Wuthering Heights By Bronte Essay Example For Students

Wuthering Heights By Bronte Essay A.) Write a short (2-3 paragraph) summary of what you read for this week Thisweek I read about this servant girl named Catherine who is in love with hermaster. At first she thinks it would be impossible to fall in love with him,then when she does fall in love with him shes afraid he could never love herback. She is more afraid that he wont look inside of her, she is afraid that hewill look at her and seehis mail not a wonderful women that she is just hisservant girl. B.) 2 passages that you find interesting 1.) It is hard toforgive, and to look at those eyes, and feel those wasted hands. 2.) Let mealone! Let me alone! He doesnt love me and Im dying for it. It is enough! Ilike these passages because Catherine talks about how much she loves her masterbut never tells him. I think this is driving her absolutely crazy! I. We will write a custom essay on Wuthering Heights By Bronte specifically for you for only $16.38 $13.9/page Order now Introduction I think the books theme is about a girl who falls in love with aman who at first she thinks she could never fall in love with him, but then shedoesand now she is afraid she cannot have him. II. Quotes Loving! Didanybody ever hear the like! I might just as well talk of loving the miller whocomes once a year to buy our corn pretty loving, indeed! and obth times togetheryou have seen linton now here is the babyish trash. Im going with it to thelibrary; and well see what your father says to such loving. III. QuotesNonsense! do you imagine he has thought as much of you as you have ofhim? IV. Quotes If he doesnt see it I will be worth nothing for Iam in love with my master. V. Conclusion She doesnt get the man she is inlove with. In my eyes, I dont think she tried at all to get him. She could ofatleast told him but not once did she say a word to him, about how much of loveshe had for him. English Essays

Constance Weavers 12 Principles for Teaching Grammar

Constance Weaver's 12 Principles for Teaching Grammar For many years, when middle and high school English teachers would ask me to recommend a good book for teaching grammar, Id direct them to Constance Weavers Teaching Grammar in Context (Heinemann, 1996). Based on sound research and extensive road testing, Weavers book views grammar as a positive activity for making meaning, not just an exercise in tracking down ​errors or labeling parts of speech. But Ive stopped recommending Teaching Grammar in Context, though its still in print. Now I encourage teachers to pick up a copy of Weavers more recent book, Grammar to Enrich and Enhance Writing (Heinemann, 2008). Assisted by her colleague Jonathan Bush, Dr. Weaver does more than simply rework the concepts introduced in her earlier study. She delivers on her promise to offer a text thats more comprehensive, more reader-friendly, and more concretely focused on teachers practical needs. The fastest way to help you decide whether youd get along with Dr. Weaver, theoretically speaking, is to reprint her 12 principles for teaching grammar to enrich and enhance writingprinciples that underlie all the varied activities in her book. Teaching grammar divorced from writing doesnt strengthen writing and therefore wastes time.Few grammatical terms are actually needed to discuss writing.Sophisticated grammar is fostered in literacy-rich and language-rich environments.Grammar instruction for writing should build upon students developmental readiness.Grammar options are best expanded through reading and in conjunction with writing.Grammar conventions taught in isolation seldom transfer to writing.Marking corrections on students papers does little good.Grammar conventions are applied most readily when taught in conjunction with editing.Instruction in conventional editing is important for all students but must honor their home language or dialect.Progress may involve new kinds of errors as students try to apply new writing skills.Grammar instruction should be included during various phases of writing.More research is needed on effective ways of teaching grammar to strengthen writing. To learn more about Constance Weavers Grammar to Enrich and Enhance Writing (and to read a sample chapter), visit the Heinemann website.

Internet Privacy --private individual Essay Example | Topics and Well Written Essays - 750 words

Internet Privacy --private individual - Essay Example At any rate, it is important for people today to have Internet access to gain an advantage in their lives and perform better at work. However, a consequent and perhaps inevitable problem with this increased Internet usage is the issue of Internet security. Hacking is a persistent problem these days, in addition to malware or harmful viruses spread over the Internet that destroys files or programs, but the problem of hacking has gained big proportions due to its seriousness. Many people have suffered untold misery due to their sensitive personal information getting hacked like in cases of identity theft. Sensitive personal data are stolen and used maliciously by some individuals who have no qualms about destroying the lives of other people. In this regard, this paper discusses and tackles the important issues involved in Internet privacy of individuals. a) Background – the rapid spread of Internet use due to lower broadband connections had led to problems regarding the issue of privacy and security in the Web space (Hora, 2008:91). Incidents of identity thefts are on the rise, despite the development in Internet security Style and modus of Internet hackers had also evolved markedly (Poulsen, 2012:5). Rise of Internet-enabled transactions such as Web 2.0 increased hacking opportunities People need to be more aware and better educated on how to protect themselves while online against malicious software and equally malicious people out to get their data b) Thesis – people can better protect themselves if they are made aware of the dangers of data falling into the wrong hands, especially in the sensitive areas on their personal lives such as banking, personal communications, school records, and finally, confidential medical records. Awareness of the security risks enables people to take certain precautionary measures while they are on-line to protect against cyber-criminals. Among the more common crimes are on identity theft, digital piracy of copyrigh ted works (songs, films, books, etc.), pornography, in human trafficking, illegal drugs on sale, illicit firearms sold, and Internet gambling syndicates (Jaishankar, 2011:53). However, a focus of this paper is on banking-related on-line crimes causing at least 60% of all Internet crimes in terms of costs (Crescenzo & Rubin, 2006:36). Discussion (Main body) The bulk of Internet crimes are those related to financial transactions, such as those using the new digital technologies to transmit and receive monetary credits to bank accounts. Experts are of the opinion most of these crimes were committed by insiders, or people who had the needed access to penetrate the security barriers because they are authorized to do so. a) Emerging technologies - encourage more people to do their financial transactions on-line. E-services are now more prevalent than ever with new Web sites put up everyday Mobile commerce transactions are also on the rise due to new mobile applications Cyber payment syste ms now allow people to pay bills on-line faster and conveniently Digital banking (both mobile and Internet-based) allow people to move their funds b) Digital presence with existence of a Web site –

What Is The Nature Of Happiness Essay Example | Topics and Well Written Essays - 1250 words

