Organizational Change Diagnosis Paper - 1702 Words

BUS 790 In this paper I evaluate my organization, XXX Corporation (also known as XXX YYYY), on multiple dimensions based on information obtained from three personal interviews with Information Technology, Engineering and Manufacturing as well as my personal experience and information obtained from the public website (http://www.XXXcorp.com). I begin with a summary, and then move into an analysis of our need for change. I provide specific recommendations, which if implemented, will enhance the performance of my organization. It is important to note that I have only been with this company for two months and my level of knowledge of the organization is very limited. I do not have access to key leaders of the organization for personal†¦show more content†¦We maintain revenue by developing innovative products to meet customer needs. We maintain profit through continuous improvement. Provide a comprehensive package of equipment, parts, service and (to a lesser degree) financing. Strategy – Business Model (10/10) Alignment Generating revenue by designing, building and supporting top quality vehicles is congruent with our strategy. Continuous improvement allows us to dynamically meet customer needs while still maintaining a profit. Misalignment None Structure – Business Model (9/10) Alignment The requirements of our business model are strongly aligned with our divisional and functional structures. Misalignment Internal resource coordination and decision making ability could put the business model at risk. However, the business model is working well at this time. Behavior – Business Model (8/10) Alignment The XXX Way supports the business model, the question is â€Å"Do our employees live these values?† Our manufacturing employees do. Misalignment It appears that our staff functions do not live these values. I suggest the manufacturing employees play the most critical role in our business model. 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Medical Anthropology Winter 2016 Final Exam Questions

Callie Rogers 3/15/16 ANTH 162: Introduction to Medical Anthropology Winter 2016: Final Exam Questions 1) What is the relationship between social exclusion and physical or mental health? †¨ Many risk factors, including proximal and distal factors, can influence an individuals health. However, proximate causes of disease, which include factors such as diet and exercise. Link and Phelan’s article, Social Condition as Fundamental Causes of Disease, points out that, â€Å"Social factors, which tend to be more distal causes of disease, have received far less attention.† Although, both proemial and distal causes of disease have the ability to greatly impact an individuals physical and mental health, focus is primarily placed on proximal causes since the concept of social exclusion is typically viewed as inevitable or out of the individuals control. The stress of social exclusion and lack of social support has been shown to be greatly associated with physical and mental health issues, as is explained by Link and Phelan. Another example of social exclusion leading to phys ical and mental health deterioration was the story of Gusti, in the Bird Dancer documentary. The social exclusion Gusti faced as a result of her illness, negatively impacted her life as well as her condition and mental health. Link, Bruce G. Jo Phelan.1995. â€Å"Social Conditions as Fundamental Causes of Disease.† Journal of Health and Social Behavior 35:80-94. Robert Lemelson’s, The Bird Dancer, 38 mins.

