Journal Assignment Example | Topics and Well Written Essays - 250 words - 8

Journal - Assignment Example e while women is receptive.In every culture, gender role is influenced by various sources including parental expectation, modeling by peers, and media images of male and female. For instance, Scandinavian culture appears to have a more egalitarian gender role such as norms of behavior and personal traits at home and work are not defined solely on gender.In contrat, Arabs have strict implication of gender role which expect women to cover head and walk behind husband.Across many cultures males are expected to be strong,independent, self – reliant, emotionally detached and women are taught to be nurturing, dependent, gentle and emotional.Gender role is the public expression ofone’s gender identity.In many cultures men learn to be aggressive and women learn to be passive.A family from the birth of a child imposes gender role on them and bring them up as male or female.Basically the attitude and behavior of male and female is molded according to the cultural environment he or sheis grown up

Are Gmos Good for Our Health Essay Example for Free

Are Gmos Good for Our Health Essay So, its been a long day, your exhausted, really hungry, and dont think too much about what you want to eat. You just know that you will go for anything tasty that is fast and easy to make. Choosing what we we want to eat in this way should be familiar to all of us, its the American way: We want it and we want it now, and it always has to be better, faster, and last longer. Due to our forever growing population this demand only gets stronger and stronger; alas our creation of genetically modified organisms. The dominating corporate in charge called Monsanto promised to create this miracle food that will feed countries around the world, last longer, and make our diets healthier. After finding out that these genetically modified foods can cause health problems and arent provided enough for the malnourished, third world countries, can we really say that the creation of GMOs are living up to what Monsanto is telling us? One of the main defenses for GMOs is to help out third world countries; places where starvation and malnutrition hit the hardest. An article for Times magazine titled Grains of Hope illustrates all the excitement and hope that GMOs will solve world hunger. Reporting that the new GM strain in rice creates a new species of rice called Golden Rice. â€Å"This new rice produces beta-carotene, which the human body converts into Vitamin A. † â€Å" Nearly a million children die every year because they are weakened by Vitamin A deficiency and an additional 350,000 go blind† (Robbins, 2012, pg 1). You would think that this golden rice would be the answer to all malnutrition problems, but unfortunately it is not. According to a New York Times article titled Can GMOs Help End world Hunger? , â€Å"golden rice will not grow in the kinds of soil that it must to feed the hungry. To grow properly, it requires heavy use of fertilizers and pesticides. For the poor, developing countries it is unaffordable. Plus the heavy amounts of pesticides could travel into the bloodstreams of people and make them resistant to essential antibiotics. Research shows that â€Å"an eleven year old boy would have to eat twenty-seven bowls of golden rice a day in order to satisfy his minimum requirement for the vitamin† (Robbins, 2012, pg 2). The Monsanto Corporation and other biotechnology companies have invested billions of dollars to gain control over what we eat. Their main goal is not to feed the world but to retrieve maximum profit. Part of how their doing so is by monopolizing farmers. They do so by creating a Technology Protection System. This system creates â€Å"terminator seeds. †These seeds are altered so that they are sterile. Meaning that after the crop grows, it will not produce more seeds for farmers to harvest and grow next season. Instead, they have to buy more seeds over and over again. Due to the corporate patenting and monopolization of GM seeds, farmers also have to use excessive amounts of chemicals on their crops. â€Å"It is frequently argued that the high debt incurred by Indian farmers and resultant farmer suicides (over 250,000 since 1997) have largely resulted from the need to purchase costly pesticides and expensive seeds each year because they contain a terminator gene† (Todhunter,2012). In the earlier times of GMOs, many farmers couldnt wait to try out these products because the World Health Organization came out and said that they benefited agriculture productivity, human health and revived infertile crops. The World Health Organization stated in