Identify and describe 4 additional items that can be added to improve Assignment

Identify and describe 4 additional items that can be added to improve the STEP criteria for assessment of SOCIAL,ECONOMIC,ENVIRONMENTAL,impacts - Assignment Example Apart from the internal green team, which oversees the institutions sustainability initiatives (David,2011), the company should establish external independent evaluators who will constantly inform the management on the progress towards achievement of sustainability activities and strategies. The business entity should have a written service delivery charter, which shows the standards of service delivery which the business pledges to the community especially for offsite tourism activities. This should supplement the business code of conduct as indicated in the STEP criteria(Patterson, 2005). This is a good framework for a sustainable business development as it provides a criterion for both the business its customers and the community to evaluate the performance of the business. There should be a well set communication plan which indicates the mechanism through which the entity cascades its sustainability plan to the community. Chief among them is through the organization of a get together of the business management, employees and stakeholders. As such, the business should come up with a plan showing how often such activities will be held and consequently adhere to its plan. This can be evaluated by ascertaining the existence of such a plan at the time of evaluation. To ensure that there is proper monitoring of the sustainability plan, the business should formulate the policy or strategy implementation matrix. The matrix should indicate the employees and stakeholders involved in its implementation, and the time frame and resources required. In addition, it should indicate the economic implication to all stakeholders involved. This is vital in ensuring that the local community can ascertain their benefit if they assist in achievement of entities objectives. The existing STEP criterion indicates that the company should indicate the volume of garbage it recycles. However, it is important for the

Sale of Goods Act 1979 Summary

Sale of Goods Act 1979 Summary INTRODUCTION The Sale of Goods Act 1979, is the law that protects consumers. The purpose of this Act is that it requires goods to be as described, of acceptable standards and fit for purpose, for their essential use. All goods that a sold, must match that of the sample shown in that of brochures, stores or showrooms. It is only not required to be acceptable quality if the consumer noticed any deformity or issue with the product before he/she made a purchase. So if the consumer was to analyse the merchandise, but neglected the opportunity to examine for any faults, and that they were not of acceptable quality; the absence of value would have been evident on a sensible examination of the product(s), the consumer will not have the capacity to contend that the products were not of a sufficient value. Section 12 the Act On the 1st of October 2015, the Consumer Rights Act enforced to supplant the Sale of Goods Act 1979. Any consumer who made a faulty product(s) purchase prior to this Act coming into action, can still make a claim under the Sales of Goods Act 1979. The Consumer Rights Acts has made significant amendments to the consumers rights to return any faulty products purchased and the right to return, repair or request a replacement on faulty purchases, as well as giving the right when buying any digital merchandise.[1] S.12 of the Sales of Goods Act states that, In a contract of sale, there is an implied term on the part of the seller that in the case of a sale he has a right to sell the goods, and in the case an agreement to sell he will have such a right at the time when the property is to pass.[2] What this quote is implying is that the vendor is not required to be the legitimate proprietor of the products, as long as he has the specialty to offer the service, as he has the right to sell and not the modification of the product. Under the Unfair Contract Terms Act 1977, S.12 cannot be subject to an exclusion clause comparable to the other implied terms that can. S6 (1a) obligation for rupture of the commitments emerging under S.12 cant be avoided or confined by reference to any agreement term, subject to the agreements excepted in that Act. As under S.12 (5A), it affirms that the commitment under S.12 is a legally binding condition, and the lawful premise of which is that there has been a cumulative dissatisfaction of thought or, all the more particularly, as the supplier did not have the right to sell. In Rowland v Divall, even if the