The Subtle Knife Chapter Eight Free Essays

Chapter Eight The Tower Of The Angels Will said, â€Å"Who is this man who’s got the knife?† They were in the Rolls-Royce, driving up through Oxford. Sir Charles sat in the front, half-turned around, and Will and Lyra sat in the back, with Pantalaimon a mouse now, soothed in Lyra’s hands. â€Å"Someone who has no more right to the knife than I have to the alethiometer,† said Sir Charles. We will write a custom essay sample on The Subtle Knife Chapter Eight or any similar topic only for you Order Now â€Å"Unfortunately for all of us, the alethiometer is in my possession, and the knife is in his.† â€Å"How do you know about that other world anyway?† â€Å"I know many things that you don’t. What else would you expect? I am a good deal older and considerably better informed. There are a number of doorways between this world and that; those who know where they are can easily pass back and forth. In Cittagazze there’s a Guild of learned men, so called, who used to do so all the time.† â€Å"You en’t from this world at all!† said Lyra suddenly. â€Å"You’re from there, en’t you?† And again came that strange nudge at her memory. She was almost certain she’d seen him before. â€Å"No, I’m not,† he said. Will said, â€Å"If we’ve got to get the knife from that man, we need to know more about him. He’s not going to just give it to us, is he?† â€Å"Certainly not. It’s the one thing keeping the Specters away. It’s not going to be easy by any means.† â€Å"The Specters are afraid of the knife?† â€Å"Very much so.† â€Å"Why do they attack only grownups?† â€Å"You don’t need to know that now. It doesn’t matter. Lyra,† Sir Charles said, turning to her, â€Å"tell me about your remarkable friend.† He meant Pantalaimon. And as soon as he said it, Will realized that the snake he’d seen concealed in the man’s sleeve was a daemon too, and that Sir Charles must come from Lyra’s world. He was asking about Pantalaimon to put them off the track: so he didn’t realize that Will had seen his own daemon. Lyra lifted Pantalaimon close to her breast, and he became a black rat, whipping his tail around and around her wrist and glaring at Sir Charles with red eyes. â€Å"You weren’t supposed to see him,† she said. â€Å"He’s my daemon. You think you en’t got daemons in this world, but you have. Yours’d be a dung beetle.† â€Å"If the Pharaohs of Egypt were content to be represented by a scarab, so am I,† he said. â€Å"Well, you’re from yet another world. How interesting. Is that where the alethiometer comes from, or did you steal it on your travels?† â€Å"I was given it,† said Lyra furiously. â€Å"The Master of Jordan College in my Oxford gave it to me. It’s mine by right. And you wouldn’t know what to do with it, you stupid, stinky old man; you’d never read it in a hundred years. It’s just a toy to you. But I need it, and so does Will. We’ll get it back, don’t worry.† â€Å"We’ll see,† said Sir Charles. â€Å"This is where I dropped you before. Shall we let you out here?† â€Å"No,† said Will, because he could see a police car farther down the road. â€Å"You can’t come into Ci’gazze because of the Specters, so it doesn’t matter if you know where the window is. Take us farther up toward the ring road.† â€Å"As you wish,† said Sir Charles, and the car moved on. â€Å"When, or if, you get the knife, call my number and Allan will come to pick you up.† They said no more till the chauffeur drew the car to a halt. As they got out, Sir Charles lowered his window and said to Will, â€Å"By the way, if you can’t get the knife, don’t bother to return. Come to my house without it and I’ll call the police. I imagine they’ll be there at once when I tell them your real name. It is William Parry, isn’t it? Yes, I thought so. There’s a very good photo of you in today’s paper.† And the car pulled away. Will was speechless. Lyra was shaking his arm. â€Å"It’s all right,† she said, â€Å"he won’t tell anyone else. He would have done it already if he was going to. Come on.† Ten minutes later they stood in the little square at the foot of the Tower of the Angels. Will had told her about the snake daemon, and she had stopped still in the street, tormented again by that half-memory. Who was the old man? Where had she seen him? It was no good; the memory wouldn’t come clear. â€Å"I didn’t want to tell him,† Lyra said quietly, â€Å"but I saw a man up there last night. He looked down when the kids were making all that noise†¦Ã¢â‚¬  â€Å"What did he look like?† â€Å"Young, with curly hair. Not old at all. But I saw him for only a moment, at the very top, over those battlements. I thought he might be†¦ You remember Angelica and Paolo, and Paolo said they had an older brother, and he’d come into the city as well, and she made Paolo stop telling us, as if it was a secret? Well, I thought it might be him. He might be after this knife as well. And I reckon all the kids know about it. I think that’s the real reason why they come back in the first place.† â€Å"Mmm,† he said, looking up. â€Å"Maybe.† She remembered the children talking earlier that morning. No children would go in the tower, they’d said; there were scary things in there. And she remembered her own feeling of unease as she and Pantalaimon had looked through the open door before leaving the city. Maybe that was why they needed a grown man to go in there. Her daemon was fluttering around her head now, moth-formed in the bright sunlight, whispering anxiously. â€Å"Hush,† she whispered back, â€Å"there en’t any choice, Pan. It’s our fault. We got to make it right, and this is the only way.† Will walked off to the right, following the wall of the tower. At the corner a narrow cobbled alley led between it and the next building, and Will went down there too, looking up, getting the measure of the place. Lyra followed. Will stopped under a window at the second-story level and said to Pantalaimon, â€Å"Can you fly up there? Can you look in?† He became a sparrow at once and set off. He could only just reach it. Lyra gasped and gave a little cry when he was at the windowsill, and he perched there for a second or two before diving down again. She sighed and took deep breaths like someone rescued from drowning. Will frowned, puzzled. â€Å"It’s hard,† she explained, â€Å"when your daemon goes away from you. It hurts.† â€Å"Sorry. Did you see anything?† he said. â€Å"Stairs,† said Pantalaimon. â€Å"Stairs and dark rooms. There were swords hung on the wall, and spears and shields, like a museum. And I saw the young man. He was†¦ dancing.† â€Å"Dancing?† â€Å"Moving to and fro, waving his hand about. Or as if he was fighting something invisible†¦ I just saw him through an open door. Not clearly.† â€Å"Fighting a Specter?† Lyra guessed. But they couldn’t guess any better, so they moved on. Behind the tower a high stone wall, topped with broken glass, enclosed a small garden with formal beds of herbs around a fountain (once again Pantalaimon flew up to look); and then there was an alley on the other side, bringing them back to the square. The windows around the tower were small and deeply set, like frowning eyes. â€Å"We’ll have to go in the front, then,† said Will. He climbed the steps and pushed the door wide. Sunlight struck in, and the heavy hinges creaked. He took a step or two inside, and seeing no one, went in farther. Lyra followed close behind. The floor was made of flagstones worn smooth over centuries, and the air inside was cool. Will looked at a flight of steps going downward, and went far enough down to see that it opened into a wide, low-ceilinged room with an immense coal furnace at one end, where the plaster walls were black with soot; but there was no one there, and he went up to the entrance hall again, where he found Lyra with her finger to her lips, looking up. â€Å"I can hear him,† she whispered. â€Å"He’s talking to himself, I reckon.† Will listened hard, and heard it too: a low crooning murmur interrupted occasionally by a harsh laugh or a short cry of anger. It sounded like the voice of a madman. Will blew out his cheeks and set off to climb the staircase. It was made of blackened oak, immense and broad, with steps as worn as the flagstones: far too solid to creak underfoot. The light diminished as they climbed, because the only illumination was the small deep-set window on each landing. They climbed up one floor, stopped and listened, climbed the next, and the sound of the man’s voice was now mixed with that of halting, rhythmic footsteps. It came from a room across the landing, whose door stood ajar. Will tiptoed to it and pushed it open another few inches so he could see. It was a large room with cobwebs thickly clustered on the ceiling. The walls were lined with bookshelves containing badly preserved volumes with the bindings crumbling and flaking, or distorted with damp. Several of them lay thrown off the shelves, open on the floor or the wide dusty tables, and others had been thrust back higgledy-piggledy. In the center of the room, a young man was – dancing. Pantalaimon was right: it looked exactly like that. He had his back to the door, and he’d shuffle to one side, then to the other, and all the time his right hand moved in front of him as if he were clearing a way through some invisible obstacles. In that hand was a knife, not a special-looking knife, just a dull blade about eight inches long, and he’d thrust it forward, slice it sideways, feel forward with it, jab up and down, all in the empty air. He moved as if to turn, and Will withdrew. He put a finger to his lips and beckoned to Lyra, and led her to the stairs and up to the next floor. â€Å"What’s he doing?† she whispered. He described it as well as he could. â€Å"He sounds mad,† said Lyra. â€Å"Is he thin, with curly hair?† â€Å"Yes. Red hair, like Angelica’s. He certainly looks mad. I don’t know – I think this is odder than Sir Charles said. Let’s look farther up before we speak to him.† She didn’t question, but let him lead them up another staircase to the top story. It was much lighter up there, because a white-painted flight of steps led up to the roof – or, rather, to a wood-and-glass structure like a little greenhouse. Even at the foot of the steps they could feel the heat it was absorbing. And as they stood there they heard a groan from above. They jumped. They’d been sure there was only one man in the tower. Pantalaimon was so startled that he changed at once from a cat to a bird and flew to Lyra’s breast. Will and Lyra realized as he did so that they’d seized each other’s hand, and let go slowly. â€Å"Better go and see,† Will whispered. â€Å"I’ll go first.† â€Å"I ought to go first,† she whispered back, â€Å"seeing it’s my fault.† â€Å"Seeing it’s your fault, you got to do as I say.† She twisted her lip but fell in behind him. He climbed up into the sun. The light in the glass structure was blinding. It was as hot as a greenhouse, too, and Will could neither see nor breathe easily. He found a door handle and turned it and stepped out quickly, holding his hand up to keep the sun out of his eyes. He found himself on a roof of lead, enclosed by the battlemented parapet. The glass structure was set in the center, and the lead sloped slightly downward all around toward a gutter inside the parapet, with square drainage holes in the stone for rainwater. Lying on the lead, in the full sun, was an old man with white hair. His face was bruised and battered, and one eye was closed, and as they saw when they got closer, his hands were tied behind him. He heard them coming and groaned again, and tried to turn over to shield himself. â€Å"It’s all right,† said Will quietly. â€Å"We aren’t going to hurt you. Did the man with the knife do this?† â€Å"Mmm,† the old man grunted. â€Å"Let’s undo the rope. He hasn’t tied it very well†¦Ã¢â‚¬  It was clumsily and hastily knotted, and it fell away quickly once Will had seen how to work it. They helped the old man to get up and took him over to the shade of the parapet. â€Å"Who are you?† Will said. â€Å"We didn’t think there were two people here. We thought there was only one.† â€Å"Giacomo Paradisi,† the old man muttered through broken teeth. â€Å"I am the bearer. No one else. That young man stole it from me. There are always fools who take risks like that for the sake of the knife. But this one is desperate. He is going to kill me.† â€Å"No, he en’t,† Lyra said. â€Å"What’s the bearer? What’s that mean?† â€Å"I hold the subtle knife on behalf of the Guild. Where has he gone?† â€Å"He’s downstairs,† said Will. â€Å"We came up past him. He didn’t see us. He was waving it about in the air.