The Major League Baseball Players Association Essay Example for Free

The Major League Baseball Players Association Essay The Major League Baseball Players Association (MLBPA) is the union of professional baseball players in the major league. The Association plays the role of collective bargaining for all major league players and it is also the representative for players that need salary arbitration. Like any other union, MLBPA defends the rights of its members and functions in order to protect the players’ best interest. One of the attributions of the MLBPA is that of making sure that the conditions for playing are in accordance with the Association’s safety guidelines. A union of professional baseball players was necessary for promoting the interests of the players and so unions acting in the benefit of professional players were created almost from the very beginning of the history of baseball as a sport. MLBPA does not represent the first union of baseball players, as previous attempts included the Brotherhood of Professional Baseball Players (founded in 1885), Players Protective Association (1900), Fraternity of Professional Baseball Players of America (1912), or American Baseball Guild (1946) (Major League Baseball Players Association, 2007). The basis of MLBPA was set by the formation of the American Baseball Guild which was created by labor lawyer Robert Murphy (Haupert, 2003). The major change that was the outcome of the Guild was that the standard labor contract of players was changed in the benefit of the players since before this change the contracts were very much dictated by owners (Haupert, 2003). Although the Guild was unsuccessful in forming a union, it did bring a great deal of change in the way players’ contracts and rights were being handled. MLBPA is currently the baseball players’ organization and the outcome of this association is the result of the changes that took place in the unionization of baseball players. The union was formed in 1954, but it â€Å"remained in the background until the players hired Marvin Miller in 1966 to head the organization† (Haupert, 2003). This was the decisive step in the future of the union of baseball players. Miller was a former negotiator for the US steel workers and this experience was used with success in the interest of baseball players (Haupert, 2003). The leadership of Marvin Miller and his influence was very usefull for the interest of MLBPA. His skills turned out to exceed those of the owners as he managed to change the rules of the game and represent the players in gaining what was theirs. He managed to control the power that owners had on the players and trough his tough practices to make the opinion of players matter in matters of trade and such (Rockford). Miller’s leadership had a great impact on the unionization of baseball players as his lead brought the most important changes in the life of professional baseball players. Marvin Miller retired in 1984 after managing to put an end to the reserve clause, to ensure the right of free movement from team to team, to gain a great raise in the salary of baseball players (Rockford). Other important changes that were conducted and influenced by Miller’s organizational skills referred to a greater implication of the union in labor disputes, to the creation of a pension fund sponsored mainly from percentages of television revenue. But the most important accomplishment of Miller’s leadership was that the union was recognized and also the right of players to be represented in negotiations by a collective organization was also recognized (Rockford). Marvin Miller is responsible for making baseball a business profitable both for owners and players. The current leader of MLBPA, Don Fehr, was hired by Miller in 1977 as general counsel and after the retirement of Miller he was chosen by the players to represent them as executive director of MLBPA (Haupert, 2003). Fehr’s influence was noticeable for following the policies of his predecessor, continuing the road chosen by Miller. Fehr’s accomplishments are shown in his role of negotiator in collective bargaining with major league owners and in â€Å"administering contracts, grievance arbitration, and pension and health care matters† (Schwarz, 2003). His mission leading the union was even harder that expected because he was replacing a legend, the man that built the union and that had lead it successfully for such a long time. Even so, Fehr was successful in leading the union and in defending the interest of the players. â€Å"The average salary of a major leaguer has gone from $ 185,000 in 1981 to $2. 47 million in 2005. † (Cooper, 2006) MLBPA managed to use the changes made by former unions or associations of professional baseball players and managed to become today the strongest sports union around. Under the leadership of only two, but strong leaders, MLBPA has progressed greatly and this progress is first of all attributed to the leaders that had always had a coherent policy and strong faith in their mission. Perhaps the key to the success of MLBPA is that its leaders have always tried to maintain a unity among the players and by keeping them together and focused on a common goal, they could accomplish the major growth in the baseball industry. Bibliography: Cooper, J. J. , 25 for 25: Don Fehr, July 18, 2006, available at http://www. baseballamerica. com/today/majors/25thanniversary/print261957. html; Haupert, Michael. The Economic History of Major League Baseball. EH. Net Encyclopedia, edited by Robert Whaples. August 27, 2003. available at http://eh. net/encyclopedia/article/haupert. mlb; History of the Major League Baseball Players Association, available at http://mlbplayers. mlb. com/pa/info/history. jsp; Major League Baseball Players Association, 2007, available at http://en. wikipedia. org/wiki/Major_League_Baseball_Players_Association; Rockford, Warner Oliver, Marvin Miller, available at http://www. baseballlibrary. com/baseballlibrary/ballplayers/M/Miller_Marvin. stm; Schwarz, Alan, One on One: Don Fehr, July 1, 2002, available at http://www. baseballamerica. com/today/features/fehr070102. html;