seller had the right to/not to sell at the time the contract was made, it may still contain an implied or express term that will require the seller at the time of the contract to have the right to sell, as demonstrated in the case of Barber v NWS Bank Ltd [1996]. Unlike the other implied terms, in Rowland v Divall; a breach of S.12 and S.11 doesnt have an application and the consumer doesnt lose the right to reject the goods by accepting them. The reason being, it is viewed as a complete failure of not taking into account of any thoughts. It is only acceptable and right that a person shouldnt have a right to sell. The Court of Appeal concluded that there has been a failure of consideration. LJ Scrutton discarded the vendors protest, so far as it identified with dismissal as contradict to rescission ab initio, by declaring that it scarcely lay in the dealers mouth, to grumble of the purchasers powerlessness to give back the merchandise, when this very breach originated from the vendors breach of S.12(1).[3] The claimant had anticipated proprietorship, not usage. The four months usage was viewed as unessential and wasnt taken into consideration during this time. S.12(1) may be interpreted as implying that the vendor must have the ability to give responsibility for products to the purchaser, yet in the event that the merchandise must be sold by encroaching an exchange stamp, the dealer has no privilege to offer for the reasons for S.12(1). In Niblett v Confectioners Materials Co Ltd, the seller had no right to sell the goods that they owned as it infringed on Nestles trademark. It was held that they had no right to sell the goods, even though they had the absolute legal interests in the goods. An agent doesnt own the product, however, derives associate authority or right to sell. Possession could also be loaded down by third party rights, by any means of opposing a right to sell. As established in the case of J Barry Winsor Associates Ltd v Belgo Canadian Manufacturing Co Ltd to necessarily have to be that they may or may not have a legal interest in that of the goods they are selling. It is infringed if the seller doesnt have the right to sell, at the time the property passed. So there wouldnt be a breach of S12. Basically, this would seem to face the privilege to the broad free utilisation of the merchandise without the purchaser making recompense for the frequently broad use he has gotten, regardless of such instituting thoughts inside most acknowledged definitions. The Law Reform Act 1943 S.1(3), empowers a gathering to recuperate a sum for a valuable benefit presented before release as a special case to the full recuperation standard, and there would appear to be a further irregularity with different arrangements of the Sale of Goods Act.[4] While there have been talks on improving the regulation, it is said that it is hard to change the law since evaluating the purchasers advantage through ownership would be troublesome and questionable. Diminishing any claims will add up to the purchaser paying the merchant for utilisation of another persons products. The Law Reform Committee contended that a remittance ought to be made for use by the pure purchaser in such circumstances. CONCLUSION S.12 of the Act demonstrates the connection between the purchaser and dealer and covers issues, such as the right and obligations and the genuine accentuation ought to be centred on the injustice of the consumer having the pleasure to use products, with the handy ramifications being that they acquire full compensation in case of a breach. This has proven to be more difficult for a consumer to prove their case, especially if the product has been in their possession for a long period of time. BIBILIOGRAPHY Genie T, Consumer Law In A Nutshell (Consumer Genie, 2017) accessed 26 February 2017 Poole J, Casebook On Contract Law (1st edn, Oxford Univ Press 2016) Bridge M, The Sale Of Goods (1st edn, Oxford University Press 1998) Collins D, Rowland V. Divall: Logical Fallacy? The Courts Interpretation Of Consumer Protection Is Both Confusing And Unfair (2014) 158 Solicitors Journal accessed 5 March 2017 Atiyah P, Adams J and MacQueen H, Atiyahs Sale Of Goods (12th edn, Longman 2010) Rowland V Divall (2017) accessed 5 March 2017 [1] The Genie, Consumer Law In A Nutshell (Consumer Genie, 2017) accessed 26 February 2017. [2] Jill Poole, Casebook On Contract Law (1st edn, Oxford Univ Press 2016). [3] Michael Bridge, The Sale Of Goods (1st edn, Oxford University Press 1998). [4] Daniel M Collins, Rowland V. Divall: Logical Fallacy? The Courts Interpretation Of Consumer Protection Is Both Confusing And Unfair (2014) 158 Solicitors Journal accessed 5 March 2017.

