The most appropriate form of market research Essay

The most appropriate form of market research - Essay Example In the context of the study on 360 communication technique of marketing the market research process for the same is quiet identical to the concept of the old techniques. The processes conducted are implemented for the new techniques of communication to understand the needs of the new market and act in a more customer centric manner. The market research process first identifies the problem involved with the customers for the company. Identifying the appropriate cause of the problem helps to design the research in an effective manner. The main problem for the company is to conduct 360 communication techniques in a more cost effective manner by identifying the appropriate way of communication in a particular market. For generating more revenue from the new customers the company need to segment the market and choose the target market for the communication technique to be adapted. Then understanding the problems of the existing customers through various methods of 360 communication approa ch can help the company to cope with the issues and implement strategies accordingly. Finally the communication technique through public relation and social activity helps to convey the company’s approach towards the customers and receive feedbacks for the different strategies implemented by the company and understand the need of the target market which will help the company to improve in the sector in accordance with the market needs.Collection of data from the respondents through primary or secondary research reveals. the attitude of the

Male Bias In Heart Of Darkness English Literature Essay

Male Bias In Heart Of Darkness English Literature Essay It seems that the essential uncertainties and inconsistencies in Conrads metanarrative, the indirectness and ambiguous nature of the narrative Marlow gives. Marlow in Conrads Heart of Darkness has the typical nineteenth century view of women; women are not as good as men, they are not as smart and are not worth as much. There are only 3 women in the text, Marlows aunt, Kurtzs fiancà © and Kurtzs Amazon lover. None of these characters are not important to tale Marlow is telling. Marlow even says its queer how out of touch with truth women are, they live in a world of their own, and there had never been anything like it, and never can be (Conrad, 27). Even though there are few women in the text and they have very small roles, Marlow makes women seem significant when he talks about them. Marlow outright talks about the relationship between men and women The mind of man is capable of anything because everything is in it, all the past as well as all the futureà ¢Ã¢â€š ¬Ã‚ ¦ Very well: I hear: I admit; but I have a voice too, and for good or evil mine is the speech that cannot be silenced. (Conrad, 51) He goes on this rant the he believes only men are intelligent enough to understand what he is saying. He is saying that men cannot be silenced, but by saying this he is implying that there is a chance that male voice can be silenced. Its like he secretly believes women can somehow silence men. It seems that Conrads goal is to silence the women in the text. Marlow states They, the women I mean, are out of I, should be out of it. We must help them to stay in that beautiful world of their own, lest ours gets worse (Conrad, 63). The language he uses makes it seem like women keep the world of men from falling apart. Of course this is a male narrative telling the story of a man doing manly things. The Heart of Darkness exhibits a biased male view of women demonstrated by Marlows use of the sexual metaphor of penetration and other diction used in the text. Gilbert and Gubar argue that Heart of Darkness penetrates more ironically and thus more inquiringly into the dark core of otherness that had so disturbed the patriarchal, the imperialist, and the psychoanalytic imaginations à ¢Ã¢â€š ¬Ã‚ ¦ Conrad designs, designs for Marlow a pilgrimage whose guides and goal are à ¢Ã¢â€š ¬Ã‚ ¦ eerily female (Conrad, 44) (Gilbert and Gubar). The narrative seems to keep with the male-controlled design, with a hero conquer whom defeats hurdles and becomes one of the socially elite. The plot itself follows the typical male hero who saves the day and becomes a hero, just like the stories Bewolf, and the Odyssey. The storyline, however Marlow seems to sit on the fence as to whether he sides with the colonialists or the natives, and the story itself doesnt provide a closing and we never really know which side Marlow is on. Conrad shows some characters in his writing style that portray the Congo women, as well as his attitude toward the moral issues of social system in Heart of Darkness, as Là ©criture Feminine (Kristeva). He shows characteristic of feminism, which Kristeva associates with a genderless, pre-oedipal stage. Kristeva relates the semiotic as a female whose sexuality has not yet been constructed (Kristeva). While acknowledging that the fictive world of Heart of Darkness belongs to men, nineteenthcentury, imperialistic, European men, Sedlak, for example, says that Conrads women do display a separate consciousness (Crouch, 2). French feminists, such as Helene Cixous, state that the diction is essentially bi-sexual, one which proposes to analyze all the rigorous binary by bewildering the boundaries between the masculine and feminine and the binaries, such as; proper and improper, normal and divergence, rational and irrational, expert and subservience, by which civilizations live on. According to Eagleton, Most women are like this: they do someone elses-mans- writing, and in their innocence sustain it and give it voice, and end up producing writing thats in effect masculine. Great care must be taken in working on feminist writing not to get trapped by names: to be signed with a womans name doesnt necessarily make a piece of writing feminine. It could quite well be masculine writing, and conversely, the fact that a piece of writing is signed with a mans name does not in itself exclude femininity. Its rare but you can sometimes find femininity in writings signed by