Nordstrom Case Study Essay Example for Free

Nordstrom Case Study Essay Answer 1: In the 1990s, Nordstrom had six co-presidents who were six cousins belonging to the family’s fourth generation. All six cousins took decisions jointly on major issues concerning the business. Thus, it was necessary that all six co-presidents agree on a decision or a plan for it to be acted upon. This was quite a difficult task as all of them often had differing opinions. Due to this many decisions were delayed or met with resistance by one or the other member. These six co-presidents were compared to a multi-headed hydra. Dismantling the hydra would prevent conflicts on future decisions and would also enable decisions to be taken quickly. It will also vest the ownership for the decisions onto one person. It will also enable a family member to be groomed for possibly leading the company one day. The possible disadvantages of dismantling the hydra is that the six co-presidents could have all contributed their knowledge and experience and have arrived at a better more informed decision. If equal power is vested in six people at the top, it enables them to share the workload. Answer 2: Creating departments around products will create independent profit and loss units for each product. The members of each department will have expertise on their products. They will know how to procure those products and effective sales and marketing techniques to sell those products better. This will narrow down their focus and they will concentrate only on the product that they are selling and will gain expertise on how to sell it best. The possible disadvantages of creating departments around products are that the employees will not have a complete picture of the entire business and where they stand. If in future, they are moved to another department, they will have to gain information about that product from scratch. Answer 3: The following changes prompted the move from mechanistic to organic organization. In the 1990s, the company met with stiff competition from its competitors. Its sales began to plateau. Its net income fell 2% and sales edged up only 1.9%. In the stores that had been open for a year, its sales dipped 1.1% after a 2.6% drop the prior year. Nordstroms shares fell from a 1999 high of 44 3/16 to under 20 in February. The customers and outsiders complained that top executives spent more time in seeking consensus of all co-presidents on issues and this was a reason for Nordstrom being slow in presenting new fashions for sales. Answer 4: In designing an organization to manage change, an additional structural change that Mr. Whitacre should consider is to start a competition among the departments. In this quarterly competition, the department that has the best sales and profits should be the winner and its members should be given some incentives. They should be asked to share the best practices with the other departments in order to help them manage change better. Employees should be rotated regularly from one department to another.

British Social Realism

British Social Realism In order to fully understand the origins and ideals behind the British Social Realism movement it is important to not only explore this period of cinema history but to also study the interrelationship between film and other Art forms. Social Realism, also known as Socio-Realism, is an artistic movement, articulated in the cinematic and other realist arts, which portray working class activities. The ancestry of realism can be traced back to the 19th century art. With the decline of the Romantic Movement, artists looked to show the world in a more literal way and attempt to move closer to observation and away from the non-representational by creating objective representations of the world based on the observation of contemporary life, such as nature, society, the characteristics of the individual and the nation at large. Realism was independent, including in its subject-matter activities and social classes until that time considered unworthy of representation in fine art. The most articulate development of Realism was in French art, where it concentrated on the work of Gustave Courbet, who used the word realism as the title for a manifesto that accompanied an exhibition of his works in 1855. Ilya Repin, a famous Social Realist said that his art work was aimed â€Å"To criticize all the monstrosities of our vile society† although its influence extended into the 20th cen tury its later manifestations are usually labelled as Social Realism. The latter half of the 19th century has been called the positivist age. It was an age of belief in all knowledge which was driven from science and scientific objective methods. Positivist thinking is obvious in the full range of artistic developments after 1850 from the emphasis on the phenomenon of light, to the development of photography and the application of new technologies in architecture and constructions. The artificiality of both the Romanticism and Classicism in the academic art was unanimously rejected, and necessity to introduce contemporary to art found strong support. New idea was that ordinary people and everyday activities