their article, Weighing in the GMO Arguments: For, â€Å"Genetically engineered resistance to pests and diseases could greatly reduce the chemicals needed for crop protection. Farmers are already growing maize cotton and potatoes that no longer have to be sprayed with bacterial insecticide. They also included that removing lignin found in trees will get rid of toxic chemicals in paper and wood made products, being healthier for people and the environment. WHO also goes on to add that â€Å"Genetic modification to become more tolerant of salt [found in infertile soil] and drought. † An article I found to support these findings called GM crops aid plant neighbours talks about a study done in china where they modified strains of cotton DNA so that the crops could make their own insecticide and solve pest problems. The results were positive, the insecticide Bacillus Thuringiensis, caused a reduction in the use of insecticide because it got rid of the cotton bollworm, a major pest to cotton. The newly engineered cotton also created greater biodiversity by attracting more lady bugs, causing the population of aphids, another cotton pest, to decrease. In the article, an advocate for organic farming shares that she agrees with the modified cotton because â€Å"organic farmers avoid pesticides by using natural processes to encourage beneficial predators. Getting rid of pests by introducing predators and reducing the use of pesticides is very similar to organic processes. † The new pest resistant crop may have been beneficial for a little while but as time went on they are began to build up in our bloodstreams. A recent study done by researchers from the University of Sherbrooke Hospital Centre in Quebec, Canada found that ninety-three percent of maternal blood and eighty percent of fetal cord blood test positive for the Bt toxin Cry1ab, Proving that transgenic materials are not effectively broken down and eliminated during digestion. Another harmful chemical 3-MMPA, showed up in 100 percent of pregnant womens bloodstreams. The chemical 3-MMPA is produced when our bodies metabolize gluphosinate, also found in GMOs. A study done in Europe found that gluphosinate can cause cancer, DNA damaged, and reproductive toxicity. Another recent study done by European researchers found that after feeding rats a diet of GM corn through out their lifetime have developed tumors all over their body and died prematurely. One thing Monsanto might try to tell you is that there are no long term affects to genetically modified products. Truth is, over years and years of Americans eating meat been changed overtime so that it is plumper and lasts longer has caused a growing epidemic that especially effects children. The additives we have been consuming were designed to have longer shelf lives, but the chemicals added also mimic human hormones that have estrogenic qualities and anabolic steroids. Because of these increased uses in poultry production children are starting puberty earlier and earlier. The article, Additives and Hormones in Our Food: A Growing Epidemic that effects Our Children, Includes a table showing how the trend of the onset age for puberty decreasing; showing that in 1970 the onset age for puberty was 12. 6 years old. In 2000, that number decreased to 9. 8 years old. Another growing the epidemic that is not only effecting Americas children but America as a whole is obesity. And guess what, chemicals added to our food are linked to that too. Based off of what Stephen Perrine, author of New American Diet, â€Å"We have all sorts of chemicals put into our newly, genetically engineered foods. † The Pesticides, antibiotics and growth hormones that make our food more resistant to diseases and environmental stress contain obesogens. According to Perrine, â€Å"obesogens can cause heart disease,diabetes,obesity and high cholesterol. Most of the obesogens come from pesticides, non-organic produce, and GM corn-fed beef and chicken. For many years, GMOs seemed to be a great idea because they benefited agriculture productivity, human health and revived infertile crops. The whole intention for the creation of GMOs are great, they have proven to last longer and get rid of major pests and all but the fact that these modified organisms have caused major health problems to our people and havent benefited our poorer countries as they were suppose to, the invention of genetically modified organisms have done more bad than good. With that, people should be more careful about what they choose to eat. So, the next time you head out to go grocery shopping, look for labels for 100 percent organic foods, or go to the farmers market where everything is locally grown.

