Ommunist Party of Great Britain Assignment Example | Topics and Well Written Essays - 750 words

Ommunist Party of Great Britain - Assignment Example The working class understands the conflict from a perspective of logical options given two different hourly durations where one case requires more time than the other yet at the same wage amount, a worker would naturally consider being opportune at lesser work hours in order to save time and energy for himself or utilize additional hours with another job to augment his low monetary worth. A capitalist, on the contrary, views the conflict on account not of his superior rank or prominent place in the society but of seeing how his requirement in achieving a targeted goal or profit may not be satisfied due to deficiency with time caused by what he would seem as uncooperative laborers. Clearly, the class struggle is established via the ‘length of the work day’ issue, looming tension between respective desires of the capitalist and the worker. Beyond the mere rigid and hierarchical social system that classifies men into classes, Marx has gone to exhibit the involvement of capi talistic affairs that overlook societal divisions and that are normally bound to a mutual agreement on the same level in a capitalist society. Hence, the problem which the ‘workday duration’ presents is well within the realm of a class struggle that is mainly concerned with the state of the economy which either class obtains out of production means. (2) What does Marx mean by relative surplus value? Explain the different components of relative surplus value. (In other words, what strategies do capitalists follow that lead to relative surplus value)? By ‘relative surplus value’, Marx pertains to that which is sought through an ‘absolute surplus value’ that generates a surplus working-day duration to the extent that the laborer exceeds the yield or output equivalent to the value of his normal labor capacity. This includes means of appropriating surplus-labor by capital and presumes that the working-day is already made of necessary labor and surpl us-labor. Relative surplus-value is claimed to be absolute on providing a driving force to the absolute extension of the working-day beyond the time of work required for the laborer to sustain his existence. To acquire ‘relative surplus value’, the capitalist may adopt the component of moderately curtailing wages so that it leaves the worker no choice but to stay and extend his time to render surplus-labor but not to the point when such reduction goes under the laborer’s capability to afford his cost of living. Shortening of necessary labor makes way for an increase in surplus labor where time to create wage equivalents would be smaller and a worker tends to adjust and compensate through surplus.

The Veldt Essay Example for Free

The Veldt Essay After reading the story of â€Å"The Veldt† by Ray Bradbury, I felt shocked. The beginning was all innocent. I thought it would be about how their parents took care of babies in their own nurseries; but after a few paragraphs, I realized that this story was a tragedy. How could chldren even think of killing their own parents? After all, the fact that their parents gave birth to them is the whole reason that they are able to think, act, feel, and talk! When I first read about the lions and how they were feeding, I kind of thought that something really tragic was about to happen. I had no clue, however, that it would include murdering, much less children killing their own parents! The parents have indeed been relying on the machines and technologies too much, and causing their own children to act so too. However, they did buy those machines in order to make sure that their children lived an easy going life, full of adventure. On the other hand, the parents did indeed care for their children. It just seemed that the children did not realize that at all! The children had been spending too much time in that â€Å"nursery† causing them to have a twisted mind. They had replaced the house and the nursery as their family. Even though I do see how the parents care for their children, I do agree that they had not cared for them enough. If the father and mother had cared enough, I do would’ve realized much earlier and found a way to prevent what would later happen to them. Also, the father’s way of solving was way too harsh and abrupt. It had shocked the children too much and because of the father’s unthinking way of solving the situation, the children couldn’t take their frustration. Yet, I felt that the children had no right, absolutely no way to kill their parents. Their parents had given them a life that no other children had. They had things that no others have. They should be thinking of how to pay back in the future, but not how to kill their parents for something as moving! I do understand that sometimes parents are unreasonable, always blaming children, yet don’t give chldren the chance to explain themselves. However, parents always think for their own children. Well, who doesn’t? At times, parents could be harsh, strict, and pushy, but one should also think of the times that their parents did everything for them. A mother or father would do anything for their child.