are worthy subjects for art. Whilst Realism in France appears after the 1848 Revolution and expressed a taste for democracy, at the same time in England artists, Realists came before the public with the reaction against the Victorian materialism and the conventions of the Royal Academy in London. Literary Gazette, described Social Realism as â€Å"the representation of the proletarian revolution†. By the 1840s both artists and scientists had come to value Realisms empirical study of nature. It was partly this interest in accurate visual records that first led to the use of the camera obscura as an aid to drawing and the development of photography as a way of fixing its image. The idea of the camera as an instrument of knowledge is a powerful assumption underlying many photographic practices, from 19th-century studies of criminality and mental illness to 20th-century documentarism. With a common ideal uniting many Artists and Scientists you would imagine that you could draw a straight line between Realism, the invention of the photographic camera and Social Realism British Cinema but photography, which was developed to bypass the inaccuracies of the human hand, quickly became ‘corrupted. â€Å"Jonathan Crary has argued that by the 19th century the camera was no longer understood as a model of objective knowledge, but had become part of a whole series of optical toys devised to stimulate subjective and embodied vision, now understood as an active and creative element of visual experience. Following Crary, Geoffrey Batchen argues that early photographers were motivated by romantic desires for traces of nature, as much as the need to know, classify, and possess it. Dr Johnson would doubtless have dismissed such approaches as philosophical hair-splitting. Photographs, after all, seem to mirror the world, or at least a fragment of it in space and time. But the photographers choices—lens, viewpoint, framing, timing—intervene between the object and its image, even when these seem natural or unwittingly made, as in snapshot photographs. Realist images are as much constructed as the most complex studio set; their illusion of transparency enhances their ability to construct and confirm conceptions of reality itself.† Patrizia di Bello As we have seen Realism is a movement that crosses art forms, forming in painting, through the development of photography and emerging again in the developing visual art of cinema. In Italy neorealism was a style of film that refelected the early French Realist ideals and told stories set amongst the poor and working class, filmed on location, often using nonprofessional actors. The films mostly contend with the difficult economical and moral conditions of post-World War II Italy, reflecting the changes in the Italian psyche and the conditions they faced in everyday life: defeat, poverty, and desperation. The neorealist style was developed by a circle of film critics that revolved around the magazine Cinema. The group included including Michelangelo Antonioni, Luchino Visconti, Gianni Puccini, Cesare Zavattini, Giuseppe De Santis, and Pietro Ingrao. The critics attacked the poor quality telefono bianco films of the time and felt that Italian cinema should turn to the realist writers from the turn of the century. The most common attribute of neorealism was location shooting and the dubbing of dialogue. The dubbing allowed for filmmakers to move in a more open mise-en-scà ¨ne. Principal characters would be portrayed mostly by trained actors while supporting members (and sometimes principals) would be non-actors. The idea was to create a greater sense of realism through the use of real people rather than all seasoned actors. The rigidity of non-actors gave the scenes more authentic power. This sense of realism made Italian neorealism more than an artistic stance, it came to embody an attitude toward life. The next development in the Realist movement was the French New Wave. This was a blanket term coined by yet another group of critics of the late 1950s and 1960s. Although never a formally organized movement, the New Wave filmmakers were linked by their self-conscious rejection of classical cinematic form and their spirit of youthful iconoclasm. Many also engaged in their work with the social and political upheavals of the era, making their radical experiments with editing, visual style, and narrative part of a general break with the conservative paradigm. Again, the socio-economic forces at play shortly after World War II strongly influenced the movement. A politically and financially drained France tended to fall back to the old popular traditions before the war. One such tradition was straight narrative cinema, specifically classical French film. The movement has its roots in rebellion against the reliance on past forms criticizing in particular the way these forms could force the audience to submit to a dictatorial plot-line. Thanks to the ongoing development of film equipment the face of cinema was constantly evolving and in the same way that Cinema Verite became possible lightweight cameras, lights, and sound equipment allowed the New Wave directors to shoot in the streets, rather than in studios. This fluid camera motion became a trademark of the movement, with shots often following characters down Paris streets. The movies featured unprecedented methods of expression, such as seven-minute tracking shots (like the famous traffic jam sequence in Godards 1967 film Week End). Many of the French New Wave films were produced on small budgets, often shot in a friends apartment, using the directors friends as the cast and crew. Directors were also forced to improvise