Iberian Landscape In Jamon Jamon Film Studies Essay

Iberian Landscape In Jamon Jamon Film Studies Essay Explain how Bigas Lunas use of the Iberian landscape in Jamà ³n, jamà ³n contributes to our perception of the films themes. Arguably one of the main concerns of the early 1990s cinematic work of Spanish-Catalan director Bigas Luna is that of place or space (Smith, 2000, 89), and it is within this context that the following discussion of Jamà ³n, jamà ³n (1992), the first film belonging to his Iberian Trilogy, will be placed. If location is key in setting up expectation with regard to theme in Spanish cinema (Jordan Allinson, 2005, 36), the way in which Bigas Luna utilizes the rural locale of Los Monegros is therefore central to the audiences ability to engage with the thematic discourse. In relation to Jamà ³n, jamà ³n, Deleyto (1999, 270) emphasizes the complex use of filmic and real space as the main device with which the principal themes of gender roles and national identity are communicated, themes which form part of what Fouz-Hernà ¡ndez (2005, 189) argues is an overall strategy to scrutinize Spanish stereotypes, or Spanishness (ibid., 189), from the viewpoint of both an outsider and insider. Consequently, by focusing specifically on the two aforementioned themes, the analysis in-hand will examine the Iberian landscape in terms of its allegorical function, whereby it continually negotiates the binary oppositions of femininity and masculinity, nature and manufacture, as well as geography and culture. Ultimately, as the concept of theme corresponds to the focus which unifies the central concerns of a film (Boggs, 1996, 10), I aim to show that it is this dynamic and ubiquitous integration of setting which, by aiding audience perception of the themes of gender and national identity, facilitates a more comprehensive understanding of the filmic work as a whole. Hochbergs (2007, 57) analysis of perception indicates that as film constitutes a communicative process, initiating an early connection with the audience is key to cinematic understanding; a type of engagement which is immediately evident in Jamà ³n, jamà ³n. In the opening sequence, the camera pans down from behind the silhouette of a bull hoarding to reveal a sparse panorama of Los Monegros, however as its bareness gives limited indication as to the location other than that of rural Spain, the setting is instantly set up as a symbolic mar de tierra, donde la aridez hace que todos los elementos destaquen (Alegre, 1991, 10. Consequently, the geographical landscape functions as an allegorical space against which stereotypes can be constructed, in turn alluding to the thematic treatment of characters, rather than as individuals, as symbols of certain kinds of Spanishness (Deleyto, 1999, 270). In highlighting its starkness as the means by which the audience is steered towards acknowledging the representative function of the characters, the geographical setting is performing an active role in the thematic narrative and can be viewed as a protagonist itself. A traditional reading of the earth as a signifier of fertility and motherhood, whilst rendering this seventh character inherently feminine (Deleyto, 1999, 273), is juxtaposed with the historical as well as visually apparent reality of Los Monegros as a terreno [à ¢Ã¢â€š ¬Ã‚ ¦] de secano (Madoz, 1850, 193). As a result, the landscape evokes an opposition between nurture and destruction which is subsequently mirrored in Carmen and Conchita; the former, an embodiment of mother-earth who uses her sexuality to provide for her daughters whilst the latter is a signifier of the arid land, given her excessive displays of voracious motherhood (Deleyto, 1999, 285). As Hochberg (2007, 26) states that symbolisation makes possible pe rception at a distance, the allegorical use of the natural surroundings can be understood as a way of drawing audience attention to the problematic representations of motherhood and femininity that thread throughout the film. The imagery connected with Silvia further demonstrates how the landscape is used to communicate a thematic narrative on gender roles. In her first joint appearance with Josà © Luis, the visual association between the hills and Silvias curvaceous breasts (Fouz-Hernà ¡ndez, 2005, 193) reinforces the link between the land and femininity, with the backdrop of the naked feminine surroundings figuratively mirroring Silvias nude upper body and thus affirming female spatial dominance in the scene. Equally, Silvia occupies a more central and superior physical position in the frame, as Josà © Luis is seen crouching down in order to taste her breasts. As Monaco (2009, 160) argues that the power of film lies in its capacity to state rather than suggest, the use of the Iberian locale to emphasise femininity can be understood as a direct attempt by Bigas Luna to thematically undermine dominant machismo in Spain, and in doing so is calling for the audience to rethink the overall relevance of Spa nish stereotypes. By describing