Life And Works Of Robert Mapplethorpe Film Studies Essay

Life And Works Of Robert Mapplethorpe Film Studies Essay The third of six children, Robert Mapplethorpe was born into a working-class Catholic family in Floral Park, Long Island on November 4th 1946. His childhood and adolescence were difficult because of his gawky physicality, his brothers athletic and academic success and his own early demonstration of artistic talent. After an accelerated career in high school, Mapplethorpe entered the Pratt Institute in Brooklyn to study technical illustration and where he became a member of the ROTC (Reserve Officers Training Corps) in a bid to placate his father who disapproved of his artistic ambitions. Because of his experimentation with hippy culture and his fathers hostility, he never completed his degree at Pratt; instead he moved to Manhattan just before the summer of 1969. Mapplethorpes early artistic endeavours focused on collage work with found objects and jewellery design. In 1970 a fellow resident of the Chelsea Hotel introduced him to photography with the gift of a Polaroid camera and Mapplethorpe started by experimenting with self-portraits. Mapplethorpe had his first one-man show in November 1970, but did not achieve recognition in the New York art world until 1977. On February 4th 1977, Mapplethorpe had joint shows at the Holly Solomon Gallery and the Kitchen. Although both shows were organised by Solomon, the mainstream exhibition featured his flowers and portraits while the avant-garde exhibit consisted of his sex pictures. This segregation of subject matter would continue throughout Mapplethorpes career. Just over a decade later, Mapplethorpe was the subject of retrospectives in Amsterdam, London and the United States. In July of 1988 the Whitney Museum of American Art honoured Mapplethorpe with a retrospective exhibition, their first for a photographer. In December 1988, a slightly larger retrospective, The Perfect Moment, opened at the Institute of Contemporary Art in Philadelphia. Mapplethorpe was able to experience his rise to the pinnacle of the art world, but, as he commented to numerous interviewers, he was unable to take advantage of the fame. He died from complications related to Aids on March 9th 1989. Memorial services were held at the Catholic Church Mapplethorpe had attended as a child in Floral Park and at the Whitney Museum in New York. Populated mainly with members of New York Citys social and artistic elite, Robert Mapplethorpes book of portraits, Certain People, has a title with more than one possible meaning as noted in Susan Sontags essay. There is certain in the sense of some and not others; and certain in the sense of self-confident, sure, clear. Certain People are, mostly, people found, coaxed or arranged into a certainty about themselves. That is what seduces, that is what is disclosed in these bulletins of a great photographers observations and encounters. Although they are not famous in the same way as Annie Liebovitz, Philip Glass or Bruce Chatwin people who appear in Certain People Brian Ridley and Lyle Heeter are exceptional in their own right. In their stance and with their defiant gaze, they have the same self-assurance as the celebrities that Mapplethorpe photographed. His camera treats them with the same dignity as that reserved for Lord Snowdon or Louise Bourgeois. Their portrait exemplifies many of the formal and thematic concerns that inform Mapplethorpes larger body of work. Brian Ridley and Lyle Heeter (1979) (fig. 1) is a portrait staged according to the conventions of the royal couple portrait of Enlightenment Europe or the formal family portrait of the Victorian Age. Ridley and Heeter are centred in the frame and positioned frontally with respect to the viewer. Ridley is seated with Heeter standing at his side. The setting for the portrait is clearly domestic, presumably the living room of the couple. The heavy buttoned wing-backed leather chair in which Ridley is seated, the Oriental carpet beneath his feet, the modern lines of the console table to his right as well as the objets dart on the various surfaces indicate a degree of taste and wealth. The just-so arrangement of the furniture clearly signifies a gay male aesthetic of a particular kind. The parallel costuming of Ridley and Heeter indicate a gay male aesthetic of a very different but equally stylised kind. Heeter stands to Ridleys left casually holding two metal rings from which hangs a chain connected to the studded leather collar around Ridleys neck. In his left hand, Heeter holds a riding crop, angled toward Ridley, resting inside the arm of the chair, in ominous proximity to Ridleys body; much as a rider would hold it against the flank of his mount. Heeter is adorned in full leather drag: cap, jacket, studded belt, cod-piece trousers and biker boots. To emphasise the confidence with which he carries his power, he leans against Ridleys chair and crosses his right foot over his left in a relaxed, semi-swaggering stance. Ridleys leather uniform is virtually identical to Heeters biker boots, leather chaps, biker jacket. The differences between Ridleys and Heeters costumes indicate their respective positions in the