with equipment (for example, using a shopping cart for tracking shots). As with most art-film movements, the innovations of the New Wavers trickled down to the other cinema cultures. Social Realism in British films peaked during the 1960s when what is commonly referred to as the British New Wave emerged. The new wave directors such as Karel Reisz, Lindsay Anderson and Tony Richardson had made a number of documentaries before moving on to feature films, and many of these had been screened at the National Film Theatre event christened Free Cinema in the 1950s. Like the auteurs of the Italian Neo realism and French New Wave, many of the British directors were knowledgeable critics as well, affiliated with Sequence magazine. This gave them ample opportunity to promote their agenda. Free Cinema was described by Tony Richardson as â€Å"independent of commercial cinema, free to make intensely personal statements and free to champion the directors right to control the picture†. Documentaries such as O Dreamland (Anderson, 1956) about an English coastal resort and Momma Dont Allow (Reisz and Richardson, 1956) about a suburban jazz club put into practice these directors belief in â€Å"the freedom and importance of the everyday†. The themes and people discovered in these documentaries were something that the directors went on to introduce to mainstream cinema. The Free Cinema films were made without inhibitions, and led to the social realist aesthetic of putting ordinary people with problems onto the big screen. It is for this reason that the term kitchen sink drama was coined, to describe the hum drum lives of the masses, and angry young man to describe the rebellious protagonists. Amongst the many films that emerged during the new wave of social realism, there are dozens of stunning examples that continue being championed to this day. Look Back in Anger, A Taste Of Honey, Saturday Night and Sunday Morning, The Loneliness of the Long Distance Runner, This Sporting Life, Billy Liar, Cathy Come Home, Up The Junction and Room At The Top, to name a few. Many of these films were based on books and plays, as the social realist aesthetic was alive in literature and theatre at the time. The movement also ushered in a new wave of actors who embodied social realism in their use of colloquialisms and accents. Actors such as Tom Courtenay, Rita Tushingham and Albert Finney held up a mirror to ordinary working class Brits. In the UK, the term kitchen sink derived from an expressionist painting by John Bratby, which contained an image of a kitchen sink. The critic David Sylvester wrote an article in 1954 about trends in recent English art, calling his article The Kitchen Sink in reference to Bratbys picture. Sylvester argued that there was a new interest among young painters in domestic scenes, with stress on the banality of life. â€Å"Kitchen sink realism† was linked to the rise of the Angry Young Men, a category applied to a number of British playwrights and novelists from the mid-1950s. Their political views were seen as radical, sometimes even anarchic, and they described social alienation of different kinds. The authors included both left-wing and right-wing writers. They included John Osborne, Harold Pinter, John Braine, and Alan Sillitoe. The new wave of British film-makers captured the zeitgeist of the period, and paved the way for directors such as Mike Leigh, Stephen Frears and Ken Loach who continue to make films that shape a very regional British film industry. Films such as Riff Raff, Naked, and My Beautiful Laundrette, although made 20 30 years later, embody the same values as were inherent in the films of the New Wave The British New Wave Cinema only lasted a few years, from 1959 to 1963. Only about half a dozen films were made. Even though they were so few made, the film were very influential and Incredibly evocative, and enough to prompt critics of the time to talk of ‘a renaissance in British cinema. Coming at the end of a decade that was extensively perceived as ‘a doldrums era, based on a diet of lightweight comedies, gothic horror films and endless war vehicles the New Wave films were greeted by audiences as a breath of fresh air and paved the way for the transatlantic success that awaited British cinema in the Sixties. The main directors of New Wave cinema were Karel Reisz, Lindsay Anderson, Tony Richardson, and John Schlesinger . the majority came from the theatre, predominantly from the Royal Court Theatre, Richardson had made a name for himself by directing the plays of John Osborne, such as The Entertainer and Look Back in Anger to great critical approval. The foremost production company behind British New Wave cinema, Woodfall films, was in fact set up by Richardson and Osborne predominantly to put these stage plays on to the big screen, which they did with the likes of Richard Burton and Laurence Olivier in the leading roles. Woodfalls fortunes fared even better when Reisz and Richardson collaborated with northern realist authors and theatre writers such as Alan Sillitoe and Shelagh Delaney and took the unusual step for the film industry of those times of appointing them to write the screenplays for the films. Like with the French New Wave, taking the cameras out of the studio confines and engaging in much larger amounts of location shooting was another revolutionary idea for the industry, and was not welcomed by mainstream critics. But social realism was the vastly insperitional for new film-makers, scriptwriters, and a younger generation of actors, including Albert Finney, Rita Tushingham, Shirley Anne Field, Tom Courtenay, Alan Bates, Rachel Roberts, Richard Harris and the