men; it does happen. (, 232). Bode claims that Heart of Darkness portrays a powerful female network, which frequently takes charge and assumes control of the novellas events (20). This may seem absurd because as the story opens, the narrator describes the Thames as a manly domain crowded with memories of men and ships it has borne to the rest of home or to the battles of the sea (Conrad, 18). It is a place to think about the dreams of men, the seed of commonwealths, the germ of empires (Conrad, 19). However these ships sailed only for the glory of the Queens highness, and when she meets the ship, it thus pass out of the gigantic tale (Conrad, 19) of masculine venture and splendor and into a domanin which apparently allows women on board. The issue is not one of elaborating a new theory of which woman would be the subject or the object, but of jamming the theoretical machinery itself, of suspending its pretension to the production of a truth and of a meaning that are excessively univocal (Irigaray). Therefore is it possible for a male text such as Heart of Darkness also be as popular if it was on a feminine text and not a masculine one? Well, while listening to Marlows narrative about his journey to fill in the blank spaces on the earth (Conrad, 22) or in this case Africa his journey seems to seem quite feminine; because he has to rely on others to help him, his motives are questioned, and he makes moral decisions that dont seem masculine. This is first evident when he has to get help from his aunt to get a job. This is something that was typical of women in the late 1890s. He seems humiliated when he has to ask would you believe it? I tried the women. I, Charlie Marlow, set the women to work- to get a job. Heavens! (Conrad, 23). Then before leaving for the Congo he has tea with his aunt and says good by, she gives him her blessing, like mothers of the Great War who send their sons of to battle, expcecting to have him return a hero. However, Marlow returns more tame than hero, m ore feminie than conquering hero. Then Marlow questions himself about being able to become a conquering hero when he says I dont know why a queer feeling came to me that I was an imposter (Conrad, 27), which is considered a feminine quality. Then when he gets to the Congo he eavesdrops on a conversation involving the station master and his nephew where they are plotting to foli Kurtz. Then he doesnt let anyone know what he heard. This makes him seem incapable and weak, which is again making him seem feminine. Why would Marlow still make this journey with all these doubts? The answer rests in his masculine boyhood when he was a child, there were many blank spaces on the earth, and when I saw one that looked particularly inviting on a map I would put my finger on it and say, When I grow up I will go there (Conrad, 22). When he got to the Congo it was no longer this virgin space, it now has rivers and lakes that have already been explored. All that was left for him was a river that is reminiscent of a giant snake with its head in the sea and body turning through the country. He concludes, the snake had charmed me. (Conrad, 23) According to Straus, It is Conrads text itself that stimulates the notion that the psychic penury of women is a necessary condition for the heroism of men, and whether or not Heart of Darkness is a critique of male heroism or is in complex complicity with it, gender dichotomy is an inescapable element of it (125). Marlow first views the map of the river as a snake in a Brussels office, where two knitting women operate as protectors of the gates of Hell. Marlow says, it was fascinating-deadly-like a snake-ugh! (Conrad, 23). When Marlow enters the chief officials office he is metaphorically entering the underworld of the snake river, the sinister female power Marlow wishes to explore in order to purge the feminine inside himself; however he ends up embracing this femininity instead of purging it. From the very start of the text Conrad exposes Marlows feminity, by first showing him as a submissive man, because he follows Buddha who believes in obtaining peace by being enlightened. This idea is directly contrasting the attributes of a conquering hero, which he is supposed to be in this story he is telling us. Then the text itself leaves us full of questions about who Kurtz is and how Marlow feels about Kurtz and his crime. Furthermore we dont really know what Kurtzs crime was. All of theses questions make us question Marlow. As Marlows expedition continues, we see more binary oppositions, as his compassion shifts between the white colonialists (whom are viewed as superior) and the blacks whom have been robbed of their culture and deprived of their homes. This is evident when he is outraged by the treatment of the natives as less than human as they are moving around as ants (Conrad, 29). He cannot stand the fact that the natives, who are creating the railway that will support the expansion of the colonialst, are being treated worse than most animals. You can see this viewpoint is evident in Conrads picture of the chain gang: A slight clinking behind me made me turn my head. Six black men advanced in a file, toiling up the path. They walked erect and slow, balancing small baskets full of earth on their heads, and the clink kept time with their footsteps. Black rags were wound around their loins, and the short ends waggled to and from like tails. I could see every rib, the joints of their limbs were like knots in a rope; each had an iron collar around his neck, and all were connected together with a chain, whose bights swung between them, rhythmically clinking (Conrad, 30). Then he goes on to depict them as black shapes crouchedin all the attitudes of pain, abandonment and despair and further describes standing horror-struckas one of these creatures rose to his hands and knees, and went off on all fours to the river to drink (Conrad, 32). Chinua Achebe in his article An Image Of Africa, states that Conrad in this passage is stereotyping the African as savage and primitive, deserving of our compassion but not our respect. However you can look at this passage as Marlow identifying with the