Bus 642 Week 2 Assignment Essay Example for Free

Bus 642 Week 2 Assignment Essay Chapter 2 #1 (1/1) a What are the most prudent decisions she can make about her responsibilities to herself and others? The most prudent decision she can make about her responsibilities to herself and others would be to turn it in to the airline. Using information out of the proposal would result in her dismissal because she would be in violation of her firm’s Business Conduct Guidelines. b What are the implications of those decisions even if there is no violation of law or regulation? The implications of those decision even if there is no violation of law or regulation would result in her being unethical by taking credit for work she did not complete. Chapter 6 #1-5 (.5/.5) 1Distinguish between the following: a Exploratory and formal studies. â€Å"The immediate purpose of exploration is usually to develop hypotheses or questions for further research† (Cooper and Schindler, 2011 p. 140). â€Å"The goal of a formal research design is to test the hypotheses or answer the research questions posed† (Cooper and Schindler, 2011 p. 140). b Experimental and ex post facto research designs. â€Å"Experimental design is appropriate when one wishes to discover whether certain variables produce effects in other variables† (Cooper and Schindler, 2011 p. 141). â€Å"Ex post facto research design can only report what has happened or what is happening† (Cooper and Schindler, 2011 p. 141). c Descriptive and causal studies. Descriptive is finding out who, what, when, where or how much? Casual-explanatory is finding out why/how a variable causes change in another variable. â€Å"A causal-predictive study attempts to predict an effect on one variable by manipulating another variable while holding all other variables constant† (Cooper and Schindler, 2011 p. 141). 2 Establishing causality is difficult, whether conclusions have been derived inductively or deductively. Source? (1/1.5) Explain and elaborate!!! a Explain and elaborate on the implications of this statement. The relationships between variables are not apparent but what is clear are the possible outcomes. b Why is ascribing causality more difficult when conclusions have been reached through induction? The conclusion of extra information may be simply one reason of an observed fact. c Correlation does not imply causation. Illustrate this point with examples from business. The better a company goods and services are the more a company can offer its consumers. Low employee morale produces low employee productivity. 3 Using yourself as the subject, give an example of each of the following asymmetrical relationships: (.5/.5) a Stimulus-response When I’m called on in a meeting to respond to question my mouth gets dry and I start to stutter. b Property-disposition I am one of few females in my family without children and I am sensitive when comments are made about my biological clock ticking. c Disposition-behavior I am excited about changes at my company and as a result I am willing to go the extra mile to meet an upcoming deadline. d Property-behavior My parents taught me to treat everyone fairly and now I demonstrate fairness in all that I do. 4 Why not use more control variables rather than depend on randomization as the means of controlling extraneous variables? Randomization allows the influence of the extraneous variables to equalize and control variables confound a casual relationship. Source? (.5/.5) 5 Researchers seek causal relationships by either experimental or ex post facto research designs. (.5/1) a In what ways are these two approaches similar? These two approaches are similar in dependent and independent variables. Also They both determine time order relationships. They both attemp to eliminate the confounding effects of other variables on the IV-DV relationship. b In what ways are they different? Experimental design allows manipulation of variables and ex post facto research does not. Basically with ex post facto research it is what it is and there’s no manipulation. Chapter 4 #7 Wrong question! Should be Chap 14#7 How can MindWriter’s existing database of service complaints be used to accumulate service problem information in advance of the proposed research? What information should be sought? It depends on the degree of information found in the existing database. Information that should be sought is the service centers past issues and the service center’s responses to the issues. (0/1) References BUS 642 (1st ed). McGraw-Hill Create. Retrieved from http://online.vitalsource.com/books/9781121130166/

Jonathan Edwards the Great Preacher Essay examples -- Theologians