The Master vs. The Student: Antonioni and Coppola Essay -- Michelangel

The Master vs. The Student: Antonioni and Coppola Michelangelo Antonioni initiated a shift in Italian film in the 1950s. He kept some aspects of Italian Neorealism but then moved away into the world of the art film. With Blow-up, which was made possible by a deal MGM for a series of films in English, he takes a meandering, odd storyline and places it in trendy, ?swinging? London (Thompson & Bordwell, 426-7). He further reinforces the distance between the diegetic world of the film and the audience through precisely spacious camera techniques. ?I want to re-create reality in an abstract form. I?m really questioning the nature of reality,? Antonioni has said honestly about the film (Arrowsmith, 112). He has taken the audience-active film to a new and interesting level. Blow-up has often times been compared to Francis Ford Coppola?s The Conversation. The two films not only share a similar plot (two men, both leaders in their fields, inadvertently stumble across a murder or murder plot and must reevaluate themselves while reevaluating their creations) but Coppola uses much of the same camera techniques as Antonioni, as well. The film is not a total emulation, though; Coppola adds his own twist by taking space and contorting it, whereas Antonioni might leave it in the abstract. In examining the two aspects of space and self-evaluation, one can see that Coppola?s The Conversation does not imitate Antonioni?s Blow-up as much as it learns from it. Antonioni?s most noticeable and intriguing tool of Blow-up is the use of space within each frame. Antonioni, on the cusp of Neorealism, often times places the camera far from Thomas (the main character played by David Hemmings), letting him move about freely within the frame. ... ...as far back in the room the camera could get, it seems). All of these shots reinforce the loneliness, desperation, and isolation of these two stranded souls. All these shots lend to the two breaking down barriers within themselves to reach a better, actualized self. And, all of these shots could easily have been produced by Antonioni or Francis Coppola; perhaps there is hope for a new wave of the Antonioni-art-film style. Works Cited Arrowsmith, William. (1995). Antonioni, The Poet of Images. New York: Oxford. Brunette, Peter. (1998). The Films of Michelangelo Antonioni. Cambridge, United Kingdom: Cambridge University. Leprohon, Pierre. (1963). Michelangelo Antonioni: an Introduction. New York: Simon and Schuster. Thompson, Kristen & Bordwell, David. (2003). Film History, an Introduction. Boston: McGraw Hill. The Master vs. The Student: Antonioni and Coppola Essay -- Michelangel The Master vs. The Student: Antonioni and Coppola Michelangelo Antonioni initiated a shift in Italian film in the 1950s. He kept some aspects of Italian Neorealism but then moved away into the world of the art film. With Blow-up, which was made possible by a deal MGM for a series of films in English, he takes a meandering, odd storyline and places it in trendy, ?swinging? London (Thompson & Bordwell, 426-7). He further reinforces the distance between the diegetic world of the film and the audience through precisely spacious camera techniques. ?I want to re-create reality in an abstract form. I?m really questioning the nature of reality,? Antonioni has said honestly about the film (Arrowsmith, 112). He has taken the audience-active film to a new and interesting level. Blow-up has often times been compared to Francis Ford Coppola?s The Conversation. The two films not only share a similar plot (two men, both leaders in their fields, inadvertently stumble across a murder or murder plot and must reevaluate themselves while reevaluating their creations) but Coppola uses much of the same camera techniques as Antonioni, as well. The film is not a total emulation, though; Coppola adds his own twist by taking space and contorting it, whereas Antonioni might leave it in the abstract. In examining the two aspects of space and self-evaluation, one can see that Coppola?s The Conversation does not imitate Antonioni?s Blow-up as much as it learns from it. Antonioni?s most noticeable and intriguing tool of Blow-up is the use of space within each frame. Antonioni, on the cusp of Neorealism, often times places the camera far from Thomas (the main character played by David Hemmings), letting him move about freely within the frame. ... ...as far back in the room the camera could get, it seems). All of these shots reinforce the loneliness, desperation, and isolation of these two stranded souls. All these shots lend to the two breaking down barriers within themselves to reach a better, actualized self. And, all of these shots could easily have been produced by Antonioni or Francis Coppola; perhaps there is hope for a new wave of the Antonioni-art-film style. Works Cited Arrowsmith, William. (1995). Antonioni, The Poet of Images. New York: Oxford. Brunette, Peter. (1998). The Films of Michelangelo Antonioni. Cambridge, United Kingdom: Cambridge University. Leprohon, Pierre. (1963). Michelangelo Antonioni: an Introduction. New York: Simon and Schuster. Thompson, Kristen & Bordwell, David. (2003). Film History, an Introduction. Boston: McGraw Hill.