What Is The Nature Of Happiness - Essay Example One might ask if happiness is a state of mind or an illusion that the emotion of a person would entice the mind of being happy. Different branches of philosophy and religions have their own definition and beliefs towards the nature of happiness. Also, there has not been a definite formula for each and every person to achieve a state in which both mind and body would be in a state of happiness. One should also face the fact that no matter how powerful the mind of a person is it is not enough and would never ever is enough to change the events that are happening around him that might stimulate the happy emotion he would feel at a certain point. Most of the renowned Greek teachers and philosophers were the students of Socrates. As a teacher, there have been countless of ideas that Socrates might have given his students that gave the present generation a very colorful Greek philosophy. One of these ideas might be the nature of happiness. But Socrates did not tackle much about this. In some of the published works of Socrates, he barely touched on this thought. When analyzed, Socrates just laid out the principles of what is right and what is wrong and the possible consequences of such actions. These consequences would mean that when the right thing is done, it will constitute to the person and to other person’s happiness. While doing something wrong might result to the self and to other’s sorrow. This thought however brought his students something to ponder on and expound. Then one can seek into the works of Plato towards the nature of happiness. (GÃ ³mez-Lobo, 1994; Haybron, 2011) As a student of Socrates, Plato seemed to have based his thought’s foundation with the works of his teacher. This gave the birth to happiness being based on justice. Here is the beginning of a society that most countries still pattern their form of government, the

Criminal Law & Immigration Law, Research Paper Example | Topics and Well Written Essays - 1000 words

Criminal Law & Immigration Law, - Research Paper Example In addition, whereas criminal law is under the powers of the states, immigration law is normally under the powers of the federal administration. With considerable and constant interactions, hard questions arises, such as, what degree does criminal law impact immigration law? Do their functions in influencing immigration continue to overlap? This paper will critically examine the interaction of criminal law and immigration law. In most cases, the most crucial issue that face noncitizen (undocumented immigrants) defendants charged with committing a crime is whether when convicted and sentenced for the crime, will result in some certain provisions contained in the Immigration and Nationality Act (INA), that will lead in his deportation from the US. Usually noncitizen defendants do not understand how critical this matter is until it turns out to be too late. The present provisions of immigration law make the consequences for committing a crime to be very severe. Noncitizens, who are convicted of seemingly minor offences such as theft, can face devastating consequences. The moment they are convicted and sentenced, noncitizens could face such severe consequences such as direct deportation, being permanently barred from returning to the US and a likely indefinite detention by the Immigration and Customs Enforcement authorities, regardless of the duration he has lived in the US, the family ties he has, or if he is legally in the US. In addition, the most of the noncitizen offenders are not represent during their immigration proceedings. As pointed out by Guild and Minderhoud (2006) many of them are kept in Immigration and Customs Enforcement (ICE) facilities in the course of their proceedings. When noncitizen commits crime, an aggravated crime he may be deported. As explained by Guild and Minderhoud (2006) the effect of an aggravated crime