natives and being disgusted by their treatment at the hands of the colonialists. Therefore he would be taking the natives side over that of the white colonalists; he feels sympathy for the unempowered female, because he may end uo powerless like the natves he has come to defeat and the marginalized women at home. Nevertheless, Brook Thomas (as quoted in Murfin) believes there is another way of looking at this depiction of the natives in a chain-gang; Even though Conrad had himself been there, he chose to tell his story indirectly through an idiosyncratic, first-person narrator, Marlow, whose narrative is in turn relayed by another narrator who presumably has not even been to Africa. This elaborate structure makes us aware of structure as structure; thus, the novel, doesnt pretend to offer us a perfectly clear, uncluttered, unbiased, perfectly natural view of the facts of the past (Murfin, 236). Thomas viewpoint validates the idea that the language and structure of this story allow for a lot different interpretations. Another important fact that most people overlook is that Conrad is Polish and is actually exiled in England. His second language is English and therefor he was also not always accepted as normalin the English society. Edward Said declares: Because Conrad also had an extraordinarily residual sense of his own exilic marginality, he quite carefully qualified Marlows narrative with the provisionality that came from standing at the very juncture of this world with another, unspecified but different (Culture and Imperialism, 24). Furthermore North describes how Conrads polish nationality was viewed as a racial differentiation by his friends in England. Conrads Polish accent was associated by them with the Orient, and further that his appearance and mannerisms were considered by H.G. Wells and Ford Mad Ford to be Oriental. Several critics thought he was Jewish. Another found him positively simian (North, 50). This view of him being different from his English friends also made him seem inferior, and may have lead to his understanding for the women and natives in the text. Marlows expedition is a journey toward the realm of multiple perspectives caused by the exiled life of Conrad. Said commented on the imperial background of Conrads Heart of Darkness; Like most of his other tales, Heart of Darkness is not just a recital of Marlows adventures; it is also a dramatization of Marlow telling his story to a group of listeners at a particular place in a particular time Neither Conrad nor Marlow offer us anything outside the world-conquering attitudes embodied by Kurtz and Marlow and Conradthe circularity of the whole thing is unassailable. Except as I said a moment ago that Conrad is self-conscious about setting and situating the narrative in a narrative moment, thus allowing us to realize after all, that far from swallowing up its own history, imperialism has in fact been placed and located by history, one that lies outside the tightly inclusive ring on the deck of the yawl Nelly. (Said, 49) Therefrore Conras is self-consciousness, and this causes multiplicity in the perceptions within the narrative. This idea is further repeated by Kristevas feminist viewpoints about the obliqueness, uncertain and ambigious perceptions essential in a narrative genre. In Marlow journeys to the semiotic he avoids his real feelings about Kurtz because he is worried that he may identify that his is like Kurts, therefore he can end up like Kurtz. Marlow states I think it had whispered to him [the wilderness] things about himself which he did not know, things of which he had no conception, so he took counsel with the great solitude and the whisper had proved irresistibly fascinating (Conrad, 73). Conrad displays a comparable uncertainty in describing Marlows conflict with the feminine standards personified in Kurtzs mistress, who is viewed a dominant female goddess as well as a sumptuous temptress, both connected with the native savage race by the white English males. Marianna Torgovnick contends that the African woman is the crux of Heart of Darknessthe representative native the only one fully individualized and described in detail, except for the Helmsman, who also dies in the story. She is, the text insists, the symbol of Africa (154-55). Kurtzs mistress has a sexual power that Marlow fears, because he fears the female inspiration within himslef. This female inspiration shows herself in the uncertainties and oversights of the narrative. Conrad has a hard time getting through to his narrator, Marlow. He struggles to speak about the conquest over the savage temptress; however he is unable, or unwilling to do so. Marlow is articulate in his ability to deacribe, however at the end of the text the silent look from the savage native woman is more powerfulk than Marlows own words; And from right to left along the lighted shore moved a wild and gorgeous apparition of a woman. She walked with measured steps, draped in striped and fringed cloths, treading the earth proudly with a light jingle and flash of was done in the shape of a helmet; she had bright leggings to the knee, brass wire gauntlets to the elbow, a crimson spot on her tawny cheek, innumerable necklaces of glass beads on her neck; bizarre things, charms, gifts of witch-men, that hung about her, glittered and trembled at every stepShe was savage and superb, wild-eyed and magnificent; there was something ominous and stately in her deliberate progress, and in the hush that had fallen suddenly upon the whole sorrowful land, the immense wilderness, the colossal body of the fecund and mysterious life seemed to look at her, pensive, as though it had been looking at the image of its own tenebrous and passionate soul Her face had a tragic and fierce aspect of wild sorrow and a dumb painSuddenly she opened her bare arms and threw them up rigid above her head, as though in an uncontrollable desire to touch the skyA formidable silence hung over the scene. (Conrad, 76) This section of text shows Marlows split attitude toward female power; on one side Conrad and Marlow are concerned by the native womans sexual ambiguity, and on the other side they are