builds a lot of tension and speed. The rope is cut and almost immediately the music calms as they glide towards the island leaving a mystery as to what happens next.

The conclusion therefore is that the opening scene for me is enticing enough to watch, with the mystery of the ripples at the start to the end of the scene when Eric and Ben drift toward the island. It also gives the audience enough information on the background of the island and the setting around it. The background of the three characters is also easily seen by there actions, words and behaviour. The first scene is a vital look into the island and the characters which later on in the film is reflected on.

The opening scene gives me enough action with out being too over powering and at the same time makes me want to continue watching, therefore it is effective!

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Great Depression

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Over the course of time, the great country that is Canada encountered many different setbacks. Although some were more significant than others, each of them had considerable effects on the way the country further developed itself. Whether economical, political, or social, these setbacks only strengthened Canada. One of the main impediments Canada had to deal with in the twentieth century was the Great Depression, also known as the Dirty Thirties. The Great Depression caused the economical state of the country to severely drop, the political aspect to radically change, and the social standards of the particular time to be significantly lowered. Although it had some terrible consequences, the Great Depression laid the foundation for Canada to become the economically established, politically unequaled, and socially incomparable country that it presently is.

The second decade of the twentieth century was extremely prosperous for most of Canada. The "Roaring Twenties," as they are commonly referred to, were a time of wealth, especially for Canada. Unlike the rest of the world, North America did not need to worry about any sort of war reparations from World War I; therefore it could freely concentrate on its economy. (Horn,17) Winston Churchill, the future Prime Minister of Great Britain was visiting Canada, having the following to say about it "We see Canada growing in every way education, civilization, numbers and wealth." This was September third, 1, less than two months away from the great catastrophe that was to follow. Unfortunately, the prosperity had a shorter duration than planned. On Tuesday, October th, 1, the stock market crashed in the United States, leaving just about everyone penniless. The Black Tuesday, as it became known in history, was only the beginning of huge depression that was to last for ten years. After New York, the Montreal and Toronto markets crashed as well, and soon it was all over the world. (Fethering, 17)

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Charles Jencks's continual revolutions

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Review A gifted storyteller is one who makes his subject come alive. Charles Jencks is unequivocally architectures greatest living storyteller, He has probably produced nearly as many books and articles during his prolific career as did Le Corbusier, the subject of his latest work. In Le Corbusier and the Continual Revolution in Architecture, Jencks has woven together readings of Corbs writings, paintings, architecture, and city planning with pertinent (and sometimes impertinent) biographical details. It is an epic poem in the tradition of Chaucer, and can be read as such.

Jenckss style is jocular, freewheeling, anecdotal, and provocative-- as he is in person. In this book there is much on Le Corbusier that has been said before, by Jencks himself as well as others. Le Corbusier and the Continual Revolution is, in large measure, a revision and vastly expanded version of his Le Corbusier and the Tragic View of Architecture (Harvard University Press, 17), drawing upon research and testimony that continue to emerge about a man whom Jencks believes to be not only a tragic persona, but a genius as well. He rewrites, splices, condenses, expands, speculates, and even offers his own chart of history so that we may easily visualize developments.

Jencks is true to his signature method of interpretation, which proceeds by analogy and metaphor, with limitless imagination. However, he also follows, or leads, a trend in architectural theorizing that has become widespread in the late 0th century, namely to look to other realms of intellectual inquiry for insight and guidance. The absence of a single, comprehensive, overarching theory that might serve practitioners has led would-be theorists, writers, and teachers of architecture to seek parallels within other disciplines, such as literature, linguistics, and sociology. Jenckss references range from Noam Chomsky and semiology in the 170s to the sociology of David Harvey and David Herf in the 10s, illustrating that he has kept abreast of cutting-edge theory. Most recently he has forayed into cognitive science, finding in it another means for classifying (something the author claims he dislikes) the crucial facts of Le Corbusiers biography to fit a type, namely of the typical genius, or basically protean type of creative individual.