New and Significant Management Insights from Recomputed Baldrige Scores

Baldrige Criteria raw scores were statistically analyzed carrying out correlation test, t-test, and regression analyses tests on two (2) groups designated as Leaders and on another group as Others. From an earlier examination of the respondents that the Leaders were actually Senior Leaders and that the Others were actually Junior Leaders, the tests consistently showed that the Senior Leaders were more concerned with external factors, such as satisfying Customer and Market Focus and delivering Business Results.Expectedly, as Junior Leaders, they showed total balanced concern for all the categories of the Baldrige Criteria.Results of both groups descriptively (Commerce, 2007b) fell into the Baldrige Leadership and Results Triads, pages 4 and 5 (Commerce, 2007b). Other possible uses of already available Baldrige Criteria raw scores must be further explored especially in the feasibility of predicting favorable leadership qualities towards successful organizations. Introduction What a bet ter way to define leadership than through differentiating it with management by these 2 very self-explanatory popular business amorphisms: Management guru Peter Drucker and Bennis jumbled words, in that:â€Å"Management is doing things right; Leadership is doing the right things† (Warren Bennis, 1995). Thus, Bennis, then has more to say, in that: â€Å"Managers want to be efficient. Leaders want to be effective†(Warren Bennis, 1995). Through the centuries, man has always been awed by outstanding leaders. Hence, through the years, continuing search has been made of the unmistakable character traits of leadership, obviously found in leaders. There have even been attempts at possibly measuring leadership, or if not, trying to segregate those people who are leaders from those who are not leaders by applying some pre-set leadership criteria on them.Review of Related Literature The Value of Leadership Qualities of leadership, specifically military leadership are found not on ly under the subject heading Military Leadership in the earlier August 1999 US Army Field Manual (FM) 22-100 Army Leadership Be, Know, Do version (Army, 1999) but also in just the latest October 2006 US Army FM 6-22 Army Leadership Competent, Confident, Agile version (Army, 2006). From the 1999 US FM 22-100, Napoleon Bonaparte, a most famous military leader boasted (more, later) that: â€Å"A man does not have himself killed for a few halfpence a day or for a petty distinction.You must speak to the soul in order to electrify the man† (Army, 1999). Moreover, according to the same 1999 US FM 22-100, it would be safe to declare then that with those good qualities of leadership, former US Army Sergeant Major Richard A. Kidd had this to say (more, later), that: â€Å"Soldiers learn to be good leaders from good leaders† (Army, 1999). It will be at best a very highly debatable issue (Frances Hesselbein, 2004; Jason A. Santamaria, 2003), the importance of military leadership o ver civilian leadership, as just fitting and right.Over 228 years of US Military fighting history and existence, only in the past 8 years, already two military volumes of the US Army on Military Leadership had been printed, as we have seen above: the year 1999 FM 22-10 and the year 2006 FM 6-22, representing the US’ foremost military leadership literature. Why and how the US became a military power may also be attributed to those two manuals which encapsulated especially the US Marines’ superior rigorous and highly-proven training methods over 228 years to produce the US Military’s effective and successful military leaders/officers and soldiers (women from all ranks included).Without deliberately and unnecessarily comparing and contrasting (though debatable) military leadership and civilian leadership, it just cannot be helped; however, to sufficiently point out only two major differences between them. Obviously, first, the highest stakes are over human life-and -death situations and possible widespread public infrastructure damage by which military leaders could legitimately under military leadership give the orders for the go-ahead, as in â€Å"to seek and destroy (with impunity and without prejudice! )†.Such situation cannot be compared with any other civilian leader, except for the lone duly-elected civilian President also deciding as Commander-in-Chief of the nation under a democratic country where civilian authority is supreme over the military. In other words, hands down, each individual military leader or officer is tasked to the extremes: physically, mentally, emotionally, spiritually, psychologically, socially, and