captivated by her. Kurtzs savage lover is seen as almost mute in the text and this silence is symbolic of the undiscovered and unexplored spots in Africas jungle that Marlow and secretly Conrad had longed to travel. However these blank spaces, unexplored areas are fantasy; as he admits the muteness of the women to be fantasy, on the linguistic level. The idea of a silent female is in fact a fantasy because he shows the savage mistress to have a very powerful diction, just as powerful as that of the colonists. This is evident when she rushed out to the very brink of the stream. She put out her hands, shouted something, and all that wild mob took up the shout in a roaring chorus of articulated, rapid, breathless utterance (Conrad). According to Gilbert and Gubar, she is a silent symbol in the text that expresses her unknown history as well as her intimidating hystery. The mistress is the typical monster female in the text. She is not only a threat to the men because of her voice she is also standing in direct opposition to Kurtzs Intended. She is seen as the strong hostile monstrous monster woman while Kurtzs fiancà © is seen as the angle, pure Victorian fantasy. Torgovnick states that, Marlow clearly conceives of her as a substitute for, an inversion of Kurtzs high-minded, white intended. Like the Belgian woman, she is an impressive figure, but unlike the Intended she is not high-minded: she is presented as all body and inchoate emotion. The novella cuts from the figure of the African woman with outstretched arms to the Intended: one woman an affianced bride, one woman all body, surely an actual bride (Torgovnick, 146-147). The British code states that miscegenation is wrong and therefore Marlow is scared to fall in love with a savage native woman and end up like Kurtz. However the savage woman is so attractive and seductive, as exposed by the texts illustration of her, that Marlow has a hard time fighting it; this is seen as a representation of Conrads true feelings about femininity. The African woman, who purposely remains unnamed, represents Conrads natural idea of the savage female, because not lonely is she seductive, she is also deadly, just like Africa . Kurtz has been ruined by a devastating femininity; while this femininity is mesmerizing it also destroys men because it is forbidden. The Savage native woman is the femininie standard that Marlow needs to block in order to triumph. Torgovnicks and Gilbert and Gubars, are the only studies of Conrad that notice that the native woman may have something to do with his concerns with inptralism. This native woman makes Marlow tackle his boyhood desire for filling up the blank spaces on the African map he pointed to as a child. He travels all the way to the Congo and instead of finding blank spaces he finds other humans who have their own culture. So the question is: how can he fill up a blank space on a map is another people are already living there? This question or a variation of this question has been contemplated by Conrad regarding the connection concerning masculinity and feminity, when looking at the power of colonialism and their weakness, and Conrads racism and his compassion for the conquered Conjoins. Is this not woman as dark continent which Marlow fears in himself but cannot re-press (Kristeva). The savage womon in the text is seen in three differet ways, the first being as the other, as an African temptress, and as a mute savage with no individual characteristics. Faced with anything foreign, the Established Order knows only two types of behavior, which are both mutilating: either to acknowledge it as a Punch and Judy show, or to defuse it as a pure reflection of the West. In any case, the main thing is to deprive it of its history (Barthes, 96). The native African woman cannot be seen as just one of these things, she is walsy multi-dimensional and will never be understood in Marlows view of the world. Conrad places the African temptress in the middle of his issues with colonialism, by making her speechless. I ascribe a basic importance to the phenomenon of languageone of the elements in the man of colors comprehension of the dimension of the other. For it is implicit that to speak is to exist absolutely for the otherà ¢Ã¢â€š ¬Ã‚ ¦ (He argues) further that Existence is language, and language is always a matter of politics (Fanon, 17-18). Therefore, in order to exsits you must have language and the subordinate of the colonialists must learn their conquorers language in order to be viewed as human. Therefore when Conrad makes the African temptress mute he is making her unable to speak with her master and therefore less than human, except through her sexual power over Kurtz. Eric Cheyfitz points out that; The conception of the orator as emperor, conquering men with the weapon of eloquence, is a classical and Renaissance commonplace, and argues that this imperial common place finds its place in the story of the orator as the first settler, that is as the first civilizer and colonizer of humans (112-113). Marlow learns about the various accomplishments of Kurts and his eloquence through stories he hears, however by the end of the story his articulacy is gone and all he can utter is the horror, the horror. A colonized person confronts the language of their civilizing nation; that is with the culture of the mother country, the colonized is elevated above the jungle status in proportion to his adoption of the mother countrys cultural standards. He becomes whiter as he renounces his blackness, the jungle (Fanon, 18). As you can see with Kurtz the opposite is true, he accepts the blackness of the jungle, and he doesnt loose his western way of behaving. According to Marlow, All Europe contributed to the making of Kurtz (Conrad, 65). Fannons belief that the colonized will assume the language and philosophy of their colonizer, the native seductress remains her darkness, whereas Kurtz loses his whiteness. Conrads representation of the savage temptress insinuates that you must look at her with all three perspectives, instead of just looking at her with one or two opposing perspectives. Therefore Conrad echoing the feminist ideals