Theatre Essays Samuel Beckett

Theatre Essays Samuel Beckett Discuss Samuel Becketts handling of identity in his plays Waiting for Godot and Happy Days. The work of Samuel Beckett can be seen to span both the Modernist and Postmodernist paradigms (Bradbury and McFarlane, 1991; Green and LeBihan, 1996), on the one hand being influenced by such canonical Modernist writers as James Joyce and Luigi Pirandello (Knowlson, 1996) and on the other relying heavily on Postmodern notions such as the transgression of the body, the performative identity and the failure of grand narratives such as language and truth. This point is made by Richard Begam in his study Samuel Beckett and the End of Modernity (1996): â€Å"Becketts conception of his undertaking, what we would now call his postmodernism, recognized that an absolute break with the past, a complete supersession of what had gone before, was itself the product of a teleological or modern form of thinking. Proust and Joyce therefore became not figures to be replaced or surmounted but telling points of reference in an ongoing dialogue between past and present.† (Begam, 1996: 14) Beckett’s position as a liminal writer, spanning two distinctly different but obviously connected intellectual regimes, allows us to examine not only his work but the larger context of critical and performance theory. With this in mind, in this essay I would like to look at two main areas of Beckett’s work that are both metonymous with changes in post-War theatre (and perhaps literature) as a whole. Firstly I would like to concentrate on the notion of Postmodernism as it relates to performance, looking at leitmotifs and tropes as they appear in Waiting for Godot (1955) and Happy Days (1961), and secondly I would like to go on to look at the whole notion of identity and its dissolution in these same texts before drawing conclusions as to what this treatment says about the place of performance in contemporary theatre and, perhaps, the wider context of society itself. First of all, however and as a foundation for my later exposition, I would like to offer a brief summary of Postmodernism. Postmodernism, as Fredric Jameson points out, can be best understood through its relationship and difference to Modernism, a philosophical and artistic concept that had it roots in the Enlightenment of the eighteenth century (Bradbury and McFarlane, 1991). In an artistic sense, the Modernist work was characterised by experiment and a rejection of the Romantic subjective self. Works such as T.S. Eliot’s The Waste Land (1989) and James Joyce’s Ulysses (1977) exemplify both the Modernist propensity for innovation and the removed authorial voice and we can certainly see this in many, if not all of Beckett’s theatrical works. Postmodernism, as Jean Francois Lyotard declared in his essay â€Å"The Postmodern Condition† (1991) reflected the breakdown and disillusionment felt by the failure of the very foundations of Modernism; foundations that included such hitherto accepted givens as truth, the self, the homogeneity of Literature and the Arts and many of the other systems of thought that Lyotard termed the ‘metanarratives’ (Lyotard, 1991: 36). Whereas Modernism sought newness and innovation, Postmodernism resulted in the adoption of style over content (Robertson, 1996: 3), the questioning of accepted constructs of knowledge (Foucault, 1989) and the language (Derrida, 2004) and, as we shall see with Beckett the exposure of the artistic machinery. This last point, I think, is crucial to an understanding of Beckett’s place as both a Modernist and a Postmodern writer. As I have already stated, we can recognise certain Modernist images and leitmotifs in Beckett’s work (Eagleton, 1992: 186): the starkly bare characterisation, the dour vision of humanity that we also find in Eliot and Woolf and the conscious effort to experiment and innovate but, underneath this, we also detect a distinctly Postmodern sensibility; one that delights in the deliberate exposure of the performative nature of both the theatre and life. In Waiting for Godot, for instance, there is a constant comic antagonism created between actor and audience, as ideas and lines of narrative are picked up and abandoned without the usual dramatic sense of resolution (Schechner, 1988). In the first Act for example, Estragon begins a joke that is never finished: â€Å"Estragon: Tell it tome! Vladimir: Ah, stop it! Estragon: An Englishman having drunk a little more than usual goes to a brothel. The bawd asks him if he wants a fair one, a dark one, or a red-haired one. Go on. Vladimir: Stop it!† (Beckett, 1955: 16)   Ã‚  Ã‚  Ã‚   The antagonism and frustration engendered by this un-ended joke is more than a mere literary device it is also a performance device that sets up a markedly different actor/audience relationship. Unlike, say, classical Aristotelian dramatic theory that asserts the imperative of the â€Å"incentive moment† (Hartley and Ladu, 1948: 14) the â€Å"rising action† (Hartley and Ladu, 1948: 14) and the resolution, here Beckett (as indeed he does throughout the play) creates a deliberate anti-climax that immediately calls in to question the binary between reality and performance. The same also could be said about much of the dramatic structure of Happy Days, as the workings of the performance are constantly exposed to the gaze of the audience. Here, for instance, Winnie second guesses the thoughts of the audience members as she talks to a passer-by: â€Å"Winnie:†¦What’s she doing? He says – What’s the idea? He says – stuck up to her diddies in the bleeding ground – coarse fellow – What does it mean? He says – what’s it meant to mean – and so on.† (Beckett, 1961: 32)  Ã‚   Here Beckett deconstructs the very essence of the performance itself, exposing the bewildered reaction of the audience to his own drama. In a Postmodern dissolution of identity boundaries, the performer here becomes playwright, audience, character and actor as not only are the thoughts of the character exposed but so too the thoughts of the audience. This is not the only deconstruction of performance Beckett employs in the play. We see, for instance, the questioning of dramatic convention; Happy Days is, for all intents, a monologue but it features two characters, it is about the movement of time but, ironically, the main actor is static throughout and although it is primarily a play about words and not actions it is peppered with pauses and space. All factors that point to both plays as being as much rooted in Postmodernism as Modernism. We have touched upon it already but the overriding sense in both Waiting for Godot and Happy Days is the search and struggle for identity and this also, as we shall see, has a marked impact on the performance of the play and what it means regarding the audience/actor dialectic. The social background to Happy Days was described, in an affective way by Harold Clurman in an early review: â€Å"Beckett is the poet of a morally stagnant society. In this society fear, dismay and a sort of a stunned absent-mindedness prevail in the dark of our consciousness, while a flashy, noisy, bumptious, thick-headed complacency flourishes in the open.† (Clurman, 1998: 235) It is against this backdrop that the characters in the play struggle to maintain their scant identities. Even before the action begins we are made witness to the difficulties in establishing an individual existence as the characters’, names, Winnie and Willie, straightway blur their respective personal boundaries. We see this also to a greater extent in Waiting for Godot, as Gogo, Pozzo and Godot, combine to form a linguistic homogeneity that suggests a group rather than an individual identity. The mise en scene of Happy Days is part Eliotesque wasteland: â€Å"Expanse of scorched grass rising centre to low mound. Gentle slopes downto front and either of stage. Back an abrupter fall to stage level† (Beckett, 1961: 9)   part Postmodern irony, as the backdrop reveals itself to be a self conscious trompe-l’oeil that represents â€Å"unbroken plain and sky receding to meet in far distance.