so on–more than any of his civilian counterpart under any same given conditions (Frances Hesselbein, 2004; Jason A. Santamaria, 2003).Second, it could be generally inferred that it would be much easier to make the transition by a military leader to become a civilian leader (to be discussed later); than for a civilian leader to become a military one—simply because of more demanding requirements of the civilian individual (or leader) by the military life (Frances Hesselbein, 2004; Jason A. Santamaria, 2003). Civilian leadership may be further subdivided into spiritual leadership in origin or in nature (Greenleaf, 2002), political leadership (Gardner, 1990; Warren Bennis, 1995; Yukl, 2001), and business leadership (Covey, 1900, , 1992, , 2006; Jason A.Santamaria, 2003; Yukl, 2001). For leaders who are successful in their own fields, yet surprisingly, they still feel themselves very melancholy and unexplainably â€Å"unfulfilled†, the most plausible search for their fulfillment, obviously with very strong spiritual undertones, may come from imbibing that concept of servant-leadership, a term coined by Robert K. Greenleaf who wrote Servant Leadership: A Journey into the Nature of Legitimate Power and Greatness, 25th Anniversary Edition as a hardcover (Covey, 2006; Greenleaf, 2002).Naturally, proponents, advocates, practitioners, and â€Å"fanatics† of this â€Å"Greenleaf culture† or those practicing spiritual leadership should be, just to give examples, are the so-called Roman Catholic religious orders with lifetime vocations of daily self-denial comprising the monks, missionaries, contemplatives, and so on. Tao Te Ching, ca. 6th century BCE as described in chapter 17, on â€Å"servant-leadership† remains to be a timeless ideal (Greenleaf, 2002). Following closely at his heels, Jesus Christ ca. 33 AD sought to teach his disciples that in order to be first they must â€Å"wash each other's feet†.In other words, taken directly from the Online 1611 King James Version (K. J. V. , 2007) from the gospel evangelists’ accounts, the disciples must seek to serve each other in order to be true leaders from Chapter 13 of the Gospel of John (K. J. V. , 2007). And again, Jesus said that â€Å"many who are first will be last, and many who are last will be first† meaning that true leadership, according to Jesus, was leadership based on servanthood from Chapter 19 according to the Gospel of Matthew (Covey, 1900, , 1992, , 2006; Gardner, 1990; K. J. V. , 2007).Thus, now many years later if analyzed, notice Bonaparte’s speaking to man’s soul to electrify man (Army, 1999) for man to join his Army, with the certainty that that man will get killed–can be found in the servant-leader concept during World War II as exquisitely applied by the German people and the German Army in their allegiance to their Fuehrer (Adolf Hitler) of the Fatherland (nation Germany) and by the Japanese people and the Japanese Army in their allegiance to their considered demi-god Emperor (Emperor Hirohito) of their beloved nation Japan.It really is noteworthy that Larry C. Spears, President and Chief Executive Officer (CEO) of the Robert K. Greenleaf Center for Servant-Leadership since 1990, summarized Greenleafâ⠂¬â„¢s works by listing down the servant-leaders’ ten (10) characteristics which because of the concept/principle of the servant-leaders’ deep spiritual underpinnings, all the other mentioned habits or values of civilian leadership literature can be included in any one of these ten items. The following list can be considered a veritable â€Å"How To’s in Leadership†:Hence, those other leadership habits or values, also cited accordingly alongside each of these characteristics mentioned are from Stephen R. Covey’s The 7 Habits of Highly Effective People (Covey, 1900), Principle-Centered Leadership (Covey, 1992), and The 8th Habit from Effectiveness to Greatness (Covey, 2006); John W. Gardner’s On Leadership (Gardner, 1990); Warren Bennis and Joan Goldsmith’s Learning to Lead (Warren Bennis, 1995); and from Gary Yukl’s Leadership in Organizations (Yukl, 2001). 1. Listening (Greenleaf, 2002):While other leaders are expected to be e xcellent communicators and decision-makers, servant-leaders, rather than to be listened to, are now more than ever, expected to listen intently to the others (Greenleaf, 2002). Habit 6, Synergize (of 7 or of 8), that the would-be-leader, believing that the whole is bigger than the sum of the parts, through mutual trust in attentively listening to the other person they could both arrive at the best solution because they listened to one another, better than either’s (Covey, 1900). Same as Characteristic 7, They Are Synergistic (Covey, 1992). 