† â€Å"Trying to cut through. He won’t succeed. When he – â€Å" â€Å"Watch out,† Lyra said. Will turned. The young man was climbing up into the little wooden shelter. He hadn’t seen them yet, but there was nowhere to hide, and as they stood up he saw the movement and whipped around to face them. Immediately Pantalaimon became a bear and reared up on his hind legs. Only Lyra knew that he wouldn’t be able to touch the other man, and certainly the other blinked and stared for a second, but Will saw that he hadn’t really registered it. The man was crazy. His curly red hair was matted, his chin was flecked with spit, and the whites of his eyes showed all around the pupils. And he had the knife, and they had no weapons at all. Will stepped up the lead, away from the old man, crouching, ready to jump or fight or leap out of the way. The young man sprang forward and slashed at him with the knife – left, right, left, coming closer and closer, making Will back away till he was trapped in the angle where two sides of the tower met. Lyra was scrambling toward the man from behind, with the loose rope in her hand. Will darted forward suddenly, just as he’d done to the man in his house, and with the same effect: his antagonist tumbled backward unexpectedly, falling over Lyra to crash onto the lead. It was all happening too quickly for Will to be frightened. But he did have time to see the knife fly from the man’s hand and sink at once into the lead some feet away, point-first, with no more resistance than if it had fallen into butter. It plunged as far as the hilt and stopped suddenly. And the young man twisted over and reached for it at once, but Will flung himself on his back and seized his hair. He had learned to fight at school; there had been plenty of occasions for it, once the other children had sensed that there was something the matter with his mother. And he’d learned that the object of a school fight was not to gain points for style but to force your enemy to give in, which meant hurting him more than he was hurting you. He knew that you had to be willing to hurt someone else, too, and he’d found out that not many people were, when it came to it; but he knew that he was. So this wasn’t unfamiliar to him, but he hadn’t fought against a nearly grown man armed with a knife before, and at all costs he must keep the man from picking it up now that he’d dropped it. Will twisted his fingers into the young man’s thick, damp hair and wrenched back as hard as he could. The man grunted and flung himself sideways, but Will hung on even tighter, and his opponent roared with pain and anger. He pushed up and then threw himself backward, crushing Will between himself and the parapet, and that was too much; all the breath left Will’s body, and in the shock his hands loosened. The man pulled free. Will dropped to his knees in the gutter, winded badly, but he couldn’t stay there. He tried to stand – and in doing so, he thrust his foot through one of the drainage holes. His fingers scraped desperately on the warm lead, and for a horrible second he thought he would slide off the roof to the ground. But nothing happened. His left leg was thrust out into empty space; the rest of him was safe. He pulled his leg back inside the parapet and scrambled to his feet. The man had reached his knife again, but he didn’t have time to pull it out of the lead before Lyra leaped onto his back, scratching, kicking, biting like a wildcat. But she missed the hold on his hair that she was trying for, and he threw her off. And when he got up, he had the knife in his hand. Lyra had fallen to one side, with Pantalaimon a wildcat now, fur raised, teeth bared, beside her. Will faced the man directly and saw him clearly for the first time. There was no doubt: he was Angelica’s brother, all right, and he was vicious. All his mind was focused on Will, and the knife was in his hand. But Will wasn’t harmless either. He’d seized the rope when Lyra dropped it, and now he wrapped it around his left hand for protection against the knife. He moved sideways between the young man and the sun, so that his antagonist had to squint and blink. Even better, the glass structure threw brilliant reflections into his eyes, and Will could see that for a moment he was almost blinded. He leaped to the man’s left, away from the knife, holding his left hand high, and kicked hard at the man’s knee. He’d taken care to aim, and his foot connected well. The man went down with a loud grunt and twisted away awkwardly. Will leaped after him, kicking again and again, kicking whatever parts he could reach, driving the man back and back toward the glass house. If he could get him to the top of the stairs†¦ This time the man fell more heavily, and his right hand with the knife in it came down on the lead at Will’s feet. Will stamped on it at once, hard, crushing the man’s fingers between the hilt and the lead, and then wrapped the rope more tightly around his hand and stamped a second time. The man yelled and let go of the knife. At once Will kicked it away, his shoe connecting with the hilt, luckily for him, and it spun across the lead and came to rest in the gutter just beside a drainage hole. The rope had come loose around his hand once more, and there seemed to be a surprising amount of blood from somewhere sprinkled on the lead and on his own shoes. The man was pulling himself up – â€Å"Look out!† shouted Lyra, but Will was ready. At the moment when the man was off balance, he threw himself at him, crashing as hard as he could into the man’s midriff. The man fell backward into the glass, which shattered at once, and the flimsy wooden frame went too. He sprawled among the wreckage half over the stairwell, and grabbed the doorframe, but it had nothing to support it anymore, and it gave way. He fell downward, and more glass fell all around him. And Will darted back to the gutter, and picked up the knife, and the fight was over. The young man, cut and battered, clambered up the step, and saw Will standing above him holding the knife; he stared with a sickly anger and then turned and fled. â€Å"Ah,† said Will, sitting down. â€Å"Ah.† Something was badly wrong, and he hadn’t noticed it. He dropped the knife and hugged his left hand to himself. The tangle of rope was sodden with blood, and when he pulled it away – â€Å"Your fingers!† Lyra breathed. â€Å"Oh, Will – â€Å" His little finger and the finger next to it fell away with the rope. His head swam. Blood was pulsing strongly from the stumps where his fingers had been, and his jeans and shoes were sodden already. He had to lie back and close his eyes for a moment. The pain wasn’t that great, and a part of his mind registered that with a dull surprise. It was like a persistent, deep hammer thud more than the bright, sharp clarity when you cut yourself superficially. He’d never felt so weak. He supposed he had gone to sleep for a moment. Lyra was doing something to his arm. He sat up to look at the damage, and felt sick. The old man was somewhere close by, but Will couldn’t see what he was doing, and meanwhile Lyra was talking to him. â€Å"If only we had some bloodmoss,† she was saying, â€Å"what the bears use, I could make it better, Will, I could. Look, I’m going to tie this bit of rope around your arm, to stop the bleeding, ’cause I can’t tie it around where your fingers were, there’s nothing to tie it to. Hold still.† He let her do it, then looked around for his fingers. There they were, curled like a bloody quotation mark on the lead. He laughed. â€Å"Hey,† she said, â€Å"stop that. Get up now. Mr. Paradisi’s got some medicine, some salve, I dunno what it is. You got to come downstairs. That other man’s gone – we seen him run out the door. He’s gone now. You beat him. Come on, Will – come on – â€Å" Nagging and cajoling, she urged him down the steps, and they picked their way through the shattered glass and splintered wood and into a small, cool room off the landing. The walls were lined with shelves of bottles, jars, pots, pestles and mortars, and chemists’ balances. Under the dirty window was a stone sink, where the old man was pouring something with a shaky hand from a large bottle into a smaller one. â€Å"Sit down and drink this,† he said, and filled a small glass with a dark golden liquid. Will sat down and took the glass. The first mouthful hit the back of his throat like fire. Lyra took the glass to stop it from falling as Will gasped. â€Å"Drink it all,† the old man commanded. â€Å"What is it?† â€Å"Plum brandy. Drink.† Will sipped it more cautiously. Now his hand was really beginning to hurt. â€Å"Can you heal him?† said Lyra, her voice desperate. â€Å"Oh, yes, we have medicines for everything. You, girl, open that drawer in the table and bring out a bandage.† Will saw the knife lying on the table in the center of the room, but before he could pick it up the old man was limping toward him with a bowl of water. â€Å"Drink again,† the old man said. Will held the glass tightly and closed his eyes while the old man did something to his hand. It stung horribly, but then he felt the rough friction of a towel on his wrist, and something mopping the wound more gently. Then there was a coolness for a moment, and it hurt again. â€Å"This is precious ointment,† the old man said. â€Å"Very difficult to obtain. Very good for wounds.† It was a dusty, battered tube of ordinary antiseptic cream, such as Will could have bought in any pharmacy in his world. The old man was handling it as if it were made of myrrh. Will looked away. And while the man was dressing the wound, Lyra felt Pantalaimon calling to her silently to come and look out the window. He was a kestrel perching on the open window frame, and his eyes had caught a movement below. She joined him, and saw a familiar figure: the girl Angelica was running toward her elder brother, Tullio, who stood with his back against the wall on the other side of the narrow street waving his arms in the air as if trying to keep a flock of bats from his face. Then he turned away and began to run his hands along the stones in the wall, looking closely at each one, counting them, feeling the edges, hunching up his shoulders as if to ward off something behind him, shaking his head. Angelica was desperate, and so was little Paolo behind her, and they reached their brother and seized his arms and tried to pull him away from whatever was troubling him. And Lyra realized with a jolt of sickness what was happening: the man was being attacked by Specters. Angelica knew it, though she couldn’t see them, of course, and little Paolo was crying and striking at the empty air to try and drive them off; but it didn’t help, and Tullio was lost. His movements became more and more lethargic, and presently they stopped altogether. Angelica clung to him, shaking and shaking his arm, but nothing woke him; and Paolo was crying his brother’s name over and over as if that would bring him back. Then Angelica seemed to feel Lyra watching her, and she looked up. For a moment their eyes met. Lyra felt a jolt as if the girl had struck her a physical blow, because the hatred in her eyes was so intense, and then Paolo saw her looking and looked up too, and his little boy’s voice cried, â€Å"We’ll kill you! You done this to Tullio! We gonna kill you, all right!† The two children turned and ran, leaving their stricken brother; and Lyra, frightened and guilty, withdrew inside the room again and shut the window. The others hadn’t heard. Giacomo Paradisi was dabbing more ointment on the wounds, and Lyra tried to put what she’d seen out of her mind, and focused on Will. â€Å"You got to tie something around his arm,† Lyra said, â€Å"to stop the bleeding. It won’t stop otherwise.† â€Å"Yes, yes, I know,† said the old man, but sadly. Will kept his eyes averted while they did up a bandage, and drank the plum brandy sip by sip. Presently he felt soothed and distant, though his hand was hurting abominably. â€Å"Now,† said Giacomo Paradisi, â€Å"here you are, take the knife, it is yours.† â€Å"I don’t want it,† said Will. â€Å"I don’t want anything to do with it.† â€Å"You haven’t got the choice,† said the old man. â€Å"You are the bearer now.† â€Å"I thought you said you was,† said Lyra. â€Å"My time is over,† he said. â€Å"The knife knows when to leave one hand and settle in another, and I know how to tell. You don’t believe me? Look!† He held up his own left hand. The little finger and the finger next to it were missing, just like Will’s. â€Å"Yes,† he said, â€Å"me too. I fought and lost the same fingers, the badge of the bearer. And I did not know either, in advance.† Lyra sat down, wide-eyed. Will held on to the dusty table with his good hand. He struggled to find words. â€Å"But I – we only came here because – there was a man who stole something of Lyra’s, and he wanted the knife, and he said if we brought him that, then he’d – â€Å" â€Å"I know that man. He is a liar, a cheat. He won’t give you anything, make no mistake. He wants the knife, and once he has it, he will betray you. He will never be the bearer. The knife is yours by right.† With a heavy reluctance, Will turned to the knife itself. He pulled it toward him. It was an ordinary-looking dagger, with a double-sided blade of dull metal about eight inches long, a short crosspiece of the same metal, and a handle of rosewood. As he looked at it more closely, he saw that the rosewood was inlaid with golden wires, forming a design he didn’t recognize till he turned the knife around and saw an angel, with wings folded. On the other side was a different angel, with wings upraised. The wires stood out a little from the surface, giving a firm grip, and as he picked it up he felt that it was light in his hand and strong and beautifully balanced, and that the blade was not dull after all. In fact, a swirl of cloudy colors seemed to live just under the surface of the metal: bruise purples, sea blues, earth browns, cloud grays, the deep green under heavy-foliaged trees, the clustering shades at the mouth of a tomb as evening falls over a deserted graveyard†¦ If there was such a thing as shadow-colored, it was the blade of the subtle knife. But the edges were different. In fact, the two edges differed from each other. One was clear bright steel, merging a little way back into those subtle shadow-colors, but steel of an incomparable sharpness. Will’s eye shrank back from looking at it, so sharp did it seem. The other edge was just as keen, but silvery in color, and Lyra, who was looking at it over Will’s shoulder, said: â€Å"I seen that color before! That’s the same as the blade they was going to cut me and Pan apart with – that’s just the same!† â€Å"This edge,† said Giacomo Paradisi, touching the steel with the handle of a spoon, â€Å"will cut through any material in the world. Look.† And he pressed the silver spoon against the blade. Will, holding the knife, felt only the slightest resistance as the tip of the spoon’s handle fell to the table, cut clean off. â€Å"The other edge,† the old man went on, â€Å"is more subtle still. With it you can cut an opening out of this world altogether. Try it now. Do as I say – you are the bearer. You have to know. No one can teach you but me, and I have not much time left. Stand up and listen.