† (Beckett, 1961: 9). Within this, Winnie literally stands as part of the scenery, only half visible that is, in itself, a symbolic representation of both time passing and the extent that she has already lost a great deal of her personal identity. As I have already hinted at, Winnie deconstructs the notion of movement and stasis; on a psychological level she moves quickly between times as in this passage where she and us are taken back into her personal history prompted by the news of a death of a friend: â€Å"Winnie: Charlie Hunter! (Pause) I close my eyes – (she takes off spectacles and does s, hot in one hand, spectacles in other, Willie turns page) – and am sitting on his knees again, in the back garden at Borough Green, under the horse-beech.† (Beckett, 1961: 14) Physically however she is literally trapped, unable to move or stop the flowing of time swallowing her completely. Her identity becomes fashioned by her memories as at first, in the initial Act, they form a reasonable homogeneity and then, in Act Two become more and more diffuse, more and more fractured until by the end of the play she exists as merely snapshots of a life that has been: â€Å"Winnie: Win! (pause)Oh this is a happy days, this will have been another happy day! (Pause) After all (Pause) So far. Pause. She hums tentatively beginning of song, then sings softly, musical box tune.† (Beckett, 1961: 47)   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   As John Pilling suggests in his study of Samuel Beckett (1976: 85), the playwright twins the enormity of the search for identity in an alienating world with the minutiae of everyday living, as Winnie spends a great deal of the play’s time conducting worthless searches for toothbrushes, or lipsticks or many of the other incidental objects of existence. Ultimately, her search for a personal identity is proved fruitless as she becomes subsumed in that which surrounds her, perhaps a particularly twentieth century vision of the struggle of the personal psychology in the face of the modern city. Waiting for Godot, I think, concerns itself with similar themes and similar characters. Martin Esslin characterised Beckett’s Waiting for Godot as â€Å"concerned with the hope of salvation through the workings of grace† (Esslin, 1968: 55) and we can see that is certainly a major thread in the play. However, we can also note that it concerns itself not with a general salvation but with a very a personal one, with each character desperately searching for their own identity amid the alienation and ennui of the surrounding environment. Most of the play’s linguistic rhythm arises out of the characters’ attempt to assert their own identity in the face of the others: â€Å"Vladimir: Charming evening we’re having. Estragon: Unforgettable. Vladimir: And its not over. Estragon: Apparently not. Vladimir: Its only beginning. Estragon: Its awful. Vladimir: Its worse than being in the theatre.† (Beckett, 1955: 34)   The tooing and froing of the dialogue here is a perfect example of this point, with neither Vladimir nor Estragon willing to surrender themselves to the other. The same can be seen in a more graphic sense with the Pozzo/Lucky relationship that is, at its heart a Hegelian dialectic of the master and slave, with each party attempting (and failing) to break away from the other. In the comic scene towards the end of the play that depicts Vladimir and Estragon exchanging symbolic identities in the form of their hats (Beckett, 1961: 71-72) we can note Beckett’s observation on the ironies of Postmodern life: â€Å"Vladimir takes puts on Lucky’s hat in place of his own which he hands to Estragon. Estragon takes Vladimir’s hat. Vladimir adjusts Lucky’s hat on his head. Estragon hands Vladimir’s hat back to Vladimir who takes it and hands it back to Estragon who takes it and hands it back to Vladimir who takes it and throws it down.† (Beckett, 1955: 72)      The absurdity of this scene arises from the fact that each hat is the same, or at least very similar, so that it makes very little difference which hat ends up on which head. This is, I think, symbolic of the larger treatment of identity within the play; with the playwright suggesting the absurdity of the search for personal individuation. Are not identities much like hats, asks Beckett, remarkably the same? If Happy Days is a study of the search for identity under the crushing weight of time passing, Waiting for Godot is the search for identity within the lightness of forgetfulness. Time in the latter is meaningless, it passes with no affect in fact Estragon can not even remember the events of the day before. Within this, the characters desperately cling to the remnants of their identities whether that be in the form of an oppressive relationship to another, an item of clothing or the feint hope of someone who will never arrive. We can see then that the treatment of identity within Beckett’s two major plays mirrors the questions arising out of Postmodernism, questions that concern the nature of identity and the Self. For Postmodern theorists like Judith Butler (1999) and Michel Foucault (1990) the Self is a performative construct, both given to us by society and adopted as a mask and we note some of this sense in Beckett. Ultimately, then, Beckett’s work deconstructs the very notion of a theatrical performance, suggesting that this is merely one of a number of performances that occurs at any one time. The relationship, then, between the audience and the actor changes from one of passivity to one of dialogue as the former is exposed as relying as much on performance as the latter. This can be seen to be a reflection of Antonin Artaud’s assertions on the Theatre of Cruelty in his second manifesto: â€Å"†¦just as there are to be no empty spatial areas, there must be no let up, no vacuum in the audience’s mind or sensitivity. That is to say there will be no distinct divisions, no gap between life and theatre.† (Artaud, 1985: 84)   Beckett’s work says as much about the identities of the audience as the characters and as much about the performative nature of the wider society as the performance of the theatre. References Artaud, Antonin (1985), The Theatre and its Double, (London: John Calder) Beckett, Samuel (1961), Happy Days, (London: Faber and Faber) Beckett, Samuel (1955), Waiting for Godot, (London: Faber and Faber) Begam, Richard (1996), Samuel Beckett and the End of Modernity, (Stanford: Stanford University Press) Bradbury, Malcolm and McFarlane, James (eds) (1991), Modernism: A Guide to European Literature 1890-1930, (London: Penguin) Butler, Judith (1999), Gender Trouble, (London: Taylor and Francis) Cormier, Ramona and Pallister, Janis (1998), â€Å"En Attendent Godot: Tragedy or Comedy?†, published in Culotta Andonian, Cathleen (ed), The Critical Responses to Samuel Beckett, (London: Greenwood Press) Clurman, Harold (1998), â€Å"Happy Days: Review†, published in Culotta Andonian, Cathleen (ed), The Critical Responses to Samuel Beckett, (London: Greenwood Press) Eagleton, Terry (1992), Literary Theory: An Introduction, (London: Blackwell) Esslin, Martin (1968), The Theatre o f the Absurd, (London: Pelican) Foucault, Michel (1990), The History of Sexuality: Volume 1, (London: Penguin) Green, Keith and LeBihan (1996), Critical Theory and Practice: A Coursebook, (London: Routledge) Hartley, Lodwick and Ladu, Arthur (1948), Patterns in Modern Drama, (London: Prentice Hill) Jameson, Fredric (1991), Postmodernism, or the Cultural Logic of Late Capitalism, (London: Duke University) Kenner, Hugh (1973), A Reader’s Guide to Samuel Beckett, (London: Farrar, Strauss and Giroux) Knowlson, James (1996), Dammed to Fame: The Life of Samuel Beckett, (London: Bloomsbury) Lyotard, Jean Francois (1991), â€Å"The Postmodern Condition†, published in Jenkins, Keith (ed), The Postmodern History Reader, (London: Routledge) Pilling, John (1976), Samuel Beckett, (London: Routledge and Kegan Paul) Robertson, Pamela (1996), Guilty Pleasures: Feminist Camp from Mae West to Madonna, (London: Duke University) Schechner, Richard (1988), Performance Theory, (London: Rout ledge)