2. Empathy (Greenleaf, 2002):Servant-leaders try very hard to understand and empathize with others, accepting them as they are, and as they come and go (Greenleaf, 2002). Habit 5, Seek First to Understand, Then to Be Understood, that the would-be-leader must try his best first to identify with the other person before he himself expects to be understood by that person (Covey, 1900). 3. Healing (Greenleaf, 2002): An on-going phenomenon betwee n serving and being served is not only the potential but the actuality that both serving and being served are â€Å"healed† or â€Å"made whole† again by their shared experiences (Greenleaf, 2002).Habit 4 (of 7 or of 8), Think Win/Win, that the would-be-leader makes sure that his counterpart and he are both benefited by any arrangement or agreement they have arrived at (Covey, 1900). Habit 7 (of 7 or of 8), Sharpening the Saw, that the would-be-leader voluntarily and regularly maintains a balanced personal renewal of his physical, mental, social/emotional, and spiritual dimensions (Covey, 1900) and very similar, if not the same as Characteristic 5, They Lead Balanced Lives (Covey, 1992) and Characteristic 8, They Exercise For Self-Renewal (Covey, 1992).Bennis was able to grasp this truth, in that: â€Å"As Sophocles observes in Antigone, ‘’But hard it is to learn the mind of any mortal, or the heart, 'til he be tried in chief authority. Power shows the ma n’’’† (Warren Bennis, 1995). 4. Awareness (Greenleaf, 2002): Able servant-leaders are usually sharply awake and reasonably disturbed from integrated holistic perspectives, yet with inner serenity (Greenleaf, 2002). Habit 1 (of 7 or of 8), Being Proactive or the concept of Inside-Out, that any significant type of change in the would-be-leader must first come from within himself (Covey, 1900).

Black Asthetics and Toni Morrison

The black arts, or the black aesthetic, movement was born among the black artist as a response to the ideologies of the black power in the 1960’s. The movement was a continuation of the 1920’s and 1930’s Harlem Renaissance that had begun the tradititon of rediscovering the roots os black culture and heritage,dating back to slavery. Some of the major literary figures of the Harlem era included authors James Weldon Johnson, Langston Hughes and Nella Larsen. The Black arts emerged to promote art that illustrated African-American music, languages, heritage, and beauty. In order to be substantial, art had to have a proudly black subject matter and style; be it sculpture, a piece of music, a novel or a poem. Empowered by the concepts of the black power, the movement inspired the emergence of the black theatre groups, magazines, and printing presses. Literature influenced by the black arts concepts struggled to abandon W. E. B. Du Bois’ idea of double consciousness, which meant blacks were constantly struggling towards the white culture’s ideals, even though the dominant society disabled them for reaching the Eurocentric goals. Mirroring themselves against the value structure of the oppressive white society was depriving the blacks of their empowerment. Black writers wanted to concentrate on solving the problems of the African-American community from the inside, developing awareness of the rich black heritage and gearing the co mmunity to realize it worth. The Black Arts movement brought the time for blacks to stop internalizing the image of being the inferior in the society as a whole. The black population had to find strength, beauty and self esteem within the black community. The black arts, characterized by acute awareness, produced writers like Toni Morrison, Ishmael Reed, and Alice Walker. Toni Morrison undeniably is an author who internalizes the main concerns of the black aesthetic. She writes about black oppression, consciousness and tradition. Her major characters’ are black and they are in constant search for their ethnic identity. The first African American writer to win the Nobel Prize for literature in 1993, Toni Morrison is a leading voice in current debates about the construction of race and black marginality in literature and culture. As a prominent writer of the age she refuses to allow race to be marginalized in literary discourse. Throughout her writing Morrison uses narrative forms to express African Americans' dislocated, oral tradition, and culture, and reclaim African American's historical experiences. She profoundly uses the fictive narratives to transfigure the old south; the bedrock of black dehumanization, degradation and sorrow into an archetypal black