He was a man whose very words struck fear into the hearts of his listeners. Acknowledged as one of the most powerful religious speakers of the era, he spearheaded the Great Awakening. â€Å"This was a time when the intense fervor of the first Puritans had subsided somewhat† (Heyrmen 1) due to a resurgence of religious zeal (Stein 1) in colonists through faith rather than predestination. Jonathan Edwards however sought to arouse the religious intensity of the colonists (Edwards 1) through his preaching. But how and why was Edwards so successful? What influenced him? How did he use diction and symbolism to persuade his listener, and what was the reaction to his teachings? In order to understand these questions one must look at his life and works to understand how he was successful. In his most influential sermon, â€Å"Sinners in the Hands of an Angry God†, Jonathan Edwards’ persuasive language awakened the religious fervor that lay dormant in colonial Americans a nd made him the most famous puritan minister of the Great Awakening in North America. In order to understand Edwards use of language however, one must look at his early life and formative influences. His family undoubtedly shaped his religious career because â€Å"[H]e was the only son among the eleven children of Rev. Timothy Edwards and Esther Edwards, the daughter of influential puritan clergymen Solomon Stoddard† (Wachal 1). Growing up in a religious family must have influenced his career path. Then â€Å"Edwards attended Yale School of theology at 13 years of age† (Paposian 1). This is important because at Yale, Edwards would create his own â€Å"unique style of preaching† (â€Å"Jonathan Edwards† Dictionary 1). Here â€Å"his theology which soon came to be known as Edwardseanism had developed in hi... ...l, 1989. 68-69. Print. Paposian, Edward M. â€Å"Jonathan Edwards America’s Theologian- Preacher.† In Faith of our Fathers: Scenes from American Church History. Ed. Mark Sidwell. 33-39. Greenville: BJU Press, 1991. Print. â€Å"Revival and Renewal.† American Eras. Vol. 3. The Revolutionary Era, 1754-1783. Detroit: Gale, 1997. 315-321. Gale Virtual Reference Library. Web. 17 May 2012. Stein, Stephen J. â€Å"Edwards, Jonathan.† Encyclopedia of Religion. Ed. Lindsay Jones. Vol. 4. Detroit: Macmillan, 2005. 2698-2701. Gale Virtual Reference Library. Web. 17 May 2012. Tulley, Stephen Richard. â€Å"Awakened to the Holy.† Sinners in the Hands of an Angry God! In Ritualized Context. â€Å"Christianity and Literature.† 57.4(2008): 507+. Literature Resource Center. Web. 17 May 2012. Wachal, Barbara Schwarz. â€Å"Edwards, Jonathan (1703-1758).† Colonial America. Sharpe. Web. 16 May 2012.

Analyzing “Frankenstein” †Formalist Perspective Essay

The formalist method of literary criticism is primarily focused on the text itself, rather than external topics such as history and background, the author’s biographical information, or the social contexts which surround a piece of work. In the formalist perspective, we ask ourselves, why did the author choose to write his or her work in this specific style? Why did he or she choose to include certain literary elements? â€Å"What matters most to the formalist critic is how the work comes to mean what it does–how its resources of language are deployed by the writer to convey meaning† (DiYanni 2076). A reader can employ the formalist method to decipher many meanings in Mary Shelley’s classic text Frankenstein. Shelley uses setting, foreshadowing, point of view, and characterization so that the reader can gain a sense of suspense and anticipation, which are all essential to the book’s distinctive gothic mood and tone. A fundamental factor of the formalist outlook is the setting of the text. Mary Shelley’s â€Å"Frankenstein† has a very dark, gloomy setting that reflects the hideousness of the monster and society’s reaction to him, as well as our own. A very important factor of the setting is the weather: â€Å"Our situation was somewhat dangerous, especially as we were compassed round by a very thick fog.†Ã¢â‚¬â€œ (page 8). The description gives the reader a feeling of interaction with the characters in the novel and with the environment also. The narrative generates a sense of suspense that entrances the reader. The text itself relies on the setting because the reader needs to feel the emotions arising from the novel and that’s why Mary Shelley integrated this into the story using the creature’s monstrosity and nature as an element of anticipation. As a result, these components are crucial to the book’s triumph. In chapter ten, we see how Victor reacts to his surroundings. While at Chamounix Valley, he feels consolation at the nature that surrounds him. At the same time, he notes that the landscape is characterized by disorder and destruction: the valley is plagued by constant avalanches, and it often seems that the mountains themselves will crash down on Victor’s head. â€Å"The ascent is precipitous†¦It is a scene terrifically desolate†¦where trees lie broken and strewed on the ground†¦Ã¢â‚¬ Ã¢â‚¬â€œ (page 93). As though he wanted to  conquer the mountains that are so dangerously overwhelming, he climbed to the top of Montanvert, one of the region’s most forbidding glaciers. While at the top, Victor begins to feel the massive power nature has over man. While Victor is undergoing a major change in his perspective, we see what effect the setting has on him. Victor being at the top of such a dangerous glacier also foreshadows the coming of danger. When the monster shows up, the reader