of vagueness, obscurity, and various perceptions characteristic of most female narratives, thus Marlows arrival back to England is reiterating Gilligans psychosomatic interpretations regarding female moral growth. There is very little written about Marlows motivation for being dishonest with Kutzs Intended. What I did find didnt even look at the idea of female awareness that has been evident in the anaylsis so far in this research. For example, Marlow never shrinks from judgement, but he judges without abstract ideals, without general principles, indeed without consistency. He derides moral absolutes and willingly suspends universals in favor of concrete discriminations (Levenson, 56). We know from his characterlization in the text that he hates lieing and believes that Kurtz is due honesty; however when he meets with the Intended he is not fully honest, and doesnt even speak about justice. Instead he acts like a saint who would rather, not hurt her feelings, than tell the truth. Marlow explains his motivation for lying to Kurtzs Intended, he doesnt try to bring up their progress, or show pity on her. He merely believes that the truth would have been too dark-too dark altogether (Conrad). In this text the darkness becomes a moral sensation (Levenson, 56-57), which promotes the idea of several different perceptions in Conrads moral replies to racism, feminism, imperialism, and colonialist exploitation. Nevertheless, the ridicule of moral fundamentals in Marlows choice to lie, as pointed out by Levenson, is a female focused approach that Gilligan creates the framework for and Levenson doesnt seem to contemplate. The moral development and judgemnet of women, according to Levenson, is linked to Marlows reaction to Imperalisim and also to Kurtz. This makes it seem like he was being compassionate and not sexist when he lied to Kurtzs Intended. Therefore due to Marlows experiences in Africa his moral awareness has taken on a feminine characteristic. In her text In A Different Voice Gilligan hypothesizes that womens ethical rationalizing is not founded on the ideas of right and wrong, however unlike men, it is based on the situation and the observations of anguish and compassion. The reluctance to judge may itself be indicative care and concern for others that infuse the psychology of womens development and are responsible for what is generally seen as problematic in its nature (Gilligan, 172). Women will usually choose the option that will not hurt anyone, or hurt the least number of people. Why should we believe that the moral sequence through which boys pass constitutes moral development tout court? (Gilligan, 174). Perchance, females are more concerned with kinship and accountability; furthermore not moral in the formal tone of the word, but more reasonable morality. Whereas Men have a more definite idea of right and wro ng, neutral justice (so they would have us believe). If Marlow was judged by Gilligans philosophy for his conclusion to lie to the Intended, then he would be believed to have lied to her to safeguard her from unnecessary pain that telling her the truth would have caused her. In this critical reading of Heart of Darkness Conrads text has been viewed as having a feminine writing style. It has also been revealed that Conrad was viewed as an outsider, exiled by his own Polish people and an immagrant to his home of England, and this created his compassion for the subjugated people of the colonlized Congo. This does not mean that Conrad isnt racist and isnt imperialistic. The reading advocated that the lot of women are unable to making moral choices based on a more definite idea of right and wrong. Marlow uses various sexual metaphors, such as penetration, and other diction used in the text; exhibit a male biased view of women and their roles in society.

Test Ethics Essay -- Beneficence, Nonmaleficence

Exam Part B Beneficence versus Nonmaleficence The two principles in focus are beneficence and nonmaleficence. Nonmaleficence is often paired with beneficence however there is a difference between these two principles (Rich, 2008). According to Beauchamp & Childress (2009) conflating beneficence and nonmaleficence into a single principle obscures important distinctions. In addition, both of these ethical principles beneficence and nonmaleficence are strengthened by state nursing practice acts, which mandate that nurses are legally obligated to safeguard patients and the profession (Bjarnason & LaSala, 2011). We will discuss both beneficence and nonmalficence principles and how they are both important to the nursing profession. The principle of beneficence is concerned with a moral obligation to act for the benefits of others (Kennedy, 2004). Additionally, beneficence is the principle consisting of deeds such as mercy, kindness, and charity (Rich, 2008). There are other forms of beneficence including altruism, love, and humanity (Beauchamp & Childress, 2009). We use beneficence in order to cover beneficent actions more broadly, so that it includes all forms of action to benefit other persons (Beauchamp & Childress, 2009). Overall, beneficence implies that an individual takes action to do good by benefiting others and facilitating their well-being. Beneficence also requires that benefits are balanced against risks and costs (Kennedy, 2004). In order for a person to â€Å"do good†, they must also consider the values of individual in question (Bjarnason & LaSala, 2011). Health care professionals have a duty to exercise beneficence towards their patients. Nurses have a more stringent obligation to act according to the benefi... ...ay arise between health care professionals, nurses, and the patient and family. Most often, when an ethical dilemma occurs, nurses most make a choice between the two equally unfavorable alternatives. An example of an ethical dilemma would be a client who refuses to take their blood pressure medication however based on autonomy they have the right to. The nurse may not be able to follow the principles of beneficence and autonomy at the same time because respecting patient autonomy means the nurse is not able to fulfill the obligation to â€Å"do