homeland, a cultural womb that lays claim to history's orphaned, defamed and disclaimed African children. In her novels Morrison humanizes black characters in fictions that strive to overcome and excavate enforced invisibility of African Americans' social reality. Morrison critiques the mainstream thinking and acclaims that black writers and black characters are the relative means by which text demonstrates to be human and superior. Imagination is possible in the presence of black characters and black contents. At the same time talking African discourse is inferior and submissive tends to impoverish cultural interpretation of reality. Morrison questions the validity and vulnerability of a set of assumptions conventionally accepted and taken for granted among literary historians and critics. Africanist presence, in a constitutive part in the entire history has been rejected. Morrison in Playing in the Dark: Whiteness and Literary Imagination proposes, â€Å"[t] he contemplating of this black presence in central to any understanding of our national literature and should not be permitted to hover at the margins of the literary imagination† (5). Morrison argues that American culture is built on, and is premised by, and always includes, the presence if blacks', as slaves, as outsiders. She likens the unwillingness of academics in a racist society to see the place of Africanism in literature and to the centuries of unwillingness to see a favorite discourse, concerns and identity. She posits whiteness as the ‘Other' of blackness, a dialectical pair, each term both creates and excludes the other: no freedom without slavery, no white without black. The major themes of Toni Morrison's writing is to redefine the notion of white American canonical texts and their idea of African American writing as being non-canonical or inferior. She demonstrates the idea of racial superiority and hegemonic culture in her writings. Morrison, in the preface of her critical work Playing in the Dark: Whiteness and Literary Imagination says she is â€Å"struggling with and through a language that can powerfully evoke and enforce hidden signs of racial superiority, cultural hegemony and dismissive ‘Othering' of people and language which by no means marginal or already and completely known and knowable in my work† (XI). It is clear that Morrison's writing is different from that of mainstream white discourse, which always bserves that African American literature is subsidiary product. Her intention, thorough her writing , is to reinterpret and redefine the hidden, dislocated and alienated Afro-American presence in American mainstream discourse and claim that Afro-Americans are no more inferior human beings. Toni Morrison's fiction demonstrates a central interest in the issues of boundary, attachment, and separation. Her characters experience themselves as wounded, or imprisoned by racial and economic divisions within American culture. The boundaries that circumscribe black people are not only the prejudices and restrictions that bar their entry into the mainstream but the psychological ones they internalize as they develop in a social structure that historically has excluded them. Toni Morrison draws from a rich store of black oral tradition as well as from her own imaginative angle of vision to illuminate the potentialities for both annihilation and transcendence within black experience. Black lore, black music, black language and all the myths and rituals of black culture are the most prominent elements in Toni Morrison's writing. She feels a strong connection to ancestors because they were the culture bearers. She thinks that it is the responsibility of African American writers to dig out that annihilated history and secure the importance of it in the making of American civilization. Toni Morrison ranks among the most highly regarded and widely read fiction writers and cultural critics in America. As a critic she refuses to allow race to be relegated to the margins of literary discourse. She focuses on the importance of African American's oral and musical culture and to reclaim black historical experiences. Morrison says that African American have rediscovered texts that have long been suppressed or ignored, have sought to make places for African American writing within the canon, and have developed ways of interpreting these works.Works CitedMorrison, Toni.  Playing in the Dark: Whiteness and the Literary Imagination. Cambridge, MA: Harvard UP, 1992. Print â€Å"Toni Morrison.†Ã‚  Wikipedia, the Free Encyclopedia. 21 May 2011. Web. 23 May 2011. .Welcome to Black Aesthetics Institute. Web. 23 May 2011. .