Fortunately for readers who have not yet read Howard Gardners Creating Minds An Anatomy of Creativity Seen Through the Lives of Freud, Einstein, Picasso, Stravinsky, Eliot, Graham and Gandhi (Basic Books, 1), Jencks includes an appendix summarizing his theory. Gardner explores seven figures whom he calls Exemplary Creators, individuals who radically altered their fields, yet also shared common features in their development. To Gardners Big Seven, Jencks wants to include an eighth Le Corbusier. His previous comparisons between Corb and Don Quixote, Nietzches Zarathustra, Jesus Christ, etc., are also present in the new book. What remains unclear is the purpose of introducing a new paradigm in which to slip Corb. Is it fundamental to our understanding of Le Corbusier that he fit the pattern of a genius of the caliber of Einstein or Stravinsky? He loved the idea of standardization and the type, says Jencks, who then concludes, so he would have liked to be considered a normal genius, warts and all, with all the nasty and cruel truths revealed in the end. It is sufficient to say, as Jencks ultimately does, that Corb was a man driven by a vision and leave it at that, rather than apply a label that has become a cliche.

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Richly coded as a result of Le Corbusiers obsession with symbolism, Ronchamp is proto-postmodern, according to Jencks. In this collage, he highlights the multiple readings of its forms and imagery (above). Drawings by Hillel Schocken (facing page) also depict some of the metaphors that Ronchamp evokes.

The tone Jencks adopts throughout the book is one of revelation, as he ostensibly divulges important facts we never knew about the great architect. He is consciously rewriting 0th-century architectural history to reveal Le Corbusier as its most revolutionary and inventive designer. (Jencks claims elsewhere that Antonio Gaudi, too, deserves that honor.) Some years ago Jencks invented the elaborate Evolutionary Tree for architecture, various versions of which have appeared in his books over the years, including The Language of Postmodern Architecture (Rizzoli, 177). He is continually updating the tree, which appears now in this book, spanning the period 100to 000 and depicting 40-odd movements and 400 persons producing six types of architecture. The author points out that his revolutionary Le Corbusier-no longer evolutionary-- appears four times (more than any other figure), and that he invented four or five different languages in architecture.

Jencks has built a career on the game of signification as he calls it, which is based upon finding hidden coding and new metaphors, each more astounding than the previous ones. But one begins to suspect that the exercise of rewriting, or revising, previous books is self-serving in more ways than one. Having a vested interest in postmodernism as a concept, Jencks now offers Le Corbusier as the grandfather of the movement because his work, Ronchamp in particular, is imbedded with the multivalence[s] of meaning so cherished by the postmodernists. This makes the building, in Jenckss words, a harbinger of postmodern architecture. He likens the chapels distinctive form to a nuns cowl, a monks hood, a ships prow, praying hands. Setting off on a game of Hunt the Symbol, as he calls it, Jencks identifies with a certain surety the formal similarities behind different symbols. Le Corbusiers Ubu sculptures, fractal geometry, and anthropomorphism (ear-like forms) generated the plan and shape of Ronchamp, Jencks asserts, among other metaphorical readings.

As we know, with raconteurs much of the story is in the telling. A recurrent theme favored by Jencks in his repeat performances on Corb is the supposed relationship between the architects sex life and his architecture. The chapters Jeanneret Discovers Sex in a Pot, The Primitive and the Sexual, and Josephine [Baker]-Goddess of Dance, as well as long discussions of Le Corbusiers purported affairs with Marguerite Tjader-- Harris and Minnette De Silva take us into armchair psychology and moral speculation that can only increase the popularity of this book. Jencks has always supported the notion that female shapes in Corbs paintings could be correlated with aspects of his urban-planning projects for Rio and Algiers. The reader is offered further evidence of Corbs sexual obsessions (big hips), voyeurism (sketching women cavorting in brothels), in addition to extra-- marital affairs, but these will have little impact on our overall long-term assessment of Corbs architecture.

On the subject of Chandigarh, however, (the city in India designed by Le Corbusier) Jencks makes insightful remarks. Invited to Chandigarh in 1 to participate in a symposium commemorating the citys 50th anniversary, he had the opportunity to learn a great deal-especially from the Indians, but also from other foreigners. In opening his remarks to the assembly of survivors of modernism, and speaking as a postmodernist, Jencks asked, What would Le Corbusier do today for Chandigarh as a city? Almost lost in ethereal discussions about solar rituals and transcendentalism was a proposal that polarized opinion to re-urbanize and densify Chandigarh, beginning with the explanade of the capitol. While it is pure speculation whether or not Corb would accept this kind of growth, Jencks does well to raise the issue of this city and other planned modern cities within what he calls an ecology of succession layers of growth that permit conservation, but also accept change.