good† for the patient. However, in this case, if the patient was competent the principle of autonomy would take priority. Abortion is another example of an ethical dilemma faced in the medical profession. For instance, some doctors are against abortion, yet there are certain others who have no problem at all doing it. â€Æ' Test Ethics Essay -- Beneficence, Nonmaleficence Exam Part B Beneficence versus Nonmaleficence The two principles in focus are beneficence and nonmaleficence. Nonmaleficence is often paired with beneficence however there is a difference between these two principles (Rich, 2008). According to Beauchamp & Childress (2009) conflating beneficence and nonmaleficence into a single principle obscures important distinctions. In addition, both of these ethical principles beneficence and nonmaleficence are strengthened by state nursing practice acts, which mandate that nurses are legally obligated to safeguard patients and the profession (Bjarnason & LaSala, 2011). We will discuss both beneficence and nonmalficence principles and how they are both important to the nursing profession. The principle of beneficence is concerned with a moral obligation to act for the benefits of others (Kennedy, 2004). Additionally, beneficence is the principle consisting of deeds such as mercy, kindness, and charity (Rich, 2008). There are other forms of beneficence including altruism, love, and humanity (Beauchamp & Childress, 2009). We use beneficence in order to cover beneficent actions more broadly, so that it includes all forms of action to benefit other persons (Beauchamp & Childress, 2009). Overall, beneficence implies that an individual takes action to do good by benefiting others and facilitating their well-being. Beneficence also requires that benefits are balanced against risks and costs (Kennedy, 2004). In order for a person to â€Å"do good†, they must also consider the values of individual in question (Bjarnason & LaSala, 2011). Health care professionals have a duty to exercise beneficence towards their patients. Nurses have a more stringent obligation to act according to the benefi... ...ay arise between health care professionals, nurses, and the patient and family. Most often, when an ethical dilemma occurs, nurses most make a choice between the two equally unfavorable alternatives. An example of an ethical dilemma would be a client who refuses to take their blood pressure medication however based on autonomy they have the right to. The nurse may not be able to follow the principles of beneficence and autonomy at the same time because respecting patient autonomy means the nurse is not able to fulfill the obligation to â€Å"do good† for the patient. However, in this case, if the patient was competent the principle of autonomy would take priority. Abortion is another example of an ethical dilemma faced in the medical profession. For instance, some doctors are against abortion, yet there are certain others who have no problem at all doing it. â€Æ'

Living Together Before Marriage: Morals, Money, and a Major Choice Essay

Not long ago, a choice of my survival had to be made. Many single men and women struggle, not only in relationships, but with money issues, especially if they are in college or starting out as a young adult in the world. In college, I had the choice to live with my significant other or to manage on my own. I am sure others, not only myself, view â€Å"managing† their lives in roughly the same terms. Being alone makes one independent, but lonely. Living alone, can be very empowering, but discouraging in terms of money. Then there is always the factor of what others may think on the outside. So, here in a college town, where many choices made individually are overlooked externally due to our youth, it was not only me, but society that was influencing my choice. So, I had to choose, live with my significant other, who could have alleviated my loneliness and ameliorated my bills or live alone and forge on with my own terms, however daunting they may be. I pondered this for some time, probably longer than others in my peer group, who look at stepping in cohabitation as some right of passage that proves you are older and committed to something more than you are already. But, I did not care what my cohorts thought, this was my decision. I did, however, consider my partner’s role in all of this and how this would affect our futures. Of course, we weren’t deciding to get married or even â€Å"playing house† to see if we could get closer to that point. So, the decision became easier to make once I realized that. This was my friend and confidante, but not the person I could imagine spending the rest of my life with. Yes, we would get along and even pretend to the outside world to be in love, I suppose. But, this would be nothing more than a fascade and we both knew it. But, the pressures that were building up around us in our growing adulthood had made us reach ever farther out for something, flailing around for a bedrock that made us strong. We felt strong together, but that was not the role suited for either of us. We were just too young. I had no right to put more pressure on my friend, my pretend soul mate. When searching for the truth in the world, we could not lie to each other too. In my eyes, I wasn’t looking for my soul mate to be there for me each and every day, I was looking for someone to help square up my life. I felt bond by the circle that had only me in it, a nice-looking circle from the outside, but hollowness inside. I needed to fill it up, not square it up. I thought that maybe moving in with someone was something I could â€Å"get over with† to fill in the circle like an SAT essay answer or something that would let me abandon the circle of me altogether and become a part of a squared away, more safe person. But, in addition to that I was looking for a roommate not a soul mate and that wasn’t fair to either of us. So, I stayed in my circle of me and decided to slowly roll through my younger years without any obligations (other than those piling bills). We stayed friends. It was really okay. The thing about having time alone is that there is no end to the