† Will pushed his chair back and stood, holding the knife loosely. He felt dizzy, sick, rebellious. â€Å"I don’t want – † he began, but Giacomo Paradisi shook his head. â€Å"Be silent! You don’t want – you don’t want†¦ you have no choice! Listen to me, because time is short. Now hold the knife out ahead of you – like that. It’s not only the knife that has to cut, it’s your own mind. You have to think it. So do this: Put your mind out at the very tip of the knife. Concentrate, boy. Focus your mind. Don’t think about your wound. It will heal. Think about the knife tip. That is where you are. Now feel with it, very gently. You’re looking for a gap so small you could never see it with your eyes, but the knife tip will find it, if you put your mind there. Feel along the air till you sense the smallest little gap in the world†¦Ã¢â‚¬  Will tried to do it. But his head was buzzing, and his left hand throbbed horribly, and he saw his two fingers again, lying on the roof, and then he thought of his mother, his poor mother†¦ What would she say? How would she comfort him? How could he ever comfort her? And he put the knife down on the table and crouched low, hugging his wounded hand, and cried. It was all too much to bear. The sobs racked his throat and his chest and the tears dazzled him, and he should be crying for her, the poor frightened unhappy dear beloved – he’d left her, he’d left her†¦ He was desolate. But then he felt the strangest thing, and brushed the back of his right wrist across his eyes to find Pantalaimon’s head on his knee. The daemon, in the form of a wolfhound, was gazing up at him with melting, sorrowing eyes, and then he gently licked Will’s wounded hand again and again, and laid his head on Will’s knee once more. Will had no idea of the taboo in Lyra’s world preventing one person from touching another’s daemon, and if he hadn’t touched Pantalaimon before, it was politeness that had held him back and not knowledge. Lyra, in fact, was breath-taken. Her daemon had done it on his own initiative, and now he withdrew and fluttered to her shoulder as the smallest of moths. The old man was watching with interest but not incredulity. He’d seen daemons before, somehow; he’d traveled to other worlds too. Pantalaimon’s gesture had worked. Will swallowed hard and stood up again, wiping the tears out of his eyes. â€Å"All right,† he said, â€Å"I’ll try again. Tell me what to do.† This time he forced his mind to do what Giacomo Paradisi said, gritting his teeth, trembling with exertion, sweating. Lyra was bursting to interrupt, because she knew this process. So did Dr. Malone, and so did the poet Keats, whoever he was, and all of them knew you couldn’t get it by straining toward it. But she held her tongue and clasped her hands. â€Å"Stop,† said the old man gently. â€Å"Relax. Don’t push. This is a subtle knife, not a heavy sword. You’re gripping it too tight. Loosen your fingers. Let your mind wander down your arm to your wrist and then into the handle, and out along the blade. No hurry, go gently, don’t force it. Just wander. Then along to the very tip, where the edge is sharpest of all. You become the tip of the knife. Just do that now. Go there and feel that, and then come back.† Will tried again. Lyra could see the intensity in his body, saw his jaw working, and then saw an authority descend over it, calming and relaxing and clarifying. The authority was Will’s own – or his daemon’s, perhaps. How he must miss having a daemon! The loneliness of it†¦ No wonder he’d cried; and it was right of Pantalaimon to do what he’d done, though it had felt so strange to her. She reached up to her beloved daemon, and, ermine-shaped, he flowed onto her lap. They watched together as Will’s body stopped trembling. No less intense, he was focused differently now, and the knife looked different too. Perhaps it was those cloudy colors along the blade, or perhaps it was the way it sat so naturally in Will’s hand, but the little movements he was making with the tip now looked purposeful instead of random. He felt this way, then turned the knife over and felt the other, always feeling with the silvery edge; and then he seemed to find some little snag in the empty air. â€Å"What’s this? Is this it?† he said hoarsely. â€Å"Yes. Don’t force it. Come back now, come back to yourself.† Lyra imagined she could see Will’s soul flowing back along the blade to his hand, and up his arm to his heart. He stood back, dropped his hand, blinked. â€Å"I felt something there,† he said to Giacomo Paradisi. â€Å"The knife was just slipping through the air at first, and then I felt it†¦Ã¢â‚¬  â€Å"Good. Now do it again. This time, when you feel it, slide the knife in and along. Make a cut. Don’t hesitate. Don’t be surprised. Don’t drop the knife.† Will had to crouch and take two or three deep breaths and put his left hand under his other arm before he could go on. But he was intent on it; he stood up again after a couple of seconds, the knife held forward already. This time it was easier. Having felt it once, he knew what to search for again, and he felt the curious little snag after less than a minute. It was like delicately searching out the gap between one stitch and the next with the point of a scalpel. He touched, withdrew, touched again to make sure, and then did as the old man had said, and cut sideways with the silver edge. It was a good thing that Giacomo Paradisi had reminded him not to be surprised. He kept careful hold of the knife and put it down on the table before giving in to his astonishment. Lyra was on her feet already, speechless, because there in the middle of the dusty little room was a window just like the one under the hornbeam trees: a gap in midair through which they could see another world. And because they were high in the tower, they were high above north Oxford. Over a cemetery, in fact, looking back toward the city. There were the hornbeam trees a little way ahead of them; there were houses, trees, roads, and in the distance the towers and spires of the city. If they hadn’t already seen the first window, they would have thought this was some kind of optical trick. Except that it wasn’t only optical; air was coming through it, and they could smell the traffic fumes, which didn’t exist in the world of Cittagazze. Pantalaimon changed into a swallow and flew through, delighting in the open air, and then snapped up an insect before darting back through to Lyra’s shoulder again. Giacomo Paradisi was watching with a curious, sad smile. Then he said, â€Å"So much for opening. Now you must learn to close.† Lyra stood back to give Will room, and the old man came to stand beside him. â€Å"For this you need your fingers,† he said. â€Å"One hand will do. Feel for the edge as you felt with the knife to begin with. You won’t find it unless you put your soul into your fingertips. Touch very delicately; feel again and again till you find the edge. Then you pinch it together. That’s all. Try.† But Will was trembling. He couldn’t get his mind back to the delicate balance he knew it needed, and he got more and more frustrated. Lyra could see what was happening. She stood up and took his right arm and said, â€Å"Listen, Will, sit down, I’ll tell you how to do it. Just sit down for a minute, ’cause your hand hurts and it’s taking your mind off it. It’s bound to. It’ll ease off in a little while.† The old man raised both his hands and then changed his mind, shrugged, and sat down again. Will sat down and looked at Lyra. â€Å"What am I doing wrong?† he said. He was bloodstained, trembling, wild-eyed. He was living on the edge of his nerves: clenching his jaw, tapping his foot, breathing fast. â€Å"It’s your wound,† she said. â€Å"You en’t wrong at all. You’re doing it right, but your hand won’t let you concentrate on it. I don’t know an easy way of getting around that, except maybe if you didn’t try to shut it out.† â€Å"What d’you mean?† â€Å"Well, you’re trying to do two things with your mind, both at once. You’re trying to ignore the pain and close that window. I remember when I was reading the alethiometer once when I was frightened, and maybe I was used to it by that time, I don’t know, but I was still frightened all the time I was reading it. Just sort of relax your mind and say yes, it does hurt, I know. Don’t try and shut it out.† His eyes closed briefly. His breathing slowed a little. â€Å"All right,† he said. â€Å"I’ll try that.† And this time it was much easier. He felt for the edge, found it within a minute, and did as Giacomo Paradisi had told him: pinched the edges together. It was the easiest thing in the world. He felt a brief, calm exhilaration, and then the window was gone. The other world was shut. The old man handed him a leather sheath, backed with stiff horn, with buckles to hold the knife in place, because the slightest sideways movement of the blade would have cut through the thickest leather. Will slid the knife into it and buckled it as tight as he could with his clumsy hand. â€Å"This should be a solemn occasion,† Giacomo Paradisi said. â€Å"If we had days and weeks I could begin to tell you the story of the subtle knife, and the Guild of the Torre degli Angeli, and the whole sorry history of this corrupt and careless world. The Specters are our fault, our fault alone. They came because my predecessors, alchemists, philosophers, men of learning, were making an inquiry into the deepest nature of things. They became curious about the bonds that held the smallest particles of matter together. You know what I mean by a bond? Something that binds?† â€Å"Well, this was a mercantile city. A city of traders and bankers. We thought we knew about bonds. We thought a bond was something negotiable, something that could be bought and sold and exchanged and converted†¦ But about these bonds, we were wrong. We undid them, and we let the Specters in.† Will asked, â€Å"Where do the Specters come from? Why was the window left open under those trees, the one we first came in through? Are there other windows in the world?† â€Å"Where the Specters come from is a mystery – from another world, from the darkness of space†¦ who knows? What matters is that they are here, and they have destroyed us. Are there other windows into this world? Yes, a few, because sometimes a knife bearer might be careless or forgetful, without time to stop and close as he should. And the window you came through, under the hornbeam trees†¦ I left that open myself, in a moment of unforgivable foolishness. There is a man I am afraid of, and I thought to tempt him through and into the city, where he would fall victim to the Specters. But I think that he is too clever for a trick like that. He wants the knife. Please, never let him get it.† Will and Lyra shared a glance. â€Å"Well,† the old man finished, spreading his hands, â€Å"all I can do is hand the knife on to you and show you how to use it, which I have done, and tell you what the rules of the Guild used to be, before it decayed. First, never open without closing. Second, never let anyone else use the knife. It is yours alone. Third, never use it for a base purpose. Fourth, keep it secret. If there are other rules, I have forgotten them, and if I’ve forgotten them it is because they don’t matter. You have the knife. You are the bearer. You should not be a child. But our world is crumbling, and the mark of the bearer is unmistakable. I don’t even know your name. Now go. I shall die very soon, because I know where there are poisonous drugs, and I don’t intend to wait for the Specters to come in, as they will once the knife has left. Go.† â€Å"But, Mr. Paradisi – † Lyra began. But he shook his head and went on: â€Å"There is no time. You have come here for a purpose, and maybe you don’t know what that purpose is, but the angels do who brought you here. Go. You are brave, and your friend is clever. And you have the knife. Go.† â€Å"You en’t really going to poison yourself?† said Lyra, distressed. â€Å"Come on,† said Will. â€Å"And what did you mean about angels?† she went on. Will tugged her arm. â€Å"Come on,† he said again. â€Å"We got to go. Thank you, Mr. Paradisi.† He held out his bloodstained, dusty right hand, and the old man shook it gently. He shook Lyra’s hand, too, and nodded to Pantalaimon, who lowered his ermine head in acknowledgment. Clutching the knife in its leather sheath, Will led the way down the broad dark stairs and out of the tower. The sunlight was hot in the little square, and the silence was profound. Lyra looked all around, with immense caution, but the street was empty. And it would be better not to worry Will about what she’d seen; there was quite enough to worry about already. She led him away from the street where she’d seen the children, where the stricken Tullio was standing, as still as death. â€Å"I wish – † Lyra said when they had nearly left the square, stopping to look back up. â€Å"It’s horrible, thinking of†¦ and his poor teeth was all broken, and he could hardly see out his eye†¦ He’s just going to swallow some poison and die now, and I wish – â€Å" She was on the verge of tears. â€Å"Hush,† said Will. â€Å"It won’t hurt him. He’ll just go to sleep. It’s better than the Specters, he said.† â€Å"Oh, what we going to do, Will?† she said. â€Å"What we going to do? You’re hurt so bad, and that poor old man†¦ I hate this place, I really do, I’d burn it to the ground. What we going to do now?† â€Å"Well,† he said, â€Å"that’s easy. We’ve got to get the alethiometer back, so we’ll have to steal it. That’s what we’re going to do.† How to cite The Subtle Knife Chapter Eight, Essay examples