relationship: instead of a cap, Ridley wears a collar, instead of a riding crop, he sports chains; these differences, along with the pairs physical positions gesture toward the power differential that the couple perform. From this description of the photograph, Brian Ridley and Lyle Heeter could be characterised as a family portrait of a sadomasochistic couple. Although hardly as shocking as many of Mapplethorpes other sadomasochistic-themed photographs, the image is still unsettling. First, the portrait disturbs the classificatory terms it invokes. Is it possible for family, sadomasochism or portrait to mean the same thing independently and jumbled up together? If the picture grants Heeter and Ridley a certain kind of elegance, beauty and dignity, is this evidence that notions of family, domesticity and coupling are sufficiently elastic to incorporate sadomasochistic eroticism? If Ridley and Heeter are able to pose their unconventionally adorned bodies according to the codes of the conventional family portrait, is this evidence that family, domesticity and coupling have always already incorporated sadomasochistic eroticism? Second, aside from complicating dominant narratives of familial relationship s, this portrait exposes something about the relationship between the practices of photography and self-presentation. What does the staging of Ridley and Heeter in full leather drag show about the ideological work of portraiture writ large? What does this photograph expose about the relationship between power, eroticism, theatricality and image making? Given that both sets of questions relate to the tension between the pictures subject matter and its representational codes, is it fair to conclude that the relationship between content the sadomasochistic couple and form the family portrait makes Brian Ridley and Lyle Heeter such an arresting photograph? More precisely, is it the photographs combination of form and content which helps us to see the never-before-related phenomena sadomasochistic couple and formal portrait in a different way, that makes this photograph worthy of critical analysis? In the following chapters I will focus on the relationship between form and content in Mapplethorpes images, with attention to his sex pictures. The interaction of form and content in these images, I contend, trains the viewer to see in a new way: not only to see the specific subject matter differently, but to see the practice of image making in art or in life differently. The beauty of Mapplethorpes images renders culturally unpalatable subject matter attractive and desirable. The stylised composition of Mapplethorpes images also reflects in the forms of self-stylisation within the images, using photographic style to expose personal styling as an equivalent staging, construction and performance. Form and content, then, function sometimes co-operatively, sometimes in opposition to make the spectator aware of the assumptions they bring to the photograph. The analysis of Mapplethorpes images will attend not only to how he represents masculinity and the performance of gay male ident ity but also to how his images draw attention to the dynamics of representation itself. Most commentators identify the curious disjunctionà ¢Ã¢â€š ¬Ã‚ ¦ between the visual appeal of his photographs as pictures and the discomforting nature of his subject matter as the quintessential element of Mapplethorpes pictorial style. Arthur Danto, one of Mapplethorpes staunchest defenders characterises the artists work as both Dionysian and Apollonian at once. According to Danto, the sexual energy of the images content has a dialectic relationship to their chastely classic style of presentation; this tension is so profound, Danto finds Hegels notion of aufhebung a useful concept with which to addressà ¢Ã¢â€š ¬Ã‚ ¦ Mapplethorpes images. The forbidden and unsettling content of Mapplethorpes images is not erased by their pristine and mannered formalisation, and even the most sexually explicit of Mapplethorpes images both go beyond and fail as pornography, precisely because of their crisp beauty and clean elegance. The content is preserved. But it is also negated, and it is transcen ded, and that means the work cannot merely be reduced to its content. Ingrid Sischy, one of the most eloquent writers on Mapplethorpes sexual imagery, identifies this tension between form and content as the source of shock in Mapplethorpes photographs: What shocks isnt just the material, but how it is so artfully presented. The content, lighting, composition, sense of order and aesthetics all combine to give the photograph an unforgettable impact. The photographs impact depends on the audacious choice to present the forbidden, the transgressive, the underground, the violent, and the repressed in a beautiful manner. As Sischy goes on to observe, Mapplethorpes eye for beauty enables the pictures to challenge, among other things, prevailing notions about sadomasochism and homoeroticism. Germano Celants essay in the catalogue from a Guggenheim exhibition compares Mapplethorpes photographs with Mannerist paintings. He argues that Mapplethorpes style works to both defuse and legitimise th e content of his images