his Iberia as a space in which [à ¢Ã¢â€š ¬Ã‚ ¦] locality is lived with uniquely sensual vividness (Smith, 2000, 107), Bigas Luna acknowledges a sexualised interpretation of the filmic setting. Hence, with sex central to the macho ibà ©rico stereotype (Holder, 1998, 35), the landscapes relation to male virility must be examined, specifically the films thematic portrayal of a stereotypical, almost grotesque version of Spanish masculinity (Jordan Allinson, 2005, 168). Given that our analysis considers the question of spectator perception, it can be proposed that it is precisely by Bigas Luna using the landscape to play with audience expectation that our focus is drawn to the thematic relevance of exaggerated displays of male sexuality. The shots of the Osborne bull hoarding, in both the opening sequence and the scene where Josà © Luis forces himself on Silvia, present a unique perspective from which to view Aragons paisaje desolado (Santabria, 2007, 16); expressly, via the rear outline of the bulls genitals. Whereas from the roadside the observer could straightforwardly identify the image and, in the case of a Spanish audience, its meaning as a famous brandy advert (Vilarà ³s, 1998, 235), viewing the bull hoarding from behind renders its significance difficult to decipher. Furthermore, the cameras focus on the bulls paquete, whilst rendering the perspective oversexed, also shows it to be fractured and so, as it sways unsteadily before the inherently feminine landscape, the shot captures a symbolic destabilization of stereotypical Spanish machismo. Consequently the manipulation of point of view in relation to the landscape (Deleyto, 1999, 273) is a way of asking the audience to take similarly critical view of Jamà ³n, jamà ³ns representation of excessive masculinity. Paradoxically, the relationship between men and the rural landscape contributes to the thematic commentary on gender roles and stereotypes, in turn highlighting the binary complexities associated with Bigas Lunas use of setting. In Raà ºls opening sequence, the use of a travelling shot across the dry land followed by an extreme long shot stresses the framing of him in these arid surroundings, with the distance blurring the boundaries between land and men (Fouz-Hernà ¡ndez Martà ­nez-Expà ³sito, 2007, 21). Given that Monacos (2009, 197) treatment of the diachronic shot indicates that unlike close-ups which deprive us of setting, long shots serve to emphasise context over drama and dialectic over personality, Jamà ³n, jamà ³ns thematic concern for stereotypes over individuals is thus resonated in Bigas Lunas negotiation of the geographic space. Furthermore, as the role of cinematography, and in particular camera movement, is key to how we perceive film by revealing the ideas and images that characters represent (Jordan Allinson, 2005, 46), Raà ºls engagement in a mock bullfight, a stereotypically Spanish and male activity (Jordan Morgan, 1994, 59), illustrates how the use of cinematographic conventions that incorporate the dynamics of setting serve, in effect, to define Raà ºl as the quintessential macho incarnate. Nevertheless, it can be argued that any masculine association of the landscape is merely established in order for it to be interrupted by femininity, as the opening sequence then cuts to Conchitas underwear factory where a female employee, Silvia, runs a sewing machine across a pair of mens briefs, then to another eating a ham sandwich. Given that psychologically the cut is the truer approximation of our natural perception (Monaco, 2009, 172), Bigas Lunas use of it here thus encourages the audience to make an instinctive association between both the preceding and subsequent image; the dramatic interruption by these feminine images figuratively implying male castration and the undermining of the machismo image which precedes it and thus reverting back to a reading of the landscape as inextricably feminine. The encounter in the cinematic space of femininity and masculinity reveals a further allegorical use of the rural landscape as a vehicle for thematic communication. The way in which both the huge bull hoardings and the Sansà ³n advertisement image of Raà ºls crotch penetrate the feminine soil as well as Raà ºls use of this poster to demonstrate his worthiness to Silvia, suggest a bold masculine invasion of the feminine panoramic. Yet, no matter how imposing these symbols of masculinity initially seem against the female landscape, they will never match the vast physical scale of Los Monegros given the immenses à ©tendues de terrain quon y trouve (Berthier, 2001, 30). Subsequently, the central position which appears to be given to the male is shown to be no more than an illusion (DLugo, 1995, 71), as it can be suggested that it is the female terrain which in fact enables these emblems of masculinity to be erect in the first place and therefore holds the power to castrate. Rob Stone (2002, 195) proposes that by flailing so dramatically at machismo Jamà ³n, jamà ³n destroys audience identification