begins to speculate as to what kind of confrontation Victor is going to have with the monster. If this same meeting between Victor and the Monster were set in a field of flowers, we would definitely have a completely different idea of the text, and it would change the story incredibly. The immense snow coverage, high altitude, and the dangers of the glacier give the reader a better understanding of the text. Mary Shelley’s novel left an impression on its readers because of its dark tone. She used deliberately used foreshadowing as a method of enticing the reader and drawing them into her suspenseful story. The story of â€Å"Frankenstein† starts off with Robert Walton’s string of letters to his sister, Margaret Saville. Walton’s letters utilize a literary device called framing, which sets up the major premise of the novel. The use of multiple narratives calls the reader’s attention to the telling of the story, adding layers of complexity to the intricate relationship between author and reader. As Walton listens to Victor’s story, so does his sister. As his sister reads Victor’s story, so does the reader. By using the framing method, Shelley may have been trying to link her novel to the oral tradition of telling ghost stories which inspired her to write her own novel. In addition to setting the scene for the telling of Victor’s narrative, Walton’s letters introduce an important character: Walton himself. Walton’s second letter introduces the idea of loss and loneliness, as Walton complains that he has no friends with whom to share his triumphs and failures, no sensitive ear to listen to his dreams and ambitions. Walton turns to Victor as the friend he has always wanted. His search for companionship parallels the monster’s desire for a mate later in the novel. â€Å"But I have one want which I have never been yet to satisfy†¦I have no friend, Margaret: when I am glowing with the enthusiasm of success, there will be none to participate my joy; if I am assailed by disappointment, no  one will endeavour to sustain me in dejection†¦I desire the company of a man who could sympathize with me, whose eyes would reply to mine.†Ã¢â‚¬â€œ (page 18). This similarity between man and monster becomes clearer as the novel progresses. It suggests that the two may not be as different as they seem. Framing helps the reader find the interrelation among the characters and come up with observations that would be concealed in other circumstances. The framing technique also makes the story more compelling because Walton will eventually see the monster at the end of the novel. The story about the creature would just be a story, if not for Walton’s personal encounter with Frankenstein and his creation. Shelley uses Walton and the framing perspective to add validity to the novel. Another important part of analyzing using the formalist perspective is looking at characters’ relationships and roles in the novel. Most obviously, in Frankenstein, there is the creator, Victor Frankenstein, and the creation, the monster. But what do these roles mean? A creator is one who brings something into existence; Victor literally creates the monster’s body piece by piece and it becomes his sole obsession in his scientific career, but Victor stops there. Once the monster’s body is created, it is abandoned, physically and mentally. This is where Victor fails his role as a creator; he fails to see through the full development and process of his creation. If Victor had taken the role of a mentor or father and helped his creation develop mentally, he and the monster would have been united in the book instead of becoming bitter enemies. Instead Victor repeatedly turns away, rejects, and loathes the monster: â€Å"My abhorrence of this fiend could not be concei ved!†Ã¢â‚¬â€œ (page 81). The monster however tries to fulfill his role as creation as much as possible. He is trusting in his creator, until he realizes that he has been abandoned and what he is to society â€Å"Was I, then, a monster, a blot upon the earth, from which all men fled and whom all men disowned?† Still yet, the monster realizes that as his creator, Victor is obligated to endow some happiness upon his creation: â€Å"Do you duty towards me, and I will do mine towards you and the rest of mankind.†Ã¢â‚¬â€œ (page 89). The monster now recognizes himself as a monster, but still knows it is Victor’s duty to aid him, and sadly concedes that society will never accept him for anything because of his appearance. One of the other roles portrayed  in Frankenstein is that of Master and Slave. Unlike the creator and creation roles, this relationship changes during the course of the novel. In the beginning of the novel, Frankenstein was working for himself and created the monster for the advancement of science. The monster had no power because he was dumped and abandoned in an unknown world; he barely knows what to eat at this point. Victor still lived in his society with his friends and allies. Later in the book, the balance of power begins to shift as the monster recognizes the great physical power he has, because