Writing Style of Theodor Seuss Geisel (Dr. Seuss) Sample Essay Example For Students

Writing Style of Theodor Seuss Geisel (Dr. Seuss) Sample Essay Author Theodor Seuss Geisel created a authorship manner that has metamorphosed into its ain separate class of alone vivacity coupled with a use of mundane words and names to accomplish rimes or desired beats per line. The verse manner found throughout most of Seuss’s work was the anapaestic tetrameter ( Fenkl. 2002 ) . This manner involved utilizing words dwelling of two short syllables followed by one long syllable or utilizing words dwelling of two unstressed syllables followed by one stressed syllable. The poetries were so compiled into groupings of four lines. Along with this metric method. Seuss besides utilized italics. full capitalisation. different coloured words and different sized letters to maneuver the reader down the waies of his books. Dr. Seuss’s parts stemmed beyond the creative activity of colourful words to beneficiating the nonreader. In response to a published article in Life Magazine in May of 1954 refering the illiteracy among school kids. Dr. Seuss created a book utilizing 220 words that were of import to a immature child’s vocabulary. â€Å"The Cat in the Hat† went on to instant success and its darling character is now the hallmark of all Dr. Seuss’s books ( Bedno. 2002 ) . However. Seuss’s hallmark fuzzy animate beings and eldritch forms began earlier when the Yuzz-a-ma-Tuzz animate being was created for â€Å"On Beyond Zebra. † ( Northern State University. 2002 ) . Unsigned sketchs by Seuss would neer be mistaken as his drawings were ever filled with his hallmark appliances and animals ( Springfield Library et. Al. . 2002 ) . Although Seuss wrote many children’s books with the end of making gratifying reading to excite literary growing. many of his capricious narratives contained serious subjects. Possibly Dr. Seuss’s biggest part was to present of import constructs to his audience that spanned coevalss. Dr. Seuss admitted to holding serious undertones in several of his notional kids narratives. His most obvious literary work that encompassed a serious genre was. â€Å"The Lorax. † with its strong environmental message ( Springfield Library et. Al. . 2002 ) . Other literature pieces including. â€Å"Yertle the Turtle. † a prophylactic narrative against dictators and. â€Å"The Sneetches. † which was used as a supplication for racial tolerance. taught values and gave messages of how societies could take more peaceable beings. Dr. Seuss’s manner of composing captured his immature audience’s attending and pull them into plot lines that would assist them develo p their better wellbeing ( Springfield Library et. Al. . 2002 ) . Dr. Seuss artfully taught a coevals of childs the narrative of the Cold War through â€Å"The Butter Battle Book. † one of the last celebrated narratives he wrote. The symbolic narrative told of two opposing archrivals the Yooks ( Americans ) and the Zooks ( Soviets ) that declared war over frivolous agencies and accelerated into a near-nuclear catastrophe province. As the cold war had non ended when the narrative was published in 1984. Dr. Seuss ended the narrative with a cliffhanger with the grandson inquiring. â€Å"who will drop it ( the bomb ) . will you or will he? † with the storyteller replying. â€Å"we shall see. † ( Springfield Library et. Al. . 2002 ) . Dr. Seuss liked to explicate his point of position in his authorship. Another illustration stemmed from Seuss’s. â€Å"Horton Hears a Who. † about the American-occupied Japan after World War Two. As opposed to â€Å"The Butter Battle Book. † this plot line was fabricated and represented the want that Seuss had that the United States ( Horton ) would offer aid to the tattered people of Japan ( Springfield Library et. Al. . 2002 ) . The clever manner of Dr. Seuss captivated his audience through his bizarre linguistic communication. originative hair characters and song-line anapaestic tetrameter. He brought interesting and insightful books to a coevals of illiterate kids and taught valuable lessons about values and the history of our state. .uffbe485da0c8bd8df1699db67a97e13b , .uffbe485da0c8bd8df1699db67a97e13b .postImageUrl , .uffbe485da0c8bd8df1699db67a97e13b .centered-text-area { min-height: 80px; position: relative; } .uffbe485da0c8bd8df1699db67a97e13b , .uffbe485da0c8bd8df1699db67a97e13b:hover , .uffbe485da0c8bd8df1699db67a97e13b:visited , .uffbe485da0c8bd8df1699db67a97e13b:active { border:0!important; } .uffbe485da0c8bd8df1699db67a97e13b .clearfix:after { content: ""; display: table; clear: both; } .uffbe485da0c8bd8df1699db67a97e13b { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .uffbe485da0c8bd8df1699db67a97e13b:active , .uffbe485da0c8bd8df1699db67a97e13b:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .uffbe485da0c8bd8df1699db67a97e13b .centered-text-area { width: 100%; position: relative ; } .uffbe485da0c8bd8df1699db67a97e13b .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .uffbe485da0c8bd8df1699db67a97e13b .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .uffbe485da0c8bd8df1699db67a97e13b .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .uffbe485da0c8bd8df1699db67a97e13b:hover .ctaButton { background-color: #34495E!important; } .uffbe485da0c8bd8df1699db67a97e13b .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .uffbe485da0c8bd8df1699db67a97e13b .uffbe485da0c8bd8df1699db67a97e13b-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .uffbe485da0c8bd8df1699db67a97e13b:after { content: ""; display: block; clear: both; } READ: Confucianism EssayBibliography Bedno. David. A Brief. Rough Biography of Dr. Seuss. Retrieved March 19. 2002. from The Center For Seussian Studies. hypertext transfer protocol: //www. seuss. org/seuss/seuss. bio. hypertext markup language Fenkl. Heinz Insu. The Alchemy of Dr. Seuss. Retrieved March 20. 2002. from Endicott Studio. hypertext transfer protocol: //www. endicott-studio. com/forseus. hypertext markup language Northern State University. Dr. Seuss. Retrieved March 19. 2002. from English 240. hypertext transfer protocol: //www. northern. edu/hastingw/seuss. htm Springfield Library and Museums Association. The Political Dr. Seuss. Retrieved March 20. 2002 from the Springfield Library and Museums Association. hypertext transfer protocol: //www. tfaoi. com/aa/1aa/1aa291. htm