like. Karel Reisz had the first big commercial success with Saturday Night and Sunday Morning (1960), while Tony Richardson made A Taste of Honey (1961) and The Loneliness of the Long Distance Runner (1962) and Lindsay Anderson engaged David Storey to script his own book of This Sporting Life (1963), which effectively brought New Wave Cinema to an end. The Loneliness of the Long Distance Runner is a challenging and inventive film from 1962, produced and directed by Tony Richardson, and starring Tom Courtenay with Sir Michael Redgrave and James Bolam in support. The Loneliness of the Long Distance Runner was the first British film to depict the brutality within the Borstal system later revisting in the film Scum (1979). The film caused outrage at the time and its anti-authoritarian agenda ran into problems with the British Board of Film Censors, which described its story as ‘blatant and very trying Communist propaganda, and particularly worrying for us because the hero is a thief and yet is held up to the admiration of silly young thugs. Critics also commented on how the film explored the novel features of the camerawork and editing for its time, the originality of the musical score, and debated the borrowings from the French New Wave, as well as, finally, the way in which the film continued to break new ground in British cinema of the day. Saturday Night and Sunday Morning was adapted from Alan Sillitoes first popular novel, and was about the new young working class. Directed by Karel Reisz and produced by Tony Richardson, Saturday Night and Sunday Morning stars Albert Finney, Rachel Roberts and Shirley Anne Field. The film was a revelation when it was initially released, not just for its realistic style, but also for its graphic portrayal of sex, extra-marital affairs, strong language, and, most contentious of all, abortion. Once again The British Board of Film Censors urged a general toning down of all the language and sex scenes. In particular, it required that the successful abortion scene promised in the screenplay and evident in Sillitoes original novel, be rendered ultimately ineffective and that the film-makers follow a policy of ‘social responsibility as far as possible. In conclusion the social realism fostered by New Wave Cinema made an indelible and lasting impression on British film-makers for many years, and can even be seen in such recent films as Pater Cattaneos, The Full Monty (1997), as well as Lynne Ramsays art-house success, Ratcatcher (1999). The spirit of the British Social Realist movement extended way beyond its own period and, indeed, still flourishes in British cinema today in filmmakers such as Shane Meadows. Bibliography http://www.answers.com/topic/realism?nr=1lsc=true http://en.wikipedia.org/wiki/Italian_neorealism http://www.open2.net/historyandthearts/arts/newwave_p.html http://filmstudies.suite101.com/article.cfm/social_realism_in_british_film http://en.wikipedia.org/wiki/Italian_neorealism http://en.wikipedia.org/wiki/French_New_Wave

The Issue of Happiness in Gooseberries Essay example -- Gooseberries E

The Issue of Happiness in Gooseberries One who seeks their own happiness through life will fail to do much good for others. A preoccupation with achieving this "ideal" state of happiness will certainly lead to an inconsiderate view of the world. Anton Chekhov's story Gooseberries portrays a man who has come to this realization. He has seen the consequences of pure unadulterated happiness, and describes his subsequent emotions as "melancholy". Why should an educated man, a veterinary surgeon none the less, have such issues with human happiness? This paper seeks to understand the question and relate it to the motives of the author, Anton Chekhov. It is important, first of all, to ascertain the meaning of the word happiness in the context which it is used in the story. This would be a good time to give the Webster's Dictionary definition of the word happiness. But is that really necessary? Who is Webster anyway to attempt to define a human emotion!? Instead, it would be more accurate definition if you simply think of your own happiness. What makes you happy? What do you do in order to attain happiness? Only after you answer these questions will you be able to understand the word in the way that Chekhov intended. Wouldn't it be difficult to suppress happiness? If you don't think so, just ask Bertha from Bliss. In the first paragraph of Gooseberries, the last line reads, "On this still day, when the whole of nature seemed kindly and pensive, Ivan Ivanich and Burkin felt a surge of love for this plain, and thought how vast and beautiful their country was". If beauty and love don't afford happiness, what does? It becomes apparent after reading and re-reading the story, what Chekhov means by the word happiness. T... ...easants at his home without fee. Chekhov also worked in clinics during times of famine and epidemic. Thus, Chekhov was exposed to all of "...the terrible things in life that are played out behind the scenes". Although Chekhov performed many good deeds throughout his life, it is likely that he felt as if he had not done enough. One reason why he might have felt this way was his long and painful battle with tuberculosis. As he writes near the end of the story: "I am old and unfit for the struggle, I am even incapable of feeling hatred. I can only suffer inwardly, and give way to irritation and annoyances, at night my head burns from the rush of thoughts, and I am unable to sleep...Oh, if only I were young!" Anton Chekhov was by no means old when he died from tuberculosis. But how it must make a man feel old knowing that his days are numbered.