with the characters, nevertheless it is this exaggeration, maintained via Bigas Lunas allegorical use of the landscape, which contributes to the films thematic treatment of national identity. In the night-time bullfighting scene Rauls genitals are obscured by the darkness of the physical environment, with the sole light emanating from the moonlight of Mother Nature. Yet, instead of her glow framing the naked male body it delicately highlights the bulls horns and so this gentle treatment of the bull, a phallic emblem and symbolic representation of masculinity in Spain (Jordan Morgan, 1994, 59), combined with a refusal to reveal Raà ºls paquete, weakens the Spanish stereotype of potent machismo. Given the existence of a stereotypical notion of national identity in which male virility in particular is central (Morgan-Tamosunas Jordan, 1994, 60), the landscap es role here in challenging the validity of masculine phallic dominance can be understood as a way of highlighting the issue of problematic national identity in post-transition Spain. The juxtaposition of the rural landscape with the manufactured setting, a space of non-Spanish, globalizing [à ¢Ã¢â€š ¬Ã‚ ¦] capitalism (Fouz-Hernà ¡ndez Martà ­nez-Expà ³sito, 2007, 21), further evokes the ambivalence of national identity; an opposition which is reflected in the male protagonists association with setting. Whilst Raà ºls establishing shot sustains his visual association with the natural surroundings, Josà © Luis is situated within the artificial setting of his family home, a space highly reliant on external symbols of purchasing power (Fouz-Hernà ¡ndez, 2005, 192). Consequently, the initial relationship the males hold with their environment renders them personifications of the tensions between the old (Raul) and the new (Josà © Luis) in postmodern Spain (Fouz-Hernà ¡ndez Martà ­nez-Expà ³sito, 2007, 20). Subsequently, the clash between the manufactured and natural setting in the filmic space reinforces the discord of national identity, including frequent shots of lorries as symbols of consumerism crossing Aragà ³ns barren terrain and the underwear factory drawing Raà ºl away from his traditional ham warehouse, a space which is a showcase of hyper-Spanish and hyper-masculine associations (Jordan Allinson, 2005, 167). In addition, the use of Raà ºl body as a vehicle for commercial consumption via the underwear advertisements which litter the rural panoramic, helps undercut his strength as the physical embodiment of the prototypical macho ibà ©rico (Morgan-Tamosunas Jordan, 1998, 78) and therefore the waning relevance of this image in 1992 Spain. The binary opposition between manufacture and nature can be interpreted as a way of highlighting the national [Spanish] struggle between traditional and contemporary definitions of economic culture and identity (DLugo, 1995, 69). The infiltration of modernity is not simply presented as oppressive, as both Raà ºl and Silvia actively want to occupy the commercial space, with Raà ºl aspiring to own a Mercedes and Silvia desiring a shoe cupboard, both in parallel with Conchita as a representation of consumerism. As such, rural Aragon as an allegory of traditional Spain, is shown to be a place where the only possible escape is via materialistic transactions, reflecting late twentieth century capitalism (Holder, 1998, 33). The characters participation in both the manufactured and natural space thus alludes to a definition of national identity which is no longer based on static traditions, but one that is changing through globalisation, as the postmodernist deconstruction of identity [à ¢Ã¢â€š ¬Ã‚ ¦] means recognition of the fact that Spanishness is a shifting concept, encompassing plurality and contradiction (Labanyi, 1995, 397). The final perspective from which the Iberian landscape will be examined is revealed by Freixas (1992, 36) interpretation of its resonance not only in geographical but also cultural terms. Consequently, the barren space of Aragon can be seen as a canvas on which cultural references are painted in order to reinforce the themes of gender roles and national identity. The binary conflict of the physical landscape, as both manufactured and natural, nurturing yet destructive, is characteristic of Dalis painting Naturaleza Muerta, Viva. Likewise, the positioning of the factory, cars and coke can as symbolic dashes of globalisation against the natural space brings to mind the paintings primary interpretation of an erasure of boundaries (DLugo, 1995, 72), thus echoing the theme of problematic Spanish national identity in relation to globalised post-modern context. Bigas Lunas omnipresent allegorical use of the bull and the pig, two animals closely related to Spanish gastronomy and culture (Fouz-Hernà ¡ndez, 2005, 193), equally reinforces a cultural reading of the landscape. The Osborne bull itself, by historically transcending its original commercial connotations, became an integral part of Spains cultural landscape (Fouz-Hernà ¡ndez Martà ­nez-Expà ³sito, 