Serious Case Reviews in Childcare Sector

Unit 25Understand how to Safeguard the Wellbeing of Children and Young People Outcome 1. 4 Explain when and why inquiries and serious case reviews are required and how the sharing of the findings informs practice. Serious Case Reviews (SCR’s) are undertaken when a child dies (including death by suspected suicide), by a local authority (and more often than not by the Local Children’s Safeguarding Board) if abuse or neglect is known or suspected to be a factor in the death.SCR’s are not enquiries into how a child died or who was responsible; that is a matter for the Coroner's and Criminal Courts to determine. Instead the purpose of Serious Case Reviews is to: †¢ Establish whether there are lessons to be learned from the case about the way in which local professionals and organisations work together to safeguard and promote the welfare of children. †¢ Identify clearly what those lessons are, how they will be acted on and what is expected to change as a res ult. †¢ Improve inter-agency working and better safeguard and promote the welfare of children.Additionally, LSCB’s may decide to conduct a SCR whenever a child has been seriously harmed in any of the following situations and the case gives rise to concerns about the way in which local professionals and services worked together to safeguard and promote the welfare of children (including inter-agency and inter-disciplinary working). The two most popular deaths in recent years to be highlighted by the media which highlighted public concern about safeguarding concerns within the children are undoubtedly the deaths of Victoria Climbie and Peter Connelly (Baby P).In both of these cases there was public outrage, especially at the magnitude of Peter's injuries, and partly because Peter had lived in the London Borough of Haringey, North London, under the same child care authorities that had already failed ten years earlier in the case of Victoria Climbie. Her tragic circumstances had led to a public enquiry which resulted in measures being put in place in an effort to prevent similar cases happening. The child protection services of Haringey and other agencies were widely criticised following Baby P’s death.Following the conviction, three inquiries and a nationwide review of social service care were launched, and the Head of Children's Services at Haringey removed from post. Another nationwide review was conducted by Lord Laming into his own recommendations concerning Victoria Climbie's killing in 2000. The death was also the subject of debate in the House of Commons of the United Kingdom. The public’s viewpoint on the tragedy of Baby P was that it should never have happened as he was already known to social services and was seen as many as sixty times by social services, but still died horrifically at the hands of his carers.All of these incidents have resulted in a distinct lack of confidence in the work that social workers do and the childr en’s sector overall, and it will take a long time to rebuild that trust. The Baby P case in particular has damaged social work’s public image, led to fewer people entering the profession and made it harder to retain experienced staff. It is certainly the case that social work has a rather poor public image and that it seemingly can do no right whatever it does.At times, the profession is castigated for putting children at risk by failing to intervene early enough into family life, whilst on other occasions it is criticised for undermining parental authority by interfering too readily. Partnership working increased and tightened after the death of Victoria Climbie and included the implementation of the Children Act 2004 and the public enquiry into the circumstances surrounding her death. The inquiry, chaired by Lord Laming, found massive failings on the part of as many as twelve agencies with a role to play in protecting children.The findings led to recommendations for a radical reform of services, particularly in the areas of better joined up working and information sharing. Following this, several programmes and frameworks were later implemented into all establishments that worked with children, and these included â€Å"Every Child Matters† services, planned around children’s and young people’s needs and the improvement of the five key outcomes which contribute to their well-being: be healthy, stay safe, enjoy & achieve, make a positive contribution and achieve economic well-being.There was also the implementation of the Common Assessment Framework (CAF) system which enables multi agencies to access and add information about a child’s needs. The CAF is used at the earliest opportunity when it is highlighted that a baby, child or young person may need help in their lives in order to progress. It is used when there is concern about a child, or agencies have recognised a child has additional needs, that require further e xploration and a multi-agency response.The assessment provides further information and understanding of the child’s circumstances. Another more recently publicised incident, included the review into â€Å"Little Teds† nursery whereby a member of staff, Vanessa George abused toddlers at the nursery, photographed it and publicised it on the internet, showed a lack of staff supervision and training within the setting, which again caused public outrage.The serious case review for this incident report detailed a number of lessons learned, which included the danger of mobile phones within day care settings. As a result locally the use of mobile phones is now prohibited in any children’s centre within the Wakefield district, however it is recognised that this alone will not prevent abuse or transmission of images on the internet from taking place.Other lessons learned is that staff at Little Ted’s Nursery did not recognise the escalation of George's sexualised b ehaviour as a warning sign and there is an urgent need for staff working in early years settings to receive training to help recognise potential signs of abuse and become confident in responding to a fellow staff member's behaviour. As a result, training on â€Å"whistle blowing† and the need for policies and procedures to be in place has become a more urgent need in the childcare sector.Other recommendations set out by the Little Teds SCR include the need for The Early Years Foundation Stage to set out specific requirements for child protection training which considers sexual abuse and the recognition of abuse within the workplace; also the need for the Government to review and consider changing the status of day care settings operating as unincorporated bodies to ensure that governance and accountability arrangements are fit for purpose and are sufficiently clear to enable parents and professionals to raise concerns and challenge poor practice. Serious Case Reviews in Childcare Sector Unit 25Understand how to Safeguard the Wellbeing of Children and Young People Outcome 1. 4 Explain when and why inquiries and serious case reviews are required and how the sharing of the findings informs practice. Serious Case Reviews (SCR’s) are undertaken when a child dies (including death by suspected suicide), by a local authority (and more often than not by the Local Children’s Safeguarding Board) if abuse or neglect is known or suspected to be a factor in the death.SCR’s are not enquiries into how a child died or who was responsible; that is a matter for the Coroner's and Criminal Courts to determine. Instead the purpose of Serious Case Reviews is to: †¢ Establish whether there are lessons to be learned from the case about the way in which local professionals and organisations work together to safeguard and promote the welfare of children. †¢ Identify clearly what those lessons are, how they will be acted on and what is expected to change as a res ult. †¢ Improve inter-agency working and better safeguard and promote the welfare of children.Additionally, LSCB’s may decide to conduct a SCR whenever a child has been seriously harmed in any of the following situations and the case gives rise to concerns about the way in which local professionals and services worked together to safeguard and promote the welfare of children (including inter-agency and inter-disciplinary working). The two most popular deaths in recent years to be highlighted by the media which highlighted public concern about safeguarding concerns within the children are undoubtedly the deaths of Victoria Climbie and Peter Connelly (Baby P).In both of these cases there was public outrage, especially at the magnitude of Peter's injuries, and partly because Peter had lived in the London Borough of Haringey, North London, under the same child care authorities that had already failed ten years earlier in the case of Victoria Climbie. Her tragic circumstances had led to a public enquiry which resulted in measures being put in place in an effort to prevent similar cases happening. The child protection services of Haringey and other agencies were widely criticised following Baby P’s death.Following the conviction, three inquiries and a nationwide review of social service care were launched, and the Head of Children's Services at Haringey removed from post. Another nationwide review was conducted by Lord Laming into his own recommendations concerning Victoria Climbie's killing in 2000. The death was also the subject of debate in the House of Commons of the United Kingdom. The public’s viewpoint on the tragedy of Baby P was that it should never have happened as he was already known to social services and was seen as many as sixty times by social services, but still died horrifically at the hands of his carers.All of these incidents have resulted in a distinct lack of confidence in the work that social workers do and the childr en’s sector overall, and it will take a long time to rebuild that trust. The Baby P case in particular has damaged social work’s public image, led to fewer people entering the profession and made it harder to retain experienced staff. It is certainly the case that social work has a rather poor public image and that it seemingly can do no right whatever it does.At times, the profession is castigated for putting children at risk by failing to intervene early enough into family life, whilst on other occasions it is criticised for undermining parental authority by interfering too readily. Partnership working increased and tightened after the death of Victoria Climbie and included the implementation of the Children Act 2004 and the public enquiry into the circumstances surrounding her death. The inquiry, chaired by Lord Laming, found massive failings on the part of as many as twelve agencies with a role to play in protecting children.The findings led to recommendations for a radical reform of services, particularly in the areas of better joined up working and information sharing. Following this, several programmes and frameworks were later implemented into all establishments that worked with children, and these included â€Å"Every Child Matters† services, planned around children’s and young people’s needs and the improvement of the five key outcomes which contribute to their well-being: be healthy, stay safe, enjoy & achieve, make a positive contribution and achieve economic well-being.There was also the implementation of the Common Assessment Framework (CAF) system which enables multi agencies to access and add information about a child’s needs. The CAF is used at the earliest opportunity when it is highlighted that a baby, child or young person may need help in their lives in order to progress. It is used when there is concern about a child, or agencies have recognised a child has additional needs, that require further e xploration and a multi-agency response.The assessment provides further information and understanding of the child’s circumstances. Another more recently publicised incident, included the review into â€Å"Little Teds† nursery whereby a member of staff, Vanessa George abused toddlers at the nursery, photographed it and publicised it on the internet, showed a lack of staff supervision and training within the setting, which again caused public outrage.The serious case review for this incident report detailed a number of lessons learned, which included the danger of mobile phones within day care settings. As a result locally the use of mobile phones is now prohibited in any children’s centre within the Wakefield district, however it is recognised that this alone will not prevent abuse or transmission of images on the internet from taking place.Other lessons learned is that staff at Little Ted’s Nursery did not recognise the escalation of George's sexualised b ehaviour as a warning sign and there is an urgent need for staff working in early years settings to receive training to help recognise potential signs of abuse and become confident in responding to a fellow staff member's behaviour. As a result, training on â€Å"whistle blowing† and the need for policies and procedures to be in place has become a more urgent need in the childcare sector.Other recommendations set out by the Little Teds SCR include the need for The Early Years Foundation Stage to set out specific requirements for child protection training which considers sexual abuse and the recognition of abuse within the workplace; also the need for the Government to review and consider changing the status of day care settings operating as unincorporated bodies to ensure that governance and accountability arrangements are fit for purpose and are sufficiently clear to enable parents and professionals to raise concerns and challenge poor practice.