by linking them to aesthetic codes of the past. Extending Dantos observation about the importance of the tension between form and content for understanding Mapplethorpes work aesthetically, Sischy and Celant argue that this tension is the key to evaluating Mapplethorpes images politically. Brian Ridley and Lyle Heeter illustrates how the relationship between form and content functions across Mapplethorpes body of work. As already noted the tension between the mundanity of the portraits setting and style and the atypicality of the subjects costume and identity generates the images energy and arrests the viewers attention. As Danto observes: They look as though this were the most natural thing in the world for them to be doing in their middle-class living roomà ¢Ã¢â€š ¬Ã‚ ¦. [But] what is a sexual slave doing sitting that way in a comfortable armchair? Form and content also generate tension with respect to time. To what historical moment does this photograph r ightfully belong? As several commentators have noted, Mapplethorpes sex photographs are important, if for no other reason, because they document a certain gay male subculture whose adherents failed to survive the ravages of Aids. This subject matter, closely tied to the sexual exploration of the 70s, was captured, however, using a visual aesthetic associated with late-nineteenth and early-twentieth century photography, if not older notions of symmetry, order and perfection. As Joan Didion observed in her introductory essay to Mapplethorpes collection of female portraits, Some Women: Robert Mapplethorpes work has often been seen as an aesthetic sport, so entirely outside any historical or social context, and so new, as to resist interpretation. This newness has in fact become so fixed an idea about Mapplethorpe that we tend to overlook the source of his strength, which derived, from the beginning, less from the shock of the new than from the shock of the oldà ¢Ã¢â€š ¬Ã‚ ¦. There was, above all, the perilous imposition of order on chaos, of classical form on unthinkable images. Didions comments clarify that Mapplethorpes images are neither without historical context nor fixed within a single historical context. Instead, subject and style belong to different, and seemingly disparate, historical moments and social milieu. The form of Mapplethorpes photographs, however, renders the content of his images thinkable, palatable, legitimate. Mapplethorpes combination of form and content, then, is anything but dilettantism. Brian Ridley and Lyle Heeter also plays with the distinction between public and private spaces. The space of the picture is a living room, a domestic space, a space hidden from the worlds prying eyes and attendant judgements. The sexual identity evoked by the subjects costumes also signifies private space; they are culturally understood as taboo, necessitating secrecy. The space of the portrait, both generally as a visual form and specifically as an artefact in a book or gallery, is, however, public. The staged presentation of these subjects underlines that they are opening their private space[s] to public scrutiny. This picture is not a snapshot; it is not a candid photo; it is not an image captured on the sly as in the work of Garry Winogrand. It is, instead, a formal portrait that required preparation and planning. As Danto points out, when emphasising the relationship of trust that Mapplethorpe must have developed with his photographic subjects, indicated by the settings, the sta ging, the careful execution and the use of names, in the photographs titles, it is clear that Brian Ridley and Lyle Heeter, like Mapplethorpes other subjects, have consented to having this image made. They have admitted Mapplethorpe (and, consequently, the viewer) into their lives, such that the photographer [and, consequently, the viewer] shares a moral space with them. Heeter and Ridleys consensual act of opening their home works to situate the spectator non-consensually in a common, private space. This exposure of the taboo to public scrutiny compels the viewer to accept this intrusion into the public sphere; by voluntarily opening the walls of their private space, Ridley and Heeter have challenged the boundaries of what is acceptable in the public space. The form of the photograph as a posed portrait, then, sharpens the political challenge of its content. The troubling of the boundary between public and private establishes a complicated relationship between the image and temporality. As a portrait, Brian Ridley and Lyle Heeter is the memorialisation of a single instant in the life of this couple. At the same time, given the disconnection between their regalia and their setting, the portrait necessarily invokes a before and an after. Insofar as Heeters and Ridleys costumes signify a particular set of sexual practices, they are not practices that likely take place (primarily) in the space in which they are photographed. Their costumes suggest the space of the playroom, the dungeon, the sex club places significantly different from the one they occupy. The portrait evokes a place and time outside the environs of the setting for the erotic activity it suggests. Because the sexual activity