The Literary Paper Essays - Fiction, Literature, New Criticism

The Literary Paper Your assignment is to analyze and interrogate the class's readings from this semester from your own perspective. The purpose of the literary analysis paper is to bring in outside sources to communicate some insight you have about the stories, poems, and plays we've talked about this semester. As with everything we do in class, there is no "right" or "wrong" answer; it's just a matter of supporting your claims with evidence and convincing your audience. Your paper should be about 3-5 pa ges and include a minimum of three sources (though, the texts themselves count). Look for interviews with the authors, scholarly articles written by other experts, or criticism. Your essay should be in MLA format and include a works cited page. The best place to begin with this assignment is to think about what the readings have left you wondering this semester. Think about a question or a discussion that we've had that got you particularly curious. I suggest coming to talk to me about your topic. Here are three basic "prompts" you can choose from: Write a literary paper in which you analyze an author's use of a literary element and explain how it contributes to the piece' s overall theme (For example, how does Flannery O'Connor use irony to depict the lives of women in the old south?). Choose a "lens" to analyze a piece from to discuss a social issue (for example, give a feminist reading of "The Yellow Wallpaper " or a historical reading of "A Rose for Emily," write about the class issues present in " The Death of a Salesman.") How does your lens or approach to this piece of literature shed light on its meaning or significance? Write a literary research paper in which you incorporate primary research, exploring how people respond to different texts. (How do men vs. women react to the poem "Barbie Doll" differently?). Here are some other ideas I had while thinking about this project today -- How do these stories/poems/plays portray the experiences of immigrants in the United States? You could choose perhaps two or three pieces to focus on here, and compare/contrast the way they illustrate the immigrant experience. How does a piece (or pieces) explore, illustrate, or challenge the idea of "American Exceptionalism?" Here, you could perhaps use a contemporary piece and show similarities/differences between it and Winthrop's City on a Hill sermon and/or Common Sense. How do these stories/poems/plays challenge social stereotyping of minorities (or choose a specific group) in the United States? How do these stories/poems/plays portray the experiences those in poverty in America? What makes a piece of literature "feminist?" Here, you would have to do a little research and find a definition of what "feminist" literature means. Then, you could discuss how certain pieces do/don't fit into that definition. Some possible pieces include " The Yellow Wallpaper ," and "Trifles." What image of the "American Dream" do these stories/poems/plays portray? (Or maybe even examine how the idea of the American Dream has developed or changed by comparing/contrasting some of our pieces ). How do different groups of people (age, gender class) interpret (a specific piece of literature) differently? This one would require a little primary research, which can be just as interesting. I would suggest using a short piece, though , like a poem. For example, how do men vs. women react to Poe's "Annabel Lee?" How do authors use irony (or another literary device) to portray the plights of women (or another group of people) ? Good questions Are open-ended and have no clear answer. They are open to interpretation. Have a clear direction Can be explored through analysis and/or research A proposal is due to me by Wednesday, October 11 th First rough draft due Monday, November 13 th Final draft due Wednesday, December 6 In the proposal, give me a brief description of what you plan to write and an outline of your argument