Victor created it to be better that himself. Also Victor begins to find his power slipping when he cannot begin to turn to his friends and family because of what he has created and done. However, when the two meet, the power switches. The monster proceeds to tell his tale and uses his power of persuasion to use Victor. When Victor quits the female creation, the monster becomes supreme. During this period, Victor has almost no control because he created the monster to be better than himself, as the monster realizes early on. The monster knows that Victor cannot escape or keep up with him, thus is very open with his attacks against Victor. He knows that there is no retribution worse then the misery and hatred he has already experienced (and that was just for being created). Thus, he has nothing to lose; he shows Victor his supremacy by killing Elizabeth while Victor is in the house, and then escaping completely unscathed. During the scene in the graveyard, though, the power shifts once more between the two. The entire scene is filled with irony as the creation scoffs at the creator. The man of science invokes â€Å"spirits of the dead† and â€Å"wandering ministers of vengeance,† and the creator vows to destroy his creation. From this point on, the monster and Frankenstein are locked in a race towards oblivion. Neither have anything to lose, while both have all they have left in life to gain. The final satisfaction of the annihilation of the other and the peace of death is all that lay ahead of them. Victor becomes the haunting and trailing harasser to the monster. Neither have anyone to help them on their journey. The monster has destroyed all of Victor’s support, and in doing so, assured that he shall never be accepted by anyone. They have nothing left in their lives accept hatred for one another and thus, follow this hatred blindly into nothingness. Another trend in reading the story is Frankenstein’s lack of recognizing the creature as his own–in essence, not giving the monster his name–. This is the creature’s root problem. The monster is called plenty of names by his creator, from at best, â€Å"the accomplishment of my toils† to â€Å"wretch,† â€Å"miserable monster,† and â€Å"filthy demon.† The monster possesses familiar impulses to seek knowledge and companionship, but he has no name, and therefore, no identity. So, he cannot obtain these basic things he so longs for, which leads to his problems. â€Å"Monster† is extremely harsh, but is the first thing introduced into our frame of mind. The monster does not even give himself a name other than what has been previously stated. Sympathy for the anonymous being and our confusion of creator and created, as well as our interest in depicting the creature’s human side indicate an unconscious acknowledgement of Frankenstein. Walton notes the possibility of living a â€Å"double existence† representing as a self-divided mind in conflict with itself. The monster and his creator are two halves of the same being. Shelley doesn’t give the monster a name to clearly point out the contradictions but also, the connections between Frankenstein and his creation. Mary Shelley’s Frankenstein is an innovative work that weaves a tale of passion, misery, dread, and remorse that personifies the gothic novel. The mood for Frankenstein is set from the very first pages of the story. In a gothic novel, the setting is usually dark and brooding. The setting can bring about feelings of short-lived happiness, loneliness, isolation, and despair. Shelley’s writing shows how the varied and dramatic settings of Frankenstein can create this gloomy atmosphere and tone. The â€Å"dreary night of November,† where the monster first comes to life is a defining moment in the dramatic tale. Shelley can sustain the mood and create a distinct picture and it is admirable the way she begins to foreshadow coming danger. Shelley writes so that the reader sees and feels these scenes taking permanent hold on the memory. She also uses the framing perspective to add realism to the story. We, as the reader, are actually transported into the story through this method of point of view. We are seeing Frankenstein’s amazing tale through the words of Robert Walton and through the eyes of Margaret Saville. The connection between the two main characters,  Frankenstein and the monster, is crucial to the story’s success as well. The dynamic shifts, bonds, rifts that grow between these two set the pace and conflict throughout the story. We are able to notice how Victor’s own actions, as well as the monster’s choices, greatly determine the flow and direction of the novel. Had, for example, Frankenstein followed through and nurtured the monster (maybe giving it a name, at the least), they both would have become a great asset to society, instead of a menace. The uses of foreshadowing, point of view, and characterization help the reader to experience the life in which Frankenstein is accustomed to. The author depicts the time period, mood, and tone with the use of setting and plot structure, which is necessary to the understanding of the novel.