suggested by this photograph is understood as taboo, as requiring a private space, even though it is being exposed to a public viewing, the portrait als o intimates that these costumes and these roles are not the totality of the lives of these portrait subjects. Just as the picture suggests other times and places for sexual activity, the specificity of the intimated sexual activity, by negative implication, suggests non-sexual times and places in these subjects lives that require different styles of self-presentation. The temporal and spatial limitations on this particular self-stylisation are underlined by the incongruity of costume and setting. The form/content distinctions of this image, then, invest it with a temporal dimension. The photograph suggests a relationship of dominance and submission; the power dynamics at play in the image, however, are neither simple nor singular. On the most basic level, there is the power of the gaze, a power generated by the image that situates both the spectator and the pictorial subject. This gaze arguably belongs to Mapplethorpe and the spectator and is exercised against Heeter and Ridley. Even if Heeter and Ridley have been costumed, posed, lit and framed by Mapplethorpe, to claim that they have been objectified by his gaze fails to account for the complexity of the image. Ridley and Heeter both look at the camera with hard and fixed stares; they are not giving over their bodies, their lives or their subjectivities to the spectator. Ridley and Heeter each adopt a physical pose that underpins the defiance of their respective looks; Heeters nonchalant stance and Ridleys open-legged seating position situate them in the full solidity of their corporeal frames. When looking at Heeter and Ridley, the spectator is just as likely to feel intimidated, challenged and threatened as in control of the image. In this way, the power Ridley and Heeter retain vis-à  -vis the gaze relates to and underscores their consent to the image-making process. At the same time, their tight leather outfits draw attention to the precise contours of their bodies. The silver studs on Heeters codpiece and the positioning of Ridleys legs and hands also draw visual attention to their respective genital regions. In this way the portrait trades in traditional mechanisms of eroticising and objectifying its subjects. Because they have been trapped in the image, and because this photograph will now circulate freely outside of their control, however, their resistance to the power of the scopic regime is limited and partial. The photograph, then, transforms Heeter and Ridley into objects for contemplation. The spectators visual inspection of them, however, is disrupted by their respective l ooks, their physical poses and the iconography of sadomasochism within the photograph. The gaze that structures this image is neither straightforward nor unidirectional. The power dynamic between the portraits subjects is also complex. Heeters superior vertical position along with his grasp of the riding crop and Ridleys chains are evidence of his dominance. At the same time Ridley is foregrounded in the pictorial space and his face is both more clearly visible and more brightly lit, making him the focus of visual attention. Ridleys name is also given priority in the portraits title. While this priority is consistent with Western left-to-right titling practice, it runs against the perceived practice of many sadomasochistic practitioners who often deny the submissive partner the referential use of a name, personal pronouns or even capital letters. As Richard Meyer observed when arguing that the formal properties of Mapplethorpes photographs often work to undo the power dynamics of his images content: The contradictions of this portrait defeat any essentialist interpretation of Ridley and Heeter in (or as) their sadomasochistic roles. Building on a clo se reading of the Meyer article, I would add that it is the compositional elements of the picture that serve to disrupt the meaning of its specific iconography. In other words, with respect to how the picture trades in the erotics of dominance and submission, the form of the image undercuts its manifest content. The incongruity of costume and setting also works to complicate the readings of power in the image. In an essay largely critical of Mapplethorpes images, C. S. Manegold writes that the dreamà ¢Ã¢â€š ¬Ã‚ ¦ promised by this portrait is one of pain, of submission, of servitude, a willing walk toward death. She goes on to claim that Mapplethorpes sadomasochistic photographs are funded by a fascistic aesthetic. While I agree that this image trades in the iconography of domination and submission, I would dispute that the leather gear is Nazi-esque, it is merely hyper-masculine and owes much more to the motorcycle cop or the cowboy than any sort of Nazi influence, there are certainly no badges or insignia to indicate such a position and is merely Manegold herself showing what her personal/political history brings to the table in terms of domination. Any characterisation of the image as representing only a single form of erotic or gendered self-presentation founders on the details of the ph otograph