Macbeth Coursework Essay

Refer ring to the three main scenes that the witches appear in, write about the effect they give to the play as a whole and also how they influence Macbeth to behave as he does. Macbeth, a tragic story of how greed can corrupt the mind. Written in 1606 for King James the first, people did actually believe in witches. I my-self believe that William Shakespeare used the witches as the â€Å"fuel† for his play, I think this led to the massive success of â€Å"Macbeth†. When people thought of King James the first they may have also thought of witches. After all James did publicise his belief’s and thought in witches. He believed that they had an effect on his life. The people of his countries (England and Scotland) would have thought it was completely normal. Now a day, if someone accused someone of being a witch, the accuser would be looked upon in society as insane. The idea of witches over the years has simply dried out. In class we have watched and studied two different films based on Macbeth. One was â€Å"Macbeth on the Estate†. This was extremely different to what I expected. Produced in 1996 it’s quite a modern film. I thought it was incredible how they managed to use every word from Macbeth, (the play its-self) and fit it into a modern set. The film was filmed on an estate on Birmingham and the main characters were young street â€Å"yobs†! Personally I think it must have been a hard job for the film producers to re-film Macbeth into a modern time. Another film was just called â€Å"Macbeth† produced in 1971 it’s quite an old film. It was though exactly what I expected. It was a brilliant film and only a few features let it down. Music which I think plays a big role in films and plays because it allows us to understand the mood and feeling of the play/film. I think technology was to blame for this though! Did the witches have an effect on the audience? Yes of course did. Why? Simply because witchcraft played an big part in the lives of the people who lived during the period of the 1500’s to the 1600’s. I mean, going out to town, bowling is all normal but what about going to see the local witch been executed publicly? 300 years ago this would as normal as any of the activities above. Back then I think people were fascinated with witches. Witches held so much mystery and had a force of fear surrounding them. Of course this is what people thought, if people went to see â€Å"Macbeth† at the theatre in Leeds, obviously I don’t think people would have as much interest as people 300 years ago. There would be interest in the witches – I’m not saying the opposite, but not as much as back then. I think it would make the audience wonder how and why the people of the 1600’s lived like they did. The witches appear in three main scenes in Macbeth: Act 1 scene 1 Act 1 scene 3 Act 4 scene 1 In act 1 scene 1 they, to me, introduce the play. Although we often forget that the play is all about witchcraft, thinking about it, the witches do play an important part in Macbeth. I think when Shakespeare wrote act 1 scene 1 his intentions were to grip the audience at the very beginning. The witches do not appear to do anything in this scene it seems as if they’re there to introduce them-selves, they don’t really appear for a reason. I think it’s just to hype the audience up for the rest of the play. In act 1 scene 3 the witches tell us basically what Macbeth is about. Shakespeare grips the audience even tighter when they say: FIRST WITCH: All hail Macbeth, hail to thee Thane of Glamis. SECOND WITCH: All hail Macbeth, hail to thee Thane of Cawdor. THIRD WITCH: All hail Macbeth, that shalt be King hereafter. I think Shakespeare here uses repetition really well. It adds mystery and feeling to the play. A Victorian audience at this moment must be really â€Å"into† the play. The mystery deepens even more when less than a few scenes away a messenger arrives to tell Macbeth that he is now Thane of Cawdor. A modern audience at this point must shiver with excitement. A Victorian audience may have done the same, after all these people did fear witches in their day. In act 4 scene 1 I don’t really feel that this scene does much for the play. Some people may disagree and I can see why. I mean people sat their reading the book must be thinking, â€Å"how the hell can a tree move?† This is because Macbeth says: MACBETH: Who can impress the forest, bid the tree Unfix its earth-bound root? This will keep the reader wondering, â€Å"I wonder when this prophesy will come true?† I think they would think this because they want to see how the tree ends up moving this was clever on Shakespeare’s part this would have helped keep the audience interested. There are three prophesies all which tell Macbeth when to start worrying. The language the witches use is strange even for Shakespeare’s time! Another thing is that the lines are shorter than the lines in other parts of the play. I don’t think this is a coincidence, I personally think Shakespeare did this to keep the witches rhymes simple. I think he did this to keep the audience interested and not put them off. The use of rhyme – people often forget that poetic writing doesn’t have to rhyme, in fact in the play there isn’t really much rhyming going on, but when the witches speak in Macbeth there’re speeches do rhyme unlike most parts of the play. To add even more mystery to the witches they use strange ingredients in their potions! I mean we all expect strange items but not that strange. Cat’s tongues, guts, eyes what more do we want? I think this would have helped Shakespeare with his audience. I think they would have loved the idea of witches around a cauldron especially James! Going back and looking at these two scenes: Act 1 scene 3 Act 4 scene 1 We see that Macbeth is involved in both scenes. In act 1 scene 3 we see Macbeth as a worrier for his country, a gentleman. In this scene he â€Å"bumps† into the witches with Banquo his best friend. From what I can tell Macbeth is a bit shocked I think this because he basically asks them what they are, I think he doubts that they are human. I think this because Macbeth says: MACBETH: Speak if you can: what are you? The witches then tell Macbeth that he shall be Thane of Cawdor then King. Banquo interrupting seems more enthusiastic about talking to the witches who then tell Banquo his children shall be Kings. Maybe Macbeth is trying to take in what he’s just been told. I think Macbeth wants to believe the witches but he doesn’t want to get his hopes up. That’s why he’s looking for a reason, he asks: MACBETH: By Sinell’s death I know I am Thane of Glamis, But how, of Cawdor? The Thane of Cawdor lives A prosperous gentleman; The witches then vanish and Macbeth is left talking to Banquo. I think Macbeth is still avoiding taking about him been King, he says: MACBETH: Your children shall be Kings. In Act 4 Scene 1 we see Macbeth as a murderer and a evil man or should I say – King. He barges onto the scene and demands answers from the witches I know this because he says: MACBETH: Howe’er you come to know it, answer me: Three apparitions then go on to tell Macbeth three things: One that he should be aware of Macduff, Two that he should he should be aware of anyone not born from a women’s womb and Three that he should we weary when the woods begin to move. I think at this point in the play Macbeth is worried about Banquo’s children and what the witches told Macbeth at the beginning of the play. I think this because he says: MACBETH: Can tell so much-will Banquo’s issue ever Reign in this Kingdom? The witches do not give Macbeth his answer. I think the reason for this is because if the audience know the answer to this question then they can figure out the end of the play. As I’ve already said, I do think the witches played an enormous part in Macbeth. I also think that they play a rather big part in Macbeth’s life after all aren’t they really the ones responsible for King Duncan’s death? I think they are. I think this because at the end of the day the witches gave Macbeth the idea of killing the witch. I think as soon as the third witch says: THIRD WITCH: All hail Macbeth, that shalt be King hereafter. I think this is, in a way the poison been injected into Macbeth’s blood. It’s only a matter of time before it begins to kick in, and when it does Macbeth will think up his plans to murder King Duncan. Another reason I think the witches are to blame is because Macbeth wouldn’t have done it with out them I think this because Macbeth says to his wife when she pushes him into murdering Duncan: MACBETH: We will proceed no further in this business He also says: MACBETH: So foul and fair a day I have not seen. I think the above proves he wouldn’t have murdered Duncan if he had not met the witches. I don’t think the witches are all to blame though, I don’t think Lady Macbeth helps either she’s always trying to push Macbeth into committing murder. Some people in the audience may wonder if Lady Macbeth is a witch or perhaps the witches have put a spell on her? I have seen two different versions of the witches on screen and both were extremely different. Obviously the two versions were Polanski’s version and Macbeth on the Estate. In Polanski’s version the witches were what you would expect, old ugly women who lived in a dirty smelling cave but in Macbeth on the estate’s version the witches were played by three children who lived in an old abandoned flat. I thought this was a rather interesting (and clever) concept. Both films were very good but if I had to choose one which I thought was the most effective (concerning the witches only) I would choose Polanski’s version. This is because the witches were exactly what I expect and want. You don’t want sweet little children playing the part of horrible witches. It just isn’t Macbeth. It rips the whole idea of witches into shreds or to be more precise it doesn’t follow the stereotype. Some people may think this is a bad thing but I would have to disagree with them. However in Polanski’s version the witches are brilliant they’re ugly, they’re old, they’re dirty and they’re naked. I also think Polanski’s version was better because we saw the witches using magic. For example when they faded out into thin air. It was what I expected and the reasons above are the reasons I choose Macbeth over Macbeth on the Estate.