What is disturbing in Jenckss approach is his ignorance, or purposeful omission, of some of the very best Corb scholarship of the last 5 years, including work by Manfredo Tafuri, Bruno Reichlin, Jacques Lucan, Giuliano Gresleri, as well as Alan Colquhoun and Kenneth Frampton. This seems to point at the deep gulf that separates Jenckss particular genre of interpretation from that of many of his colleagues. Nonetheless he modestly admits, One is bound to be wrong, or at least too limited, in any attempt to fix his essential contribution. The interpretations that are usually made are either contradicted by Le Corbusiers supremely dialectical development, or they pale beside the creative wealth of his output. As biography, Le Corbusier and the Continual Revolution in Architecture provides highly readable, entertaining speculation about the life and nature of a normal genius.

Le Corbusier and the Continual Revolution in Architecture, by Charles Jencks (Monacelli Press)

1. Fanelli Giovanni. "El principio del Revestimiento prolegómenos a una historia de la arquitectura contemporánea" Ed. Akal. Madrid. 1.

. Rosell Quim. "Despu's de Rehacer Paisajes" . Ed. Gustavo Gili. Barcelona 001.

. Diccionario de la Lengua Española.

4. Weeks R. Jeffrey. "The Shape of Space". da. Edición. Ed. Marcel Dekker. New York 00.

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LUV

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sSession - Assignments

This weeks assignments mark the beginning of the work on your two major projects. First, you will each complete an industry analysis (Project II) using Porters Five Forces. You should use extensive research in conducting this analysis. Use an accepted footnoting method and also provide a bibliography. Second, you must gather enough information to complete a SWOT analysis of the firm. Your analysis should ultimately allow you to define the firms core competences and thus the firms competitive advantage.

During this session, each student is to submit the name of the company you plan on studying. The lecture last week involved the traditional strategic model (Chapter 6-Thriving in E-Chaos). This is a very important area covered in the course. You may wish to review the lecture on Chapter 6-Thriving in E-Chaos.

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You will begin work on Project II, which is a traditional strategic analysis of a company of your own choosing. This is an individual assignment. Analyze the company using the traditional strategic model (see p. 15 in Thriving In E-Chaos). Be sure you go through Porters 5 Forces industry analysis, a SWOT Analysis, and then go through each step of the traditional model. Also, use your Essentials of Strategic Management book as an addition resource. Please see the "Overview of Traditional Strategy Assignment" document, which is link at the bottom of the syllabus for further information. This project will be due June 8th. Please E-mail your final report to me as an attachment.

We will cover Chapters 7 & 8 in Thriving in E-Chaos. There is also a threaded discussion during this session.

Project I is due at the end of this session June 1.

Group assignments will be formalized during this session.

You will also read Chapter 1, -7 in Essential of Strategic Management by Hunger & Wheelen. No written assignments are required for this assignment. The information is necessary for you to understand and do well on your Project II assignment. Pg 188 appendix 11c presents a detailed outline of how to use the traditional strategic model to analyze a company.

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Conflict managment

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Conflict Management

Abstract

Within my organization there are difficulties with conflict management. When dealing with conflict management internally one must see how the organization works, and how the polices are, as to what you can and cannot do. The management styles vary significantly and this causes the stress level to soar. Each have their own way, and it causes the others to suffer by not knowing what is going on. This paper will contain the differences between management.

Conflict Management

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Conflict Management

Webster's dictionary describes conflict as " a competitive or opposing action of incompatibles antagonistic state or action (as of divergent ideas, interests, or persons) b mental struggle resulting from incompatible or opposing needs, drives, wishes, or external or internal demands."(Merriam-Webster). Beyond these definitions there are two kinds of conflict that are involved in a work environment setting. (Organizational Behavior 7th Ed). They are "Substantive conflict and Emotional conflict". Substantive conflict is what most managers' experience. At my company there are four supervisors and one director. The supervisors get together to try to make things better for the company, and change certain goals and responsibilities to make the company run more efficiently. When they have a meeting with the director, it is like talking to a brick wall. She never wants to try anything new or change; it is her way or the high way. Substantive conflict is high in this case. Each supervisor tries to work through conflicts amongst themselves, and in most cases it is resolved and never goes any higher. For the most part, if the director wants something done, it is usually something that is not ever feasible in the time line that is given. This causes major conflict amongst her and the supervisor she has asked to do the tasks.

Conflict Management 4

The director is never open, or communicates properly to avoid miscommunications. Her style is one most wouldn't agree with. It contradicts everything one is ever taught about conflict management. The fundamentals are easy I like to always use the do unto others philosophy. If you cannot negotiate, and be open to new ideas you will run into major conflicts amongst the managers, and employees of the company.