Analysis Of The Poem Owen Sheers - 1806 Words

Owen Sheers has written Mametz Wood after visiting the site of a World War One battlefield on the Somme in Northern France. The poem expresses the after math of a battle on the land. Mametz Wood was a battleground in which 4,000 Welsh men lost their lives. Now it is farmland where crops we eat today are grown. Remnants of the battle – strips of barbed wire, shells, fragments of bone, are still rising to the surface until this day. The Earth is now being peacefully tilled for food but there is still this violent past and memories of the lives that sunk away into it. Farmers, up until this day, are still ploughing up bones from soldiers buried in Mametz Wood 100 years ago. It’s been so long that the land is fertilised enough for crops to be grown. ‘Wasted young’ are being turned up under the plough blades. By the wasted young maybe Sheers is referring to the young lives being wasted at the battlefield or the fact that they have actually decomposed and turned into mounds of waste over the years. He is using emotive words and phrases to demonstrate feelings towards the futility of war. The first 9 lines of the poem ‘Mametz Wood’ describe how the farmers have been unearthing piece of pone over the years. Sheers uses moving metaphors, e.g. ‘the china plate of a shoulder blade’, to show how delicate and precious the fragments of bones found are. The author used a china plate as they are extremely delicate and easily broken. Some of theShow MoreRelated Welsh Poetry Comparison and Analysis2244 Words   |  9 PagesWelsh Poetry Comparison and Analysis This essay will consider two poems, both written by Welsh authors. The first poem to be discussed will be Dylan Thomas Do Not Go Gentle into That Good Night. Following this, the emphasis will progress to Owen Sheers poem, When You Died, where ongoing comparisons between the two poems will be made. The content of this essay will discuss the themes and ideas present in both poems, and the devices and techniques used to illustrate them. One of the distinctRead MoreEssay British Poetry4052 Words   |  17 Pagesthe dominant force, outside her borders, of R.S.Thomas has been followed by those of Gillian Clarke (1937-), Nigel Jenkins (1946-), Menna Elfyn (1951-), Gwyneth Lewis (1959-), Robert Minhinnick (1952-), Tony Curtis (1946-), and, more recently, Owen Sheers (1974-). Only in Scotland have their been significant formal innovators (Tom Leonard, W.N Herbert (1961-)). Wales and Northern Ireland (with the exception of Paul Muldoon) steer more traditional courses. By the turn of the millennium poetry inRead MoreCritical Metaphor Analysis Approach7941 Words   |  32 Pages | I. INTRODUCTION II. OBJECTIVES III. MAIN CHARACTERISTICS OF METAPHOR IV. METAPHOR AND OTHER LANGUAGE FEATURES ANALYSIS OF MARGARET THATCHER’S SPEECH TO 1987 CONSERVATIVE PARTY CONFERENCE IN BLACKPOOL V. CONCLUSION VI. REFERENCES VII. APPENDIX I I. ------------------------------------------------- INTRODUCTION