buy custom Death and Loss in Dylan Thomas Poetry essay

buy custom Death and Loss in Dylan Thomas' Poetry essay Dylan Thomas was a great and famous writer and poet, who not only wrote poems and plays but also performed them himself. Thomass poetry was unique in that it was played in a verbal style as compared to other strict and common verse forms. This paper is a criticism analysis of Dylan Thomass poetry and especially in the poem Death and loss in Dylan Thomas poetry. Analysis of Death and loss in Dylan Thomas poetry The first part of the poem Death shall have no dominion and death shall have no dominion, dead mean naked they shall be one, with the man in the wind and the west moon is a about doom with no light or hope. In other words the first part of this poem simply points at doom. Dylan Thomas introduces this poem in a strong way but with no life or hope at all. He suggests that death can have no dominion on the dead and that the dead can still be one. He does not in any way suggest a way out or portray a ray of hope. (Thomas, 1971) The second part of the first paragraph, Dylan suggests that the dead can no longer feel pain or be subjected to torture. This means that in Dylans mind, his life or the life of the people he was referring to is fixed to in the meaning of their death. In other word Dylans poem simply means that the only hope of these people is in their death. This is because in their death, they shall be free from the blows and torture that they are currently experiencing in their lives. However other critics have suggested that this first paragraph shows great hope and redemption. The critics have argued that this poem is a poem of hope and that everything mad, harsh insane and evil is overcome in the event of death or after death. The best line in the poem that drew many good reviews of the poem is though lovers be lost, love will not. This according to many analysts is a sign of hope. They argue that this line means that love will live on even after death. They also argue that this line talks of the preservation of life. According to this analyst, this poem is a very positive poem. However, the nature and flow of this poem has no positive attributes. Other analysts call it a religious theme which is not about survival after death but purely about death and destruction both in life and after death. (Thomas, 2003) Dylan wrote many poems that deal with death. For example A refusal to moan this poem refers to end of self esteem and loss of identity as an indiv idual. The poems do not go gentle into that good night has been seen by many analysts as a cry for survival, or a lost cry. The most outstanding character that is seen from this poem is Dylans fear of being left by his father.The line rage, rage against the dying of the light is a sign of the emotions that Dylan was going through or that he felt at the loss. Other analysts have suggested that Dylans was writing about a universal experience .Mostly an experience of how men would react in such a scenario. It all has to do with death but also shows a way of facing the prospect the death of a loved one. Rage, according to Dylan was his reaction to the demise of his father; rage against his father and against death. This is because he had no power to change the course or his father death. Many good reviews on this poem state that one has to be sad sometimes and angry if need be. This poem shows also a rage against the things that would want to bury a person and the inability to change th em. However, other critics have argued that this poem does not offer an option to fight against the things that want to bury them but rage against them. Thus they argue that this is a cowardly way out. Dylan Thomas poetry has a unique flow is woven and dominated by speech rhythms. What was the effect of Dylan Thomas poems to the audience? Dylan Thomas did not only impact and leave a mark in the audience of his time but to date. Dylans poetry continues to draw reaction, views, reviews and criticism from many different people from different walks of life. These poems will continue to impact the generations to come. This is because Dylan Thomas remains a legendary figure of the century. He has also made a permanent mark in the literary history and field. Many recent writers are not only motivated by Dylans poems but also draw inspiration and ideas from these poems. This is simply because of Dylans extraordinary writing style that have touched and changed the very heart of poetry. Many scholars and analyst still can not capture the height of the unique nature of his poetry style. His writing or poetry style was refreshing and odd at the same time. However, Dylans was accused and is still being accused of drowning in language and on whiskey at the same time. However, this was not so, from the history Dylans early history and his sober poems, it is clear that Dylan was very committed to his poems and did not sleep or drown on his job. Dylans unique talent has long been remembered for many decades after his death and will continue to be remembered for many generations. (Thomas, 2000) The big question is who will fill his shoes? Did his talent die with him? What inspired Dylan Thomas to write his poems? Dylan Thomass poems clearly reveal and show a focus from his childhood and his believes. However, some of his poems shoow his believe in a sacred spiritual force that made his life worthwhile .The most outstanding aspects of his poems depict his uncertainty about the darkness and death. He probably wonders if the extensive darkness he experiences or thinks he will experience can ever be brightened. He does not see any hope in the darkness but is overwhelmed with the darkness. He expresses his anger and rage in his poems by a tactful manner and in a unique style. (Thomas, 2003) His unique style captures, attracts and draws attention. This is simply means that Dylan Thomass inspiration to write his poems came from his personal experiences and believes. Some of his quotes such as someones boring me, I think it is me, an alcoholic is someone you do not like and who drinks like you Clearly show how he viewed himself and his low self esteem. Was Dylans death related to the theme in his poems? This question has attracted many reactions, views, and suggestion on the subject. Many people have viewed it as an unfair comparison. However, from his quotes such as a good poem is a contribution to reality analysts suggest that he got what he wished for. Dylan Thomas indulged in heavy drinking from his early days, a vice that had a negative effect on his life as a whole and his marriage as well. His untimely death was because of his drinking. In his poems he talks about rage and anger towards things that he had no control over. His fear and anger for death is clearly seen in his poems. The theme of his poems was death. The poem a refusal to moan death was one of the most popular poems of his time. (Thomas, 2010) This poem was about death. Dylans attitude towards death is clearly seen in this poem. In this poem Dylan or the person he is talking about is concerned and mourns the absurdity of a childs death or an untimely death. To Thomas, the reality of death in his life was very im portant .The reality of death not only made him angry but was also a cause of concern this is because he was concerned mainly about the after life or after death. What comes after death or after his untimely death was a way for him to face his worse fears and experience first hand what happens after life or what happens after death. Conclusion Dylan Thomas was a legendary figure in that made an impact in his time and in the 20th century as well. Dylans poetry will continue to impact the world in many generations to come. The many critics and the criticism will not in any way change the impact that Dylans poems have had. The unique writing style will continue to make history in the generations to come. Buy custom Death and Loss in Dylan Thomas' Poetry essay