Eros and The Modern World Essay -- Greek Mythology

In the ancient world there were two different images that could be presented of the god Eros. The first was that of a young man with wings and rings in his hands, illustrated by a statue that was created around 400 BCE by the sculptor Praxiteles (Fig.1). Second is the depiction of a mischievous baby by an unknown sculptor from the first century BCE (Fig.2). This second depiction also had wings but once again the bow was missing. If the god Eros is depicted as a child he is generally with Aphrodite his mother. Of these two depictions the most common in the modern world is the baby depiction. Even though the baby depiction is the most common, in some instances whoever is working with the depiction will choose to use the young man. Since both depictions are still used in the modern world, there are really only two significant changes since antiquity. First is the idea that Eros is one member of a race of mythical creatures. Second is the misconception that Eros is the god of love when he is really the god of sexual desire. Although Eros is commonly depicted in the modern world he is more often recognized by his Roman name Cupid. By using the name Cupid it becomes much easier to find depictions of the god Eros. For this assignment I have chosen to use three depictions from the modern world and one from the nineteenth century. Of these depictions, three come from video clips and one is a painting. All of these depictions encompass different aspects of the god. In some of these depictions he is the only cupid and in others he is just one of many. Another aspect these depictions cannot agree on is whether or not he is the young man or the baby. On top of both of these disagreements, one of the clips seems to contend that... ...ed Fig.6 MrPhanhonnhien. â€Å"Charmedvn tap 18-The Torn Identity_ part2.avi.† 19 July 2011. Youtube. Web. 20 March 2012. Video http://www.youtube.com/watch?v=mmbbm1L9hls&feature=related Fig. 7 heatmaster20. â€Å"Charmed-Forever Charmed Part 4.† 19 January 2009. Youtube. Web. 20 March 2012. Video http://www.youtube.com/watch?v=_InMQ7LuXwg&feature=related Fig.8 MrPhanhonnhien. â€Å"Charmedvn tap 18-The Torn Identity_ part3.avi.† 19 July 2011. Youtube. Web. 20 March 2012. Video http://www.youtube.com/watch?v=0UnTWByK5hc&feature=related Fig. 9 BluTaiger. â€Å"Pastoral Symphony 2/4: Centaur Courtship.† 12 January 2010. Youtube. Web. 20 March 2012. Video http://www.youtube.com/watch?v=0BzfBwyjkYM&feature=related Fig.10 ChrisTheGreek2007. â€Å"Comedy of Arrows part 1.† 7 March 2008. Youtube. Web. 20 March 2012. Video http://www.youtube.com/watch?v=830frPb6eaA&feature=related Eros and The Modern World Essay -- Greek Mythology In the ancient world there were two different images that could be presented of the god Eros. The first was that of a young man with wings and rings in his hands, illustrated by a statue that was created around 400 BCE by the sculptor Praxiteles (Fig.1). Second is the depiction of a mischievous baby by an unknown sculptor from the first century BCE (Fig.2). This second depiction also had wings but once again the bow was missing. If the god Eros is depicted as a child he is generally with Aphrodite his mother. Of these two depictions the most common in the modern world is the baby depiction. Even though the baby depiction is the most common, in some instances whoever is working with the depiction will choose to use the young man. Since both depictions are still used in the modern world, there are really only two significant changes since antiquity. First is the idea that Eros is one member of a race of mythical creatures. Second is the misconception that Eros is the god of love when he is really the god of sexual desire. Although Eros is commonly depicted in the modern world he is more often recognized by his Roman name Cupid. By using the name Cupid it becomes much easier to find depictions of the god Eros. For this assignment I have chosen to use three depictions from the modern world and one from the nineteenth century. Of these depictions, three come from video clips and one is a painting. All of these depictions encompass different aspects of the god. In some of these depictions he is the only cupid and in others he is just one of many. Another aspect these depictions cannot agree on is whether or not he is the young man or the baby. On top of both of these disagreements, one of the clips seems to contend that... ...ed Fig.6 MrPhanhonnhien. â€Å"Charmedvn tap 18-The Torn Identity_ part2.avi.† 19 July 2011. Youtube. Web. 20 March 2012. Video http://www.youtube.com/watch?v=mmbbm1L9hls&feature=related Fig. 7 heatmaster20. â€Å"Charmed-Forever Charmed Part 4.† 19 January 2009. Youtube. Web. 20 March 2012. Video http://www.youtube.com/watch?v=_InMQ7LuXwg&feature=related Fig.8 MrPhanhonnhien. â€Å"Charmedvn tap 18-The Torn Identity_ part3.avi.† 19 July 2011. Youtube. Web. 20 March 2012. Video http://www.youtube.com/watch?v=0UnTWByK5hc&feature=related Fig. 9 BluTaiger. â€Å"Pastoral Symphony 2/4: Centaur Courtship.† 12 January 2010. Youtube. Web. 20 March 2012. Video http://www.youtube.com/watch?v=0BzfBwyjkYM&feature=related Fig.10 ChrisTheGreek2007. â€Å"Comedy of Arrows part 1.† 7 March 2008. Youtube. Web. 20 March 2012. Video http://www.youtube.com/watch?v=830frPb6eaA&feature=related

Essay --