Free Essays on Everything That Rises Must Converge

In the story Everything That Rises Must Converge by Flannery O’connor, there is question as to why Julian acts so negatively towards his mother. There are many examples in the story that can prove or disprove either side. Julian was disrespectful towards his mother based on different views they had caused by changes in society. Throughout the story Julians’ mother portrays her prejudice views in numerous ways. It is stated that she wouldn’t ride the bus alone after dark because busses were now integrated. When she gets on the bus, she expresses happiness based on the fact that there were no blacks riding with them. She is clearly stuck in the past, having grown up in the south before the civil war. She lived on a plantation owned by her grandfather, which had about 200 slaves on it. Julian seems absolutely disgusted with his mother , especially in the beginning of the story. Everything she liked seems to depress him. She was unsure if she liked a hat that she had previously bought, but as soon as she decided she didn’t like it Julian insisted that she wore it. Slater 2 Some thoughts Julian had throughout the story about his mother were harsh and surprising to be coming from her son. For instance, at one point the looked her as if she ceased to exist, and he felt he could have slapped her like she was an annoying child. Julian tries to prove a point to his mother, that they aren’t living back on some plantation with slaves. On the bus, he gets up out of his seat and sits next to a black man just entering the bus, and tries to engage in conversation with him, basically to spite his mother. When that didn’t go as planned he sat there and thought of ways to really get under his mothers’ skin. He thought of how upset she would get for him to come home with a black woman. While he is disgusted with his mothers views, it is difficult to tell whether or not Julian himself is prejudice. He tries to interact with ... Free Essays on Everything That Rises Must Converge Free Essays on Everything That Rises Must Converge In the story Everything That Rises Must Converge by Flannery O’connor, there is question as to why Julian acts so negatively towards his mother. There are many examples in the story that can prove or disprove either side. Julian was disrespectful towards his mother based on different views they had caused by changes in society. Throughout the story Julians’ mother portrays her prejudice views in numerous ways. It is stated that she wouldn’t ride the bus alone after dark because busses were now integrated. When she gets on the bus, she expresses happiness based on the fact that there were no blacks riding with them. She is clearly stuck in the past, having grown up in the south before the civil war. She lived on a plantation owned by her grandfather, which had about 200 slaves on it. Julian seems absolutely disgusted with his mother , especially in the beginning of the story. Everything she liked seems to depress him. She was unsure if she liked a hat that she had previously bought, but as soon as she decided she didn’t like it Julian insisted that she wore it. Slater 2 Some thoughts Julian had throughout the story about his mother were harsh and surprising to be coming from her son. For instance, at one point the looked her as if she ceased to exist, and he felt he could have slapped her like she was an annoying child. Julian tries to prove a point to his mother, that they aren’t living back on some plantation with slaves. On the bus, he gets up out of his seat and sits next to a black man just entering the bus, and tries to engage in conversation with him, basically to spite his mother. When that didn’t go as planned he sat there and thought of ways to really get under his mothers’ skin. He thought of how upset she would get for him to come home with a black woman. While he is disgusted with his mothers views, it is difficult to tell whether or not Julian himself is prejudice. He tries to interact with ...

Rio Grande Essays

Rio Grande Essays Rio Grande Essay Rio Grande Essay The chief of operations-Henry Dearer- fired a worker who had hacked into co-workers emails. There was a right for Henry to fire the employee but it seems that a consideration of her previous work performance was not included in his decision. There seems to be a lack of flexibility not to mention the hypocrisy about the decision as well. There seems to be many elements that show that there Is a disturbance In the corporate culture. Jasper saw an Importance In how each person respected their fellow workers which suggests that there Is an Involvement culture, though the employee that covertly spied Into anothers emails suggest suspicion In the culture. The act of spying can be seen as being aggressive, which Is one of the traits In a competitive culture. The lack of leadership In the Involvement culture may allow the corporate culture to lean towards the competitive type of culture. The values of integrity and honesty are judgment values and what they mean can change from person to person. They should be reworded so there is no misunderstanding to what is meant. For example, honesty should be changed to l ill always tell the truth. These values were not implemented by the management team and are evident by the way Henry misused the internet resource. There is a lack of transparency (corruption) as the employees know Henry breaks the rules and yet gets away with it but the employee gets fired when she breaks the rules. Management sets the rules but it is seen by employees that they can do and get away with anything. The employees see an inequality and it breeds distrust and resistance especially when working towards the corporate goals. The dishonesty that Dearer displayed has created a conflict of values. The employees see a double standard and this will create distrust, in turn this could increase staff turnover. This will result in highly trained personnel leaving the company, taking with them the expertise that the company relies on. The staff that chooses to remain will have a lower morale and will be disengaged from the company goals and values. In a situation that shows conflicting values, the values that the company wants to exhibit just come first. The company mission statement and vision should represent the values that are wanted. These values should promote positive outcomes for the company. Values that promote weak communication and hidden agendas give rise to chaos as compared to values that promote Indiscrimination and transparency give rise to harmony. ROI Grander By snobbier There seems to be many elements that show that there is a disturbance in the corporate culture. Jasper saw an importance in how each person respected their allow workers which suggests that there is an involvement culture, though the employee that covertly spied into anothers emails suggest suspicion in the culture. The act of spying can be seen as being aggressive, which is one of the traits in a competitive culture. The lack of leadership in the involvement culture may allow the corporate culture to lean towards the competitive type of culture.