Plan an awesome office holiday party

Plan an awesome office holiday party If you’re the one tasked with planning this year’s work holiday shindig, this is not a task to be taken lightly. After all, you’ve got a full year to go until the next one, and everyone always remembers how awesome (or how terrible) the last big party was. It’s a lot of pressure! Its also a bit of a social and professional minefield, so we’ve got the tips to help you plan the party that will keep everyone smiling until next year’s.Know your budget.Some companies go all out for their holiday parties, renting big venues and setting up ritzy food. Other companies go for a more modest affair, having it in the office or opting for a cash bar. It’s important to know up front what kind of budget you’re working with- is it a hot wings budget or a caviar budget? And this may depend on what kind of year your company had. If it wasn’t a great year and this year’s party budget is more streamlined than years past, then the idea of hiring a huge venue might be unrealistic, and the chocolate fountain may have to wait for another occasion. The important thing to remember is that you can have a fun, well-planned party no matter how much money you’re working with. It’s just a matter of setting realistic expectations.Pick the right time.On TV and in movies, holiday parties all seem to be on Christmas Eve, or shortly before. In real life, the Dance of the Out of Office Messages can often start well before the holidays start. So to maximize your holiday party crowd, pick a date earlier in December. This has the benefit of catching people before they’re holiday cheer-ed out and also feels more inclusive for whatever winter holidays people happen to celebrate.The timing on the day of the party is just as important- do you want to have it during work hours or is it more of an after-hours affair? More and more, companies are hosting their parties during the work day to make sure that employees ca n make it and don’t have conflicts. Plus it can be very difficult to book venues and catering on weekends during the holiday season, so having a party at, say, 3 p.m. on a Thursday or Friday might give you more options (and cost flexibility).Send out invites as early as you can.As soon as you’ve got a date, time, and place nailed down, send out the invite. Most company parties involve all employees, but if you’re working with a more select group (like a departmental holiday party), make sure you’re targeting your specific invite list as soon as you can. And be clear about who’s included on the invite. If it’s just employees, say so. If spouses or families are welcome, be clear about that as well.Choose your team wisely.Call it #HolidayPartySquadGoals. Make sure you have people lined up to help you, whether it’s backing you up on making venue or catering arrangements or acting as an extra pair of hands to set up on the day of. After al l, you should get to enjoy the festivities too, and you don’t need the stress of trying to do everything perfectly all by yourself.Make sure everyone’s clear on the party expectations and boundaries.Never forget that this is, above all, a work party, and everyone should still be mindful of the professional setting. If there’s going to be alcohol flowing, send out a reminder about any alcohol policies- and maybe a few links to your local rideshare companies to help make sure people get home safely. If you want to limit things like drinking up front, consider doing a cash bar or offering drink tickets (limit 2) to make sure everyone’s enjoying themselves- but not too much- while celebrating with bosses and colleagues.Come up with something fun to do.Sure, â€Å"let’s eat, drink, and celebrate the end of the year† is a fine and time-honored holiday party activity. But consider having some fun or goofy activities if you’re going for a lig hthearted or less formal party. Ugly holiday sweaters are still having a moment, so why not have a contest for the most cringe-inducing sweater? Or maybe go for a holiday cookie bake-off, letting people bring in their finest holiday treats. (It’s a win-win, because free cookies!)Set aside some time for recognition.Just about every workplace has someone who feels comfortable getting up in front of a crowd and giving a toast or quick, heartfelt speech, so this would be a good time to schedule someone to give some year-end remarks. A bit of employee appreciation goes a long way, and even if your company doesn’t do gifts or bonus checks, a few words about everyone’s hard work throughout the year is always a welcome addition to the festivities.Whether your party will be at the Plaza or in the conference room, being prepared will help ensure that you maintain your sanity and that you and your colleagues have a great time being together and celebrating another producti ve year. Happy holidays, and happy planning!

A Brief for a financial case Essay Example | Topics and Well Written Essays - 500 words - 1

A Brief for a financial case - Essay Example o partners together with a team of experienced professionals, whom they hired, build a portfolio of investments that provided investors with a unique risk profile and substantial long-term returns (Bruner, p.672). Palamon’s investment strategy was to make bridge investments in companies that were in a process of moving from small, private ownership to the public capital markets. Palamon focused broadly on small to mid-sized European businesses in which it aimed to acquire control. To achieve its investment strategy of transforming from private to public ownership, Palamon required both funding and management ability. Palamon complemented their financial investments with advisory services to increase the possibility that the portfolio companies would successfully make it to the public markets. TeamSystem provided an excellent investment opportunity, but there were various challenges and risks facing the company, and Elson had to evaluate the viability of the investment in TeamSystem (Bruner, p.673). As Bruner, p.674, notes that Palamon investment process started with the development of an investment thesis taking into consideration the changes in the market, which included trade liberalization, new technology, and deregulations among others. Palamon looked for attractive investment opportunities using various ways. Palamon deal negotiations enclosed many issues including the management, the board composition and price of products of the company. In the investment process, the company looked for exit alternatives after they have fulfilled their objectives. Palamon identified an investment opportunity in TeamSystem, since the industry in which TeamSystem operated had extreme fragmentation and frequently changing regulations. Elson noted that, for the previous five years, TeamSystem Company had no audited consolidated financial statements. The significant players in the industry where TeamSystem operated were family owned firms which had limited access to global

Housing Declared Bottoming in U.S Essay Example | Topics and Well Written Essays - 250 words

Housing Declared Bottoming in U.S - Essay Example The central issue in the article is the state of the U.S housing market this year, prior to past trends and expected outcomes in future. The market’s collapse hits a bottom position in the 20th and 21st centuries, but different stakeholders show their optimism towards recovery and sustainability of favorable business in the market. Confidence of consumers, home seizure trends, supply of foreclosure and market healing processes in 2012 (Keith & Short 89) are central to the interest of the article. Different views are aired but one thing is for sure; the housing market’s performance is poor, with unpromising months to come due to recovery allowance period. The housing market’s recent performance is the issue at hand. Past recorded prices and house demands are not comparable to the current situation. The tortoise speed increase in demand is shedding some light to improved sales, but the optimal functionality of the market is far from being realized. The author’s point of view is not different from those of contributing stakeholders, evident that the housing market is on the verge of collapsing if not already collapsed. However, the author is one of the optimistic stakeholders, arguing that the market is taking a stable aspect and that its recovery is or will be sustainable in the next few months. The author’s opinion is substantiated by drawing evidence from numerous experts in housing matters. The housing market in U.S is actually bottoming. Hitting an all-time low since 1930s means that the trough has already been realized. This means that the article is right, and this is because the claims of the article are actually backed by evidence from various housing variables in the market. The claims presented by various parties including the author are right. The performance of the market is poor, with low response to recovery strategies (Olivier 150). Data has also been employed to reinforce the claims. All interviewees