Michelle Obama Staff Size and Salaries

Michelle Obama Staff Size and Salaries Michelle Obamas staff consisted of 18 employees who got paid nearly $1.5 million in salary in 2010, according to the administrations Annual Report to Congress on White House Staff. The size of Michelle Obamas 2010 staff is comparable to the staff of former First Lady Laura Bush in 2008. Both First Ladies had 15 staffers directly under them, plus three more in the Office of the White House Social Secretary. The 15 employees who were members of Michelle Obamas staff in the Office of the First Lady were paid $1,198,870 in 2010. Three more staffers worked in the Office of the Social Secretary, which is under the jurisdiction of the Office of the First Lady; they earned a total of $282,600, the administrations Annual Report to Congress on White House Staff stated. Since 1995, the White House has been required to deliver a report to Congress listing the title and salary of every White House Office employee. List of Michelle Obamas Staff Here is a list of Michelle Obamas staff and their salaries in 2010. To see the annual salaries of other top U.S. government officials go here. Natalie F. Bookey Baker, executive assistant to the chief of staff to the first lady, $45,000;Alan O. Fitts, deputy director of advance and trip director for the first lady, $61,200;Jocelyn C. Frey, deputy assistant to the president and director of policy and projects for the first lady, $140,000;Jennifer Goodman, deputy director of scheduling and events coordinator for the first lady, $63,240;Deilia A.L. Jackson, deputy associate director of correspondence for the first lady, $42,000;Kristen E. Jarvis, special assistant for scheduling and traveling aide to the first lady, $51,000;Camille Y. Johnston, special assistant to the president and director of communications for the first lady, $102,000;Tyler A. Lechtenberg, director of correspondence for the first lady, $50,000;Catherine M. Lelyveld, director and press secretary to the first lady, $85,680;Dana M. Lewis, special assistant and personal aide to the first lady, $66,000;Trooper Sanders, deputy director of policy and projects for the first lady, $85,000; Susan S. Sher, assistant to the president and chief of staff and counsel to the first lady, $172,200;Frances M. Starkey, director of scheduling and advance for the first lady, $80,000;Semonti M. Stevens, associate director and deputy press secretary to the first lady, $53,550;and Melissa Winter, special assistant to the president and deputy chief of staff to the first lady, $102,000. Other Michelle Obama Staff The White House social secretary is responsible for planning and coordinating all social events and entertaining of guests - a sort of Event Planner in Chief for the president and first lady, if you will. The White House social secretary works for the first lady and serves as head of the White House Social Office, which plans everything from the casual and educational student workshops to elegant and sophisticated state dinners welcoming world leaders. In the Office of White House Social Secretary were the following staffers: Erinn J. Burnough, deputy director and deputy social secretary, $66,300;Joseph B. Reinstein, deputy director and deputy social secretary, $66,300;and Julianna S. Smoot, deputy assistant to the president and White House social secretary, $150,000. Melania Trump’s Leaner Staff According to the June 2017 report to Congress on White House personnel, First Lady Melania Trump maintains a significantly smaller staff than her predecessor, Michelle Obama. As of June 2017, only four people were listed as working directly for First Lady Trump for a total combined annual salary of $486,700. They were: Lindsay B. Reynolds $179,700.00 assistant to the president and chief of staff to the first ladyStephanie A. Grisham $115,000.00 – special assistant to the president and director of communications for the first ladyTimothy G. Tripepi $115,000.00 – special assistant to the president and deputy chief of staff of operations for the first ladyMary†Kathryn Fisher $77,000.00 – deputy director of advance for the first lady As did the Obama administration, the Trump administration acknowledged several additional White House staffers beyond those listed in the report with the term â€Å"first lady† in their titles. However, even counting those employees, the total of nine for the current first lady compared to a high of 24 for Michelle Obama, Melania Trump’s total staff is relatively small. For sake of comparison, First Lady Hillary Clinton retained a staff of 19, and Laura Bush at least 18. Updated by Robert Longley

Criminological Theory Assignment Example | Topics and Well Written Essays - 1750 words

Criminological Theory - Assignment Example Many theorists have contributed by presenting theories linking crime to the fields of biology, psychology and sociology. The basic tenets of the biological, psychological, and sociological perspectives for explaining crime will be identified and discussed here. In the 19th century, Cesare Lombroso gave biological description of crime. Lombroso gave significance to criminals instead of crime (Beccalossi, 2010). Lombroso attached ape like characteristics to criminals. According to his theory, criminals were born criminals and contained facial and bodily features alike to apes. The criminals were considered to have big jawbones, high cheekbones, longer arms, larger ears, extra hand fingers and toe fingers, and much more (Gibson, 2002). According to Lombroso, criminals were â€Å"vain, vindictive, lazy, dominated by a thirst for blood, and delighting in orgies† (Beccalossi, 2010, p. 564). Lombroso criminal personalities were savage and contained animalistic physical features. He connected criminality as something that one obtained by birth. He gave specific consideration towards genetically characterized appearances of people and rejected any social happening linked with criminality of criminals (Gibson, 2002). After Lombroso, Charles Goring presented his theory of genetic criminology, but unlike Lombroso, he did not specified bodily features of criminals. According to Goring, criminals showed criminal behavior because of having low IQ (Rafter, 2008). Goring also explained criminals as having deviated towards criminality by birth. William Sheldon, another biological theorist, described different bodily appearances as descriptive of criminal associations. Humans, according to Sheldon, were to be divided in three types of bodies were ectomorphs, endomorphs and mesomorphs (Rafter, 2008). Out of these three types, only mesomorphs were the one who were deviated towards crime. They had intimidating appearances like muscular bodies and strong figures

Course Reflection Essay Example | Topics and Well Written Essays - 1750 words

Course Reflection - Essay Example s discussed in each weak indeed contributed towards acquiring rich understanding and knowledge about different aspects pertaining to strategic human resources planning. Human resource, finance and marketing and other related concepts and discussion covered in each week enhanced my knowledge base to be competent future managers. Moreover, from human resource I have gathered knowledge about organizational policies and programs and other functional activities such as forecasting, succession management, downsizing & restructuring, mergers & acquisitions, and outsourcing among others. Alongside, from marketing and finance studies I learnt about varied strategies and functional activities of management. The understanding derived in each week helped me to perform more effectively in my professional and personal life. More importantly, prior to attending the weekly session I have little knowledge about strategic human resource planning. However, the understanding that I acquired in each week together made the role of strategic human resource planning crystal-clear. Notably, with the help of human resource management, an individual can develop a positive attitude about cultural belief and value in the workplace. Therefore, I believed that human resource management helps an individual to maintain proper balance among personal and professional life. Reflecting upon the understanding and knowledge that I derived from the discussion facilitated an in-depth insights. Accordingly, f human resource management has been linked with marketing and finance. In general, sustainability of an organization in a market depends on productivity and labor force (Anderson & Nilsson, 2012). Moreover, it was learnt that human resource has helped managerial heads to perform better in market. Management functions include planning, organizing and motivating. With the help of human resource, managerial heads has implement strategy for enhancement of organizational growth. Besides, decision-making is

Toxic Chemical Agent Incident Response Assignment

Toxic Chemical Agent Incident Response - Assignment Example Incident command system is a well-organized tool that can be used to manage a disaster in a smooth way. It is a tool that is used for control, command and coordination of the emergency response to protect life, property, and the environment. The tool integrates procedures, policies, facilities, equipment and personnel into a common organizational structure that is specifically designed to improve the emergency response operations. By applying the principles of the incident command system, management of disaster can occur smoothly without confusion. These principles occur in a systematic manner and functions to allow smooth rescue plan for casualties in an emergency response. For methyl isocyanate leak, immediate response plan using the principles of incident command system can minimize the number of casualties (Williams, 2013). In case of the of the methyl isocyanate gas leak, the response teams should use similar terminologies to avoid confusion. The response team should use a common language that each person understands and all commonly used areas should have the same names. For instance, the area where casualties are being staged should have a common name such as the staging area. The gas plant facilities and units should be given similar titles that each response team is familiar with for easy access of resources and to avoid confusion (Strong, et al., 2009). During the gas leak, the first arriving officer to the gas plant assumes the position of the incident commander. The incident commander will start activating other section areas of the response team. The incident commander will raise the alarm, call the ambulance and start organizing on how to evacuate the casualties from the power plant after triaging. The incident commander will, therefore, help make a communication flow smoothly during the rescue process (Williams, 2013). There should be a common communications plan between different response teams.