possibilities of learning about yourself and everything in the word that can be googled or discovered in some situation that comes out of the blue, unexpected. Many of these observations surround the opposite sex and their charm, that which I could not appreciate if I was coming home to the same person every night. Similarly, I can study and become more intelligent and not all â€Å"wishy-washy† about my cohabitating bliss (or imagined bliss). So, I have plenty of time to google, objectively of course. So I have found articles about my dilemma and the dilemma of others. We have it rough, as most cohabitating couples don’t last. But, that really was never the dilemma for me, then. I learned that I just needed a live-in friend and someone with a bank account to share with me. So, I shifted my attention to these pertinent matters. I got a job so I could interact with coworkers and never be lonely, I make more money, and spend my free time studying. Its a great life, one I wish all young people would experience before jumping into a â€Å"fairy tale† that has been proven to be a fable with a moral to the end. Cohabitating just doesn’t work out the way we wish it could

Research Paper on Fun Things Essay

For this assignment, you will compose a ten-page research paper on a great thinker chosen from the attached list. There are three components to this assignment. The first is that you will write about the major thought, idea, or system of belief for which the great thinker was known. Secondly, you will write about two or three ways in which the teachings of the great thinker influenced history. Thirdly, you will provide a thoughtful analysis of at least one idea touted by the great thinker. You will need to research and properly document eight to ten scholarly sources using the MLA standard for citation. In addition to writing the paper, you will be learning and implementing a way to organize your research and writing. You will receive two grades for this assignment: one for the final paper and one for the research and writing prep work. Research Component Research is an important skill for college students to learn and implement. When done well, research will help strengthen an argument, prove a point, verify facts, and explain with first-hand knowledge. At its most basic level, research is studying the works of experts in any given field. For instance, if I want to research heart surgery, I will locate experts in the field of cardiology and read what they say about the heart. In reading their works, which may consist of published studies, medical journal articles or medical books, or informative medical websites or blogs, I am presuming and appealing to their expert knowledge and skill in an area I know little or nothing about. In short, I’m reading and studying their work in order to learn. For your research paper, you will be appealing to the expert knowledge of a great thinker. You will research articles and/or books that were either written by the great thinker (we call this a primary source) or by someone who studied the great thinker (we call this a secondary source). For example, let’s say you are studying Jonathan Edwards (great puritan theologian). Were you to read and study his actual sermons, you would be researching a primary source. Were you to read and study what John Piper (present day pastor and avid Jonathan Edwards fan) has written about the theology of Jonathan Edwards, then you would be conducting secondary research. Both primary and secondary sources are very valuable when writing research papers. Usually primary research is considered to be the most reliable in that it is closest to the original (the idea originator, the eye-witness account, the photograph, etc†¦). A good research paper will be able to navigate both types of research and carefully integrate it appropriately. For the purposes of this assignment, you’ll be doing both because you’ll be concerned with what the great thinker actually taught and that will best be discovered by his or her actual writings, and you’ll be concerned with how his or her thoughts influenced history, which is most likely written by other scholars. In addition to conducting primary and secondary research, you’ll need to make sure that your sources are consider scholarly; that is, your sources come from people who have appropriate expertise in the field of you are studying. This will not be an issue with your primary sources because you will go straight to the source (i.e., you’ll study the writings or Marx or Lewis), but it will be more of an issue in secondary sources. How to tell if an article or book is considered scholarly or written by an authoritative expert in the field can be tricky, but here are a few rules: 1. Does the author have an educational background that would account for the knowledge in the article or book? 2. In the case of articles, is it published in a peer-reviewed journal? 3. Does the article or book offer analysis and critique of original sources or just give mere impressions or opinions? Another term I have mentioned in regards to research is MLA citation (Modern Language Association). MLA is a method of citation that is used primarily in the humanities that indicates the source of your research. Learning MLA citation rules takes time and lots of effort, but it is a necessary part of conducting and writing a well-researched paper. For this assignment, you’ll need at least eight scholarly sources that may include journal articles or books but may NOT include websites. There will be in-class lectures that will teach you where to locate scholarly resources and how to properly keep track and cite them. As I see it, there are two major avenues of research for this paper: the first is research involving the actual ideas of the great thinker. The second is research involving the analysis of the thinker’s ideas. Content of Research Paper As mentioned in the assignment overview, there are two components to this research paper. The first is that you will research the major idea or set of ideas for which the great thinker was known. This will be the first section of the research paper and will include a thorough