The British occupation of Ireland was a major part of Ireland’s history. The British were brutal in their treatment of the Irish people, the Irish language, and the Irish culture. The Irish formed the Irish Republican Army or IRA in order to fight back. Through the independence movements and efforts of the IRA as Britain continued to brutalize the Irish country and its people, sentiments about what needed to be done or how to handle the British changed and Sinn Fà ©in broke away from the IRA. The connections between these two groups, their similarities and differences, are important parts of the legitimacy of the Irish movement for independence and the future of Ireland. The changes that have been made in these nationalist movements, particularly in the prominence IRA and Sinn Fà ©in, as time went on that has enabled a form of these movements to persist even until today. There were different types of people who were part of this nationalist revolutionary group that wanted to give Ireland back to the Irish. MacDonagh separates them into three categories, â€Å"first, those concerned with the ‘Irishing’ of Ireland; secondly, those which attempted to comprehend and build upon emergent rather than traditional factors in Irish life; and finally, those which tried to subordinate the local issues to larger, more universal themes.† . This is not always black and white and many of the Irish nationalist groups combined some of these goals. In regards to what MacDonagh says about the different categories or goals, the IRA seems to me to be a mix between wanting a more Irish Ireland and wanting to expand upon some of the new factors that made up Irish life. Sinn Fà ©in, on the other hand seems to be more of a mix between wanting to expand upon the new ... ... members, Sinn Fà ©in has persisted. Their belief in civil disobedience or more peaceful actions has brought them through the centuries and into the modern age. This peace is still a major part of their policies in the modern age as one of the largest political parties in Ireland. Through peace Sinn Fà ©in wishes to unify Ireland once more, and help their economy by uniting the Irish people in this common economic cause. They also are large proponents of peaceful international relations with the rest of the world. I feel that keeping their focus on peaceful change will help them to establish even larger influence all over Ireland and help them in their goals. Just as their belief in peace brought them into the modern age, it can also ensure the party and its supporters persist and bring them successfully into the future eras, whatever they may hold in store for Ireland.

Behavioral Management

Today most of the organizations are struggling to provide the employees a vivid and transparent way to achieve individual success, just because they avoid prospects to evaluate their behaviors. This situation raise different questions of what procedures to follow and what necessary measures have to be taken to be prominent and what parameters must be set to carry on with routine jobs in a smooth and efficient manner.For example, mutual discussions with the employees to find out their prospective and to know how they conceive given directions play key role to move ahead in any task professionally.In numerous organizations, employees face difficulty to make friendly relation with their superiors or managers. They could not explain their intentions, although most of them want to be an outstanding performer but either their job task does not match their capability or some times their performances can not be recognized by their bosses. Even though in some cases, if they would succeed to s how their performances and efficiency before their superiors, the management then, behaves like an ordinary manner, which causes depression among the workers eventually make them de-motivated.â€Å"It's easier to sell something to a group which has already invested in the product. Codes of conduct are an important first step to managing ethics in your workplace. † (Priest, 1999) Many employees even don’t have any knowledge about what management expects from them unless there are being told by their bosses to make them active and self-accountable. Most employees come to know about their performance appraisal with negative/worse seniors, when they are given a walking paper. Managers would move into fewer dilemmas, how to manage behaviors of their staff. Employee PerformanceConventional performance management approaches are followed by several organizations based on their nature of businesses and sizes. If employee X and employee Y do their jobs and both have different na ture and different ways in which they conceive their assignments. But management as a whole carries out similar rules and regulations for every employees and expects that every employee will behave monotonously. A little consideration of the issue enables us to get the conclusion that the execution is not preservative, and a amount of the factors that impress an individual’s behavior are not handled directly by case-by-case approach.We are commencing to comprehend that performance is appeared due to the result of work system, and all its components, not just every individual employee. Employees impress each other's capabilities to do their single job projects. One bad fish can spoil the environment of the whole pond; similarly a bad employee can actually affect on many others, whereas a nice employee may not only act his/her own work, but also make a helpful hand to the others. The success of work depends upon the attitude towards argument, disagreement or disliking regarding at one’s job premises or at home.When the rules of communication would be learnt that how should argue and fight fairly, the positive difference can be seen in the relationships and others recognize the same in a friendly manner. It is even more significant if