2007, 22). Likewise, the geographical setting and the cultural significance of the pig are fused in the final sequence in a reworking of Goyas Duelo a garrotazos; la rà ©fà ©rence au peintre aragonais [Goya] dont le tournage sest prà ©cisà ©ment effectuà © dans la rà ©gion natale de ce dernier [à ¢Ã¢â€š ¬Ã‚ ¦] signalant une filiation artistique (Berthier, 2001, 60). Consequently, Bigas Lunas parodic choice of a fight with hams instead of cudgels renders el famoso jamà ³n [à ¢Ã¢â€š ¬Ã‚ ¦] a ser arma no del macho excelente y excesivo, sino de su opuesto (Vilarà ³s, 1998, 235). F urthermore, the aftermath of the duel sees the women return as a central focus to simultaneously bring together the thematic discourse in a parting pieta; the shot panning out to reveal the vastness of Los Monegros, its aridness evoking the power of mother earth which has drained the life from the men which stand before it and thus undercutting the myth of Spanish machismo in a culturally prestigious environment (Deleyto, 1999, 281). Monaco (2009, 172) affirms that we are seldom interested in the intervening filmic space, yet the cinematographic pan draws our attention to just that, therefore its use in the final sequence can be seen as a way of emphasising the resonance of both the geographic setting and its cultural implications. In conclusion, as film corresponds to a one-way system of communication which is composed with the intention of relaying a desired message (Monaco, 2009, 162), the discursive use of setting to reflect the dualities of gender and national identity constitutes a conscious attempt by Bigas Luna to thematically engage with the audience. By rendering femininity dominant and so subverting Spanish machismo, the Iberian landscape acts as the platform on which a critique of Spanish stereotypes is constructed. Furthermore, the juxtaposition of the natural versus the manufactured setting acts as a means of connecting with a Spanish audience through self-referential reflections on the process through which their identity has been reshaped by multinational capitalism (DLugo, 1995, 69). Hochberg (2007, 26) argues that our perception of a films themes comes not only from what we see but from what we do not see, therefore it is both the recurrent visual presence of the geographic landscape alongside its symbolic and cultural associations which renders it an effective device in aiding our understanding of the thematic discourse of a film which contempla irà ³nicamente los ritos de una cultura que [à ¢Ã¢â€š ¬Ã‚ ¦] està ¡ intentando desojarse de lo negativo del pasado pero tratando de no sustituir lo bueno tradicional por lo malo moderno (Evans, 2004, 41).

Monotreme Reproductive Biology and Behavior :: Mammals Wildlife Essays

Monotreme Reproductive Biology and Behavior Monotremes are mammals that are oviparous, or egg-laying. There are only 3 extant species of monotremes: the playtpus and two species of echidna. Their reproductive systems are highly specialized to facilitate both the production of eggs and milk. The male tract is quite simple. The female tract has qualities similar to those of birds, though female echidnas also possess pouches. The monotreme egg is also very specialized and somewhat similar to a reptile egg. Platypuses and echidnas have very different behaviors when it comes to mating, but their genetics are quite similar. Monotremes possess a few large chromosomes and several unpaired microchromosomes. The descendants of the first radiation of mammals, monotremes have characteristics of both placentals and marsupials, while still retaining characteristics of reptiles and birds in a combination all their own. Introduction At first glance platypuses seem to be an amalgamation of mammals, birds, and everything in between. In fact, their reproduction biology also has much in common with a variety of animals—reptiles, birds, placentals and marsupial mammals. Platypuses belong to a group of animals called monotremes. These egg-laying mammals have been a mystery to researchers since their discovery by Westerners over 200 years ago. The first specimens of platypuses brought back to England were thought to be hoaxes similar to mermaids (Moyal, 2001). Found only in and around Australia, there are only three living species of monotremes: the platypus (Ornithorhynchus anatinus) and two species of echidnas (Tachyglossus aculeatus, and Zaglossus bruijni). The word â€Å"monotreme† is Greek for â€Å"one-hole,† referring to the cloaca that is the exit for the urinary, reproductive, and excretory systems (Dawson, 1983). The creatures are oviparous--the females lay eggs that develop outside of her body. This paper will explain the background of the animals, the anatomy of the tract and egg, breeding behavior, and genetics behind this unique reproductive system. It will pay special attention to the similarities of the monotreme reproductive system to those of animals we are more familiar with. Background Monotremes are crepuscular animals only found in Australia and New Guinea.