My techniques are I would be open in what I wanted out of everyone, and if there was a question, or an idea being open is the best approach. You never tell a manger or employee that you don't want to hear what they have to say. By trying to listen, compromise, and be willing to adjust to change is what I like to do. However, this is not the case at my organization. For example, I was told that I was to enthusiastic about my job and had to mellow out a little on motivation, that I was to happy all the time and that was not excepted at this company. This is a great example of substantive conflict, I guess her views of where she wanted the company appearance should be was a 180 degrees different than mine.

Conflict Management 5

Emotional conflict is the next conflict. Again this is seen on a day-to-day basis in many originations. About every hour you hear an angered voice from the intercom, and hope that it is not your name being called to the directors office. Everyone cringes when you here the directors voice. You can never be right to her. Most days you have to defend your employees, and hear how you're not doing your job right. When she calls certain employees in to her office, you can hear emotions raging. Sometimes you hear yelling, and screaming along with some not, so jester appropriate sayings.

Being aware, of how you can handle conflict, is the key to finding a happy medium to better managing conflict with employees and others. After taking the assessment twenty tests on conflict management gave me an insight to how I would deal with this subject. My result is as follows.

Conflict Management 6

Assessment 0 Results

Competing 10

Collaborating

Avoiding 8

Accommodating 6

The numbers indicate to me that I am a very competitive person, and tend to agree with most. On the other hand I need to work on avoiding and accommodating. As you can see it appears that I dont accommodate very much, this is do to the fact no room for error polices I have. Safety is the first step to keeping employees productive.

In conclusion, I find that my personal management preference is very different than my directors. Therefore, I am going to not deviate from my standards, but work through what I can at my current job to maintain structure. Dealing with conflict can be dealt with, however, finding the right happy medium is the key. Conflict is a two way street and has to be dealt with tact and without emotional connections.

Conflict Management 7

Merriam-Webster dictionary on line, 00 Merriam-Webster,

http//www.m-w.com/home.htm

Organizational Behavior 7th edition, 00, University of Phoenix. Page 6 Section two.

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Alice in wonderland

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Alice In Wonderland

In Lewis Carrolls novel Alice in Wonderland, Alice is curious, well mannered, and confused while she tries to find her way out of Wonderland. Alice meets many unique and weird creatures which eventually help her escape wonderland. Alice shows that she is curious through her actions. At the beginning of the book Alice gets distracted from her boring work, and chases a white rabbit down a hole. This excerpt describes Alices curiosity, Alice started to her feet, for it flashed in her mind that she had never before seen a rabbit with either a waistcoat-pocket. When Alice is at the bottom of the hole she find a bottle labeled Drink Me, she wants to see what it tastes like, this excerpt describes the event ...this bottle was not marked poison, so Alice ventured to taste it, finding it very nice. Another instant that shows her curiosity when she looks for the white rabbits fan and gloves, she finds a bottle, this time there was no table, There was no label this time with the words Drink Me ... I know something interesting is going to happen ... Ill just see what it does," Alice is like a little girl that is still exploring the world around her, but she finds that she is more mature than the creatures in Wonderland.

Alice is very well mannered in Victorian ways to the creatures of Wonderland. Alice shows her good manners when she enters the white rabbits house and the rabbit tells Alice to go fetch his gloves and fan, Id better take his fan and gloves- that is if I can find them, since Alice is a guest, uninvited, she follows the owners orders. When Alice runs into caterpillar she calls him Sir, here is an excerpt from the book, I cant explain myself myself, Im afraid, Sir, this shows that she respects the creatures of Wonderland. When Alice enters the Duchesses house and the Duchess throws the baby to Alice, Alice starts to take care of it, Here! You may nurse it a bit, if you like! Alice caught the baby with some difficulty..." this shows her maternal side. Wonderland is an illogical land; nothing seems to make sense to Alice. She starts to become very frustrated and confused. When Alice meets the caterpillar the following conversation takes place, Who are you! the caterpillar asked ... I - I hardly know, Sir, just at present - at least I know who I was when I got up this morning ... , Alice is so confused she does not even know who she is. Before Alice enters the Duchesses house she knocks on the front door, the following conversation takes place with a creature, Alice went up to the door and knocked, There is no use in knocking ... Please, then said Alice How am I to get in? , This proves that the illogical reasoning that the creatures find logical is confusing to a Victorian girl.

Alice is curious because she is very young and she is still finding out about the world around her. Throughout the novel she grows up and matures because she starts to unlock the illogical reasoning of Wonderland and begins to respect their weird habits. Even through all the confusion, she still finds home at the end of the novel.

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