there is an appropriate association between supervisor or manager and staff member to increase behavioral skills and develop teamwork. One way of imagining this is that as the staff member works for the boss, the boss also works for them.In realistic terms, that possibly mean creating and getting resources so the employee can be successful, driving out barriers, treating troubles directly handled by the boss but not influence-able by employee, etc. It is called bi-directional influence. Barriers In Behavioral Management There are some unintelligent things that Managers do and they often destroy individual-behavior-evaluation-system. Mostly they take help from Admin. or H. R. Department in preparing the appraisal of the employee, that situation destroys the worth of performance evaluation procedure. Some negative approach between management and employee as under: –Untrained Managers In The Course When a case for misbehavior or unethical attitude of employees is sent to the manager of concerned department, the concerned manager does not take such cases on a professional ground. Upon shouting of the evidences, the managers often take wrong decisions based on no deep research and just listening to other employees. â€Å"Although no â€Å"hard† data support allegations of malicious behavior by laid-off workers, we can speculate that having management personnel accompany laid-off workers to their workstations and then escort them off the premises may provide a certain degree of protection against reprisals.† (Lewis, 2004) This situation often creates an unhealthy behavioral environment and employees to not take assignments willingly. Managers require a thorough training about the a ppraisal and its importance within the organization. In absence of this awareness, one gets an empty paper pursue. â€Å"It seeks to guide managers as they try to behave ethically and socially responsibly, without jeopardizing their careers or companies. † (Schminke, 1998) Untrained Employees It is essential to train employees in their part of the assessment course because it only works when both employee and manager work jointly, in affiliation.Both employee and manager require grasping the same realizing bout the purpose of making appraisal, about its preparation and anticipations from them. â€Å"We have chosen to use face-to-face training because we can model behaviors and have our participants practice, review and practice again. † (Tyler, 2008) One cause managers delay in respect of preparation appraisals is that believe it as dissipate of time even don’t care to see the points, mentioned in the said forms. Unluckily, most organizations consider it’ s only an inquiry of dictating, screaming or supplicating managers to get them completed.If the managers sense the forms are beneficial, they must do them. There is only way to get them done is to make them beneficial. One-Sided approach Consider the problem for management if each and every manager employed a different form, or different procedure, how would it be kept on one track and organized the same. Problem is that the management anticipates managers to employ a single instrument for every one, frequently a rating form. This sort of rigidity deals with lodging problems. Unluckily, management gets trapped with the obligations of acquiring appraisals prepared by managers.Possibly it is not their liability but it is a firm sign that the prevailing system is unsuccessful. â€Å"Without a people-based information management system to acknowledge and support the interrelatedness of all areas of behavioral risk, the movement from internal to external models will continue. † (J ohnson, 2004) Every manager is evaluated on a number of things in an appropriately operating organism, one of that would be accomplishment of the functioning management and appraisal process. The obligation stands with the management.If the responsibility is not driven out by the manager, the concerned boss ought to be assessing the manager. Conclusion Whilst grading may appear to afford an accusative way of assessing, the grading themselves is only as better as the standards employed to enhance behaviors of employees. They could be misleading, seeming to appear that there is a purpose valid assessment process in progress, in real, it does not happen. The worth of an employee regarding equal standing with another in the group is immaterial to the progress of any organism.It doesn’t make any difference that whether a folk is the most excellent or the most horrible towards the job, the only matter is his/her complete involvement to the objectives of the organization. The gradin g system can ruin the morale and faith of an organization, with the reason it is too hard to grade objectively, and employees almost disagree with such kind of grading. The cause is that many of employees think that they are well above average in work efficiency. References Lewis, Gerald. (2004). A subtle form of workplace hostility. The Journal of Employee Assistance. April edition.Kalinoski, Glenn J. (2005). HR firm finds niche in leadership. Westchester County Business Journal. October edition. Johnson, Robert B. (2004). Behavioral risk: a systemic approach: The Journal of Employee Assistance. September edition. Priest, Jim T. (1999). Managing business ethics. The Journal Record. Oklahoma City. January 15th. Schminke, Marshall. (1998). Managerial Ethics: Moral Management of People and Processes. Mahwah, NJ: Lawrence Erlbaum Associates. Tyler, Kathryn. (2008). Generation gaps: millennials may be out of touch with the basics of workplace behavior. HR Magazine. January edition.