explanation of the great thinker’s idea or ideas and he or she came to belief or think in such a way. The second section of the paper will include a discussion on two or three of the major ways the great thinker’s ideas influenced history. The third section is where you provide thoughtful analysis about at least one of the great thinker’s ideas. This is not, necessarily, an argument, but rather it is an opportunity for you to break down the idea and comment on it yourself. Although I’m more interested in your analysis, it may help to research how others have analyzed and critiqued your great thinker’s ideas. In this section you may 1. Critique the thinker’s idea 2. Break down the thinker’s ideas and provide additional clarification or implication 3. Show how different scholars have viewed or interpreted the great thinker’s ideas and whether agree or disagree 4. Show why the thinker’s ideas produced negative or positive effects on society, theology, history, etc. 5. Any combination of the above. Please note that I do not wanting you to write a biography; that is, I do not want detailed discussion on the great thinker’s family history, marriage, hobbies, physical appearance, personal health, friends, etc. unless is it absolutely pertinent to his or her intellectual contribution. Paper Organization Each of you will be required to create an outline for your paper and turn it in as part of the assignment. Additionally, you will be required to keep track of all research and turn in your research notes. Research Organization I will require you to keep track of your sources through Microsoft One Note or Word, whichever works best for you. For every source you look at, you’ll need to record the following information: 1. Source Title- title of the article or book 2. Source Location-book, ebook with web address, journal article with web address 3. Source Citation- MLA citation as it would appear in your works cited page 4. What-what information are you using from the source. If it is short, type it here. If it is a chapter or large section, write down the major idea or some key words and the necessary information to find it in your source easily (page or section numbers, headings, etc.). 5. Plan- how you plan on using the information You will have at least eight records with the above information, although it is much more likely you’ll have more and may not use all sources in the actual writing of the paper. That is okay. Note: Make sure you accurately record information for every source because you won’t remember. Grading Criteria: Each paper will be graded on the following: 1. Accurate, detailed, and thoughtful discussion and analysis of the great thinker’s ideas 2. Coherent, fluid prose 3. Accurate implementation of MLA citation 4. Integration of scholarly sources 5. Proper adherence to Standard English grammar and style 6. Proper adherence to page length and formatting guidelines

Japanese Verbs Conjugations

Japanese Verbs Conjugations Japanese verbs are roughly divided into three groups according to their dictionary form (basic form). The basic form of Group 1 verbs end with ~ u. The basic form of Group 2 verbs end with either ~iru or ~ eru. Group 3 verbs are irregular verbs. There are only two irregular verbs, kuru (to come) and suru (to do). Click here to learn more about Japanese verbs and hear their pronunciation (Audio Phrasaebook – verbs). Here are some common verbs from each group. The links lead to various conjugations of each verb. Group 1 aruku æ ­ ©Ã£   - to walk asobu é Å Ã£  ¶ - to play au ä ¼Å¡Ã£ â€  - to meet hairu å… ¥Ã£â€šâ€¹ - to enter hajimaru Ã¥ §â€¹Ã£  ¾Ã£â€šâ€¹ - to begin iku è ¡Å'㠁  - to go kaeru Ã¥ ¸ °Ã£â€šâ€¹ - to return kakaru 㠁‹ã â€¹Ã£â€šâ€¹ - to takekaku æ› ¸Ã£   - to writekau è ² ·Ã£ â€  - to buy kiku è Å¾Ã£   - to listen matsu Ã¥ ¾â€¦Ã£  ¤ - to wait motsu æÅ' Ã£  ¤ - to havenarau ç ¿â€™Ã£ â€  - to learnnomu é £ ²Ã£â€šâ‚¬ - to drinkokuru é€ Ã£â€šâ€¹ - to sendomou æ€ Ã£ â€  - to thinkoyogu æ ³ ³Ã£   - to swimshiru çŸ ¥Ã£â€šâ€¹ - to know suwaru Ã¥ º §Ã£â€šâ€¹ - to sit tatsu ç «â€¹Ã£  ¤ - to stand tomaru æ ­ ¢Ã£  ¾Ã£â€šâ€¹ - to stop tsuku ç â‚¬Ã£   - to arrive uru Ã¥ £ ²Ã£â€šâ€¹ - to sellutau æ ­Å'㠁† - to singwakaru 分㠁‹ã‚‹ - to understandwarau ç ¬â€˜Ã£ â€  - to laugh yomu è ª ­Ã£â€šâ‚¬ - to read Group 2 kangaeru è€Æ'㠁ˆã‚‹ - to thinkmiru è ¦â€¹Ã£â€šâ€¹ - to see; to lookneru Ã¥ ¯ Ã£â€šâ€¹ - to sleeposhieru 教㠁ˆã‚‹ - to teachtaberu é £Å¸Ã£  ¹Ã£â€šâ€¹ - to eat Group 3 kuru æ  ¥Ã£â€šâ€¹ - to come suru 㠁™ã‚‹ - to do

Weber Carl Maria Von essays

Weber Carl Maria Von essays Carl Maria von Weber, a cousin of Mozart's wife Constanze, was trained as a musician from his childhood, the son of a versatile musician who had founded his own travelling theatre company. He made a favourable impression as a pianist and then as a music director, notably in the opera-houses of Prague and Dresden. Here he introduced various reforms and was a pioneer of the craft of conducting without the use of violin or keyboard instrument. As a composer he won a lasting reputation with the first important Romantic German opera, Der Freischtz. The opera Der Freischtz (The Marksman), first staged in Berlin in 1821, blends many of the ingredients typical of German Romanticism, simple peasant virtues mingling with the magic and latent evil of the forest, where the hero's magic bullets are forged at midnight. The grand heroic-Romantic opera Euryanthe is better known for its overture as is the opera Oberon, written for London in 1826. Weber's two concertos and the concertino for clarinet were written for the clarinettist Heinrich Baermann. Weber also wrote two piano concertos and a Konzertstck for piano and orchestra for his own use, as well as a useful Horn Concertino and Bassoon Concerto. His Aufforderung zum Tanze (Invitation to the Dance) is well known in an orchestral version of a work originally written for piano. Recommended Recordings Clarinet Concertos Nos. 1 Dances and Marches from Die Drei Pintos, Turandot Weber's chamber music includes a Clarinet Quintet and a Grand Duo Concertant for clarinet and piano, successors to the concertos and concertino for Baermann. Recommended Recording ...