Coach Carter Assignment

Coach Carter Management Assignment In the movie, Coach Carter, it is seen that the coaching style of Carter differs from most. In order to be eligible to play for the Richmond basketball team, the players must follow a strict regime outlined in a contract that they are to sign. Some of the rules are that each team member must maintain a 2. 3 GPA, be seated in front of all their classes, and wear a shirt and tie. As it is obvious, most coaches do not have such set of rules. Most coaches only require that the players show up for practice and that’s it.Looking closely at his method of coaching, there are both positive and negative aspects that surround it. Firstly, his rule of ‘all students must be seated in front of the class’ is perceived as a positive aspect. In the movie, it was said that Richmond had a very low success rate. Only 50% of students graduate from Richmond, and the majority of those were girls. This shows that the other half either stay back, or donà ¢â‚¬â„¢t pursue a higher education. With this rule enforced among the players, this will enable them to focus more in class as they will be closer to the teacher allowing them to understand what is going on in class.This will ultimately benefit them as they will be able to graduate and not be part of the 50% who stay back. Carter also required that the players maintain an average of 2. 3. This can be seen as both a positive and negative aspect. Carter made this rule because this is the average required for students to be admitted to college/university. In Carter’s eyes, these players are talented basketball players and if they are able to maintain that average, they will get certainly get into a college where they are offered a basketball scholarship. This shows the advantageous aspect of this rule.However, the negative aspect is that there are those who joined just to simply play basketball. As such, they will not like these rules. In the movie, it is seen that Richmond is a very violent area filled with gangs. If the players are not allowed to play basketball because they do not follow these sets of rules, they will not have a hobby and may potentially be involved in gangs. This is seen in the movie where the parents complained to Carter, stating that the only reason their son isn’t involved in gangs is that because they have a hobby such as basketball.One of the management theories seen by Coach Carter is the ‘Administrative Principles’ by Henri Fayol. This is seen through his applications of division of labour, discipline, and unity of direction. Division of Labour is seen where he decides who is the point guard for the team, and who should be the person who takes the three pointers. For example, Carter made Timo Cruz the person in charge of taking three point shots because that was his specialty. This coincides with one of the principles from the theory of ‘Scientific Management’ which says that managers should care fully select workers with the right abilities for the jobs.Discipline was evident during the court scene where a trial was held in regards to Carter cancelling Richmond’s basketball games because the players did not meet his expectations, i. e. GPA is lower than 2. 3. Carter said that if the students are unable to follow a simple contract that they agreed to, how would this make them be responsible people in the real word? As such, his use of making all members sticking to the agreements they signed taught them discipline. The principle of ‘Unity of direction’ was evident in the final basketball game.Carter would tell the team a certain plan, and all the players did what they had to do to execute the plan. A principle of ‘Bureaucratic Organization’, by Max Weber, was seen as well by Carter. Carter followed the principle of impersonality. The principle of impersonality states that the rules and procedures practiced should be the same for all. For exam ple, when a member is late for practice, they are to do pushups and suicides etc. When his own son came late, he made his son do the same and did not excuse him just because of their father-son relationship. This shows that Carter is equitable towards all.In my opinion, Carter is a good manager because not only did he make Richmond one of the most successful basketball team but does things that benefits the students on the team as well. Firstly, is because of the expectations that he sets out for each student. In order to continue playing for the school basketball team, they must sign a contract promising to achieve basic academic standards. This makes him a good manager because not only does he want the team to win their basketball games, but he cares for each and every individual member by making sure that they have the marks required for further education.Secondly, is that he is not afraid to take action. Sometimes, when things go wrong in a team, the manager/coach just let it sl ide because he/her is afraid of ruining the relationship between them and the team. As seen in the movie, Carter announced a lockout for the Richmond basketball team when he notices that the some of the students did not meet the 2. 3 average. This means that they were not allowed to access the gym for practice, or participate in any games. The reason he did this is because again, he wants the students to put effort into school in hope of a better life portraying that he cares for students on the team.Lastly, is that he promotes a good sense of teamwork. This ties in with the last example about the lockout. There were people on the team who met the 2. 3 GPA but there were some who didn’t. Instead of just banning those who did not meet the standards, he banned the whole team from playing. He wanted every member to support one another and succeed as a whole. Overall, Carter is a great coach because not only did he turn Richmond into a successful basketball team, but cared for ea ch and every member by ensuring that they have the marks needed for higher education etc.If I was the coach, I would mainly use principles from Henri Fayol and ‘The Hawthorne Studies and Human Relations’. Division of Labour, unity of direction, and equity would be found in my style of coaching. I would divide the work up by ability. For example, in basketball, if I was the coach I would make a person who is small but have good shooting skills be responsible for taking three point shots. By telling them that this is their job, this person would not drive into the key and go for a layup because they are small and would possibly be blocked. This job would be saved for a bigger person.As such, if each member played their assigned role, there would be no weakness as they will not conflict with other’s jobs that are not their forte. The idea of unity of direction where the leader makes a single plan and all members execute that plan is in my opinion, very effective. Th is is because I, as the coach, would want what is best for the team. With this mentality, I would devise a plan that is most effective. If the coach doesn’t come up with a plan, someone on the team might have their own ambitions, and do their own thing such as taking tricky shots to impress the crowd.This might result in a loss. I also believe in equity where managers should be kind and fair. This is because if coaches are nice to their players, this would achieve more productivity. The ‘Hawthorne Studies and Human Relations’ showed that people’s feelings, attitudes and relationships with coworkers affect their work and that those who are nicer to their employees will allow them to accomplish more work. As such, if I were a coach, I would use a mix of Henri Fayol and ‘The Hawthorne Studies and Human Relations’ theory.