Strategies for Change Management in Healthcare

Strategies for Change Management in Healthcare An Overview of Change by Management for Better Patient Care Smitha B. Vadakkan Registered nurses are on the front line in all the hospitals for early detection and prompt intervention when patients conditions deteriorate. So better patient outcomes and patient satisfaction are influenced by the number of registered nurses available to assess patients on an ongoing basis. So I like to select a change that management could undertake to improve patient care where I work is the staffing patterns. Adequate nursing care delivered directly depends on the nurse patient ratio. Change can be planned and managed, or it can occur haphazardly (Grohar-Murray Langan, 2011). Nursing is in the middle of so many revolutionary changes. To bring changes to the workplace depends on nurse’s attitude to adapt the change and the learning options and the support from the management. One of the theoretical perspective for the change is the learning dimensions. Continual learning is needed for an accelerated change and it provides ongoing learning of employees. Ongoing learning improves adaptation, resilience, and the hardiness of employees, which in turn result in desired responses to accelerated change (Grohar-Murray Langan, 2011). Skills that are needed to augment this change are systems thinking, personal proficiency, team learning, shared vision and use of information technology increases the access to needed knowledge. Normative-reeducative strategy is the most appropriate for nursing because it is the most likely to advance the profession. It is the strategy employed throughout nursing today to incorporate the latest informatics technology into everyday practice (Grohar-Murray Langan, 2011). In this strategy the members of the system work out programs of change under their own direction. Definition of the change problem includes the probability that shifts in attitudes, values, norms, and relationships between players in the system and between the system and its external environment (Miles, 2007). There is a mutual collaboration between the members and the management in the development of the final strategy. There are external and internal factors that influence change in nursing. The internal factors include the patient acuity levels, staff- patient ratio, treatment modules, and the use of modern technologies in nursing. External factors include social and economic factors that influence how nursing is practiced. Nurses are socialized in a unique way during their education and experience in practice and therefore prepared like no other group to monitor nursing practice (Grohar-Murray Langan, 2011). Nursing strength is found stronger when there is a collaborative effort of nurses in four different roles such as practitioners, educators, researchers, and managers. To have a better change in safe staffing the nurse managers should understand the external and internal factors and make changes which can bring better patient outcomes. Planned change is a better option in safe staffing. When there is a change to be made in the workplace, it is always good to include the nurses and other health care professionals in the unit for opinions and recommendations. The nurses in the unit better know how is the patient acuity level of the unit, how many assisted personnel working on the unit, which shift is the busiest, how can the structure of the unit to be modified for easy access of supplies etc.. There are many ways of implementing change. However, planned change, which is a purposeful, calculated and collaborative effort to bring about improvements with the assistance of a change agent, is commonly adopted in nursing (Roussel 2006). So the nurse manager should ask the nurses for recommendations how safe staffing can be implemented in the unit. Nurse manager with the help of the nurses in the unit can work out safe staffing by not giving two or more people vacation or holidays at the same time or balancing the schedule without giving more people off on the same day, not allowing the same person for more than two overtimes in one month, leaving the person for burnout, if the unit really needs more nurses, the nurse manager has to plan and explain the reasons and submit to the management. The safety of the patient is everyones responsibility. Once a decision has been reached to implement a change, time must be allowed for the sequence of stages designed to reduce resistance and maintain support from others (Grohar-Murray Langan, 2011). According to Kurt Lewin model of implementing change, there are three stages which are unfreezing, moving, refreezing. During unfreezing, more information and time is needed for the change. The people who are going to be affected are motivated for the change because of the benefits and the people who gave the ideas for the change are commented for their participation. By moving, the second stage of the change process is like a vacuum. This transitional stage when everyone is expected of the change when the old is gone and the new is not in place yet. The third stage of the change process is refreezing. Ongoing monitoring for continued quality must follow refreezing, because it provides valuable information about the ongoing effectiveness of the change (Grohar-Murray Langan, 2011). In the unionized city hospital, everything goes with seniority. When the senior nurses enjoy more vacation and holidays and leaving the younger nurses to work which results in more sick calls and also bad retention of the staff which compromises safe patient care and patient outcomes. Even the overtime is given according to the seniority where some older nurses are happy to do more overtimes by taking easy assignments and leaving the heavier assignments for younger nurses which also results in burnout and poor staff retention. The nurse manager should collect ideas from the nurses for the change and should update the management of what is going on in the unit and the need for hiring new nurses if the unit needs for safe staffing. During the unfreezing stage the staff in the unit should be notified of the equal rights for everyone and the management should be notified about the need to hire more RNs. All the nurses should be motivated for the change. During the moving process, it is h ard for the adjustment to the change for the senior nurses who is the majority in the unit. The nurse manager should make fair schedules and assignments and make everybody comply with the change. During refreezing stage the nurse manger should continue to make the best schedules and should check for the effectiveness of the staff and the patient outcomes. The characteristics and qualities of change agents include experience, success, being respected, leadership skills, and management competencies (Grohar-Murray Langan, 2011). Change is a long process and is difficult to achieve. The nurse manager who is the change agent should be calm, positive, optimistic, enthusiastic and able to spend enough time in correcting the problem. The nurse manager’s initial responsibility is to establish a plan of action. The nurse manager should inform her staff and management the reason for a change and should be able to show in measurable terms. The nurse manager should notify all the nurses and the management about the modified vacation time, schedules and the overtimes for safe staffing. The nurse manager should plan for each stage of implementation and should anticipate accommodating any new information and change. Not everybody will be satisfied with the schedule or there may be unexpected staff emergencies or sickness so the nurse manager should be able to get the cooperation of all the staff to perform her duties and should give enough time for the change. According to Lewin’s field theory, there are two opposing forces, the driving force and the restraining force in response to a change. Driving forces generate planned change and restraining forces generate resistance to change (Grohar-Murray Langan, 2011). The nurse manager by all means has to decrease the resistance to the change so the drive can be increased. The most important element in reducing the resistance is establishing trust by giving explanations, requesting input, acknowledging concerns, making changes in small doses, offering to assist, explaining benefits, and acknowledging success (Grohar-Murray Langan, 2011). The nurse manager has to explain to the senior nurses and the union representatives and the management, the need for safe staffing by balancing the schedules and assignments to avoid unnecessary vacation time for more than two people at a time during the busiest season, to reduce burnout and overtimes and to improve retention. Staff retention saves lots of money for the management and it improves better patient outcomes. The nurse manager should succeed in the way she/he explain the need for safe staffing, which can decrease falls, medication errors, pressure ulcers, decrease hospital stays, infections and death. Human behavior and interaction is far too complex to be able to gain total support for a change (Grohar-Murray Langan, 2011). There will be some resistance even with the best explanations given by the nurse manager, but in the long run it will be reduced and can get full support from everybody. The plan for evaluation is consistent with the overall change design, with outcomes being measured against the criteria found in the statements of purpose and objectives for change (Grohar-Murray Langan, 2011). The nurse manager should evaluate the changes. The evaluation of safe staffing can be seen with improved patient and staff satisfaction, better patient outcomes, decrease falls, pressure ulcers and infection rates, decrease sick calls, decrease employee turnover, good feedbacks by the patients and the employees. By interpreting the role of evaluation and the outcomes of changes, the nurse manager can improve and make better plans and modifications. References Grohar-Murray, M. E., Langan, J. (2011). Leadership and management in nursing (4th ed., p. 250-256). Upper Saddle River, NJ: Pearson Health Science. Miles, M. (2007).An overview of strategies for planned change in human systems. Retrieved from http://www.innovation.cc/scholarly-style/classic-theories.pdf Roussel, L (2006) Management and Leadership for Nurse Administrators. Fourth edition. Jones and Barlett, London.

The Scottsboro Trials Essay -- Racial Relations, Segregation

March 25, 1931, nine men hopped on to a freight train of no return (Uschan 10). Unjust, prejudice, and racist the Scottsboro Trials, were definitely not just another ordinary case. The Scottsboro Trials changed how America viewed segregation. The nine young men, who hopped onto that train that day, were innocent and harmless. The Scottsboro Trials revealed the unjust treatment that African Americans faced outside of the Harlem Renaissance and changed views on segregation. Boarding the train from Chattanooga to Memphis seems like an innocent thing to do (â€Å"UMKC† par. 2). For the Scottsboro boys, boarding that train was one of the worst things they could have done. Two dozen whites and black road the train that day, and within the first 2 hours a fist fight broke out between the two races. The blacks won the fight, and the white men were thrown off the train and ran to the station master and reported that they had been assaulted by a gang of blacks on the train. Alabama stopped the train and dozens of men showed up and surrounded the train with guns in their hands. They took the nine African Americans aboard the train and put them into the Scottsboro jail (UMKC par. 2-5). Two other people were on the train at that time too. Victoria Price and Ruby Bates were found on the train unexpectedly while the search men were looking for any more black citizens. The women identified themselves and then Ruby Bates told the search men â€Å"We’ve been raped. All those colored boys raped us.†(Uschan 14).This caused an uproar throughout America not because rape was a horrible crime, but because back then a white woman having sexual relations with a black man was considered one of the worst things a person could do. The act was considered so terr... ... thing of the past. Racism is a very harsh and dangerous thing to participate in. Being racist can cause a person’s life to be in danger and it can ruin their life too. Helping African Americans understand that these racist people are sick and will be punished is just one way we can help the fight against racism. And so, the Scottsboro Trials ended up being victorious. It changed how America felt about discrimination and segregation and opened up many opportunities for blacks. America has changed as a whole because of the Scottsboro Trials and racism is slowly fading away. Segregation has caused many hardships throughout history and finally, it ended partially because of the Scottsboro Trials. Soon, America will be a place where it is as if seclusion against African Americans never existed. African Americans are one of us and together we are America.