Take these things off your resume ASAP

Take these things off your resume ASAP We’re not telling you anything you don’t know when we say that today’s job market is intense- across industries and professions, every job opening is met with a rush of talented and qualified applicants from around the country, all vying for the same spot. With hundreds (if not more) people applying for open positions, you better be sure that every aspect of your job-hunting game is razor sharp- including your resume. If you’re sending out resumes with any of the following things on them, stop what you’re doing and make some changes- fast.Salary requirements or historyUnless you’re responding to a job ad that specifically asks for your salary history and requirements (and if it does, include it in your cover letter, not your resume), save the salary talk for the negotiation once a job offer has been made. Your first impression and your resume should be all about what you can offer a prospective employer, not what you require from them.Persona l social media linksYes, you’re a person and it’s okay for prospective employers to be aware of this, but save your limited resume real estate for professional accomplishments and experience. In fact, it’s much more likely that there are things on your social media pages that could dissuade potential employers from hiring you than convince them that you’re the perfect person for the job.â€Å"Creative† fonts and imagesSure, it makes sense that you want to stand out from the job-hunting crowd and make a lasting impression on prospective employers, but using a wacky, magenta-colored font or embedding photos of you and your dog won’t bring you the kind of attention you’re looking for. Hiring managers are busy people with limited time, and won’t sift through a maze of creative flourishes to get to the heart of your resume and figure out if you have what it takes to handle the job. Help them by making your resume as professional and easy-to-follow as possible.A boilerplate objective statementA generic, boilerplate objective statement is typically a waste of space on your resume, as it likely just repeats the messaging you have in your cover letter, and often is full of tired clichà ©s (more on that later). Besides, hiring personnel know that your primary objective is to get this particular job, or you wouldn’t be applying for it.Outdated skillsAre you proud of your WordPerfect wizardry or your ability to operate a fax machine? That’s great, but keep it to yourself- shining a light on your mastery of outdated office technology will not only fail to impress potential employers, it will make you seem out of date. Also, don’t bother talking about your skills with obvious office tools like Microsoft Word, telephones, or email. In today’s job market, your ability to navigate basic office technology is a given, not a bonus.Resume clichà ©sAre you a â€Å"team player,† your officeà ¢â‚¬â„¢s â€Å"go-to person,† or a â€Å"passionate self-starter†? While these may all be true, these tired and worn phrases come off as weak and meaningless on resumes- they’re simply overused, generic clichà ©s that have long since lost their ability to impress hiring personnel and make you stand out from the crowd. Save your bullet points for targeted, measurable, results-driven facts that drive home your perceived value as a prospective employee.TyposThis one seems obvious, right? Well, you’d be surprised by how many people think that too, and then send out resumes with glaring typos on them. A nationwide survey released by CareerBuilder  found that 58% of resumes received by those polled had typos. Sloppiness is not a good way to introduce yourself to prospective employers!After crafting your resume until it’s just right, be sure to check it carefully for errors- and then check it again. Better still, have someone you trust review it as wel l. Only when you’re absolutely, positively sure that your resume is free from typos and mistakes should you even think about sending it out.Along with your cover letter, your resume is going to serve as your first impression, so there’s simply no room for error. Make sure that the things mentioned here are as far from your resume as possible, and you’ll be sure to make a better impression on hiring managers and prospective employers.