itself. Looking only at Heeters riding crop and studded cod-piece or only at Ridleys handcuffs and locked collar, Manegolds characterisation of the image as one infused with pain and death and fascinated with a fascistic masculinity may seem self-justified. What happens, however, when the spectator notices the antique brass clock, the carefully arranged books or the delicate figurines that are also part of the picture? Are these details irrelevant? Do they also signify death and embody fascism? Or do they expose the sadomasochistic self-presentation of Ridley and Heeter as convincing, chilling, arousing, and disturbing as it might be as, at root, a performance, a ritual, an enactment? Although it is implicit in what I said about the image and temporality previously, it bears emphasising that insofar as the portrait highlights the performative nature of (sadomasochistic or masculine) identity, this also relates to the temporality of the image. Because a performance require s a repeated bodily gesture, it also requires temporal duration. In other words, does the incongruity between the general setting and the specific costuming show that each signifies an alternative way to fashion a life? A less incongruous picture could have been crafted by stripping the room bare of furniture, positioning Ridley on his knees and painting the walls black. Equally less incongruous a picture could also have been crafted by stripping Ridley of his chains, positioning Heeter on the arm of the chair and dressing the pair in flannels and blazers. The posing of this master-slave duo in a well-appointed, to the point of chi-chi, living room, however, shows that the respective systems of decoration are fully parallel, even though they might imply different relationships to hegemonic masculinity. What Mapplethorpe has done is signify hyper-masculinity and then gone on to problematise it. By focusing the spectators attention on the stylisation of their clothing and props through its sharp focus and bright lighting, the style of the portrait underlines that Ridley and Heeters gear is drag, a costume, a mode of self-presentation, a performance. In addition, by staging Brian Ridley and Lyle Heeter in a setting where their self-presentation as devotees of sadomasochistic eroticism would stand out in exaggerated bas-relief, the portrait calls attention to the artifice, the staginess of their chosen identity. The inherent theatricality of the picture is further emphasised by the dynamics of sadomasochistic erotic play itself. Given its emphasis on roles, costumes, props, scenes, the adornment of the body and implements of sexual arousal, sadomasochism despite the reality of the pain/pleasure experienced by its participants is a complex set of ritualised gestures. With these features in mind, it becomes easier to see how form and content are not merely in productive tensio n, but are virtually undone almost reversed by the portrait. Previously I identified the sadomasochistic couple as the content of the portrait, but the emphasis on performance, artifice and theatricality demonstrates that the term sadomasochistic couple is as much a formal trope enabling a reading of a situation as it is a pre-interpretive category with content. The viewer identifies Lyle Heeter and Brian Ridley as practitioners of sadomasochism not because their portrait contains sexual content, but because it trades in the signifying codes of the leather uniform. Brian Ridley and Lyle Heeter provides no evidence that its subjects participate in sadomasochistic acts; it reveals only that they understand how to participate in sadomasochistic signification. If this portrait were placed next to one of a gay male couple in jeans and t-shirts posed in their living room and another couple in biker gear in a fetish bar, the mobility of sadomasochistic couple as an interpretive grid would be much clearer. By the same token, the classical and mannered stylisation of the image is not merely the formal code by which this portrait has been organised; it is the very subject matter of the photograph. On the one hand, Heeter and Ridley, as a sadomasochistic couple, are irrelevant i.e. negated and transcended. They are little more than one possible signifier that enables a set of meanings and associations to attach to an image. Other visual and cultural incongruities could have been used to achieve the same kind of shock and disorientation. On the other hand, Ridley and Heeters identity as a sadomasochistic couple is absolutely essential to the image, not because it is at odds with the domestic setting of the portrait, but because sadomasochism as a highly theatrical, self-aware, ritualised mode of erotic behaviour fraught with its own contradictions and tensions provides the most useful set of signifying codes for exploring the formal concerns about self-stylisation with which the portrait engages. The theatricality of sadomasochis m, captured in a highly stylised portrait exposes the performance of masculinity that Heeter and Ridley and countless others are attempting. In this way that portraits iconography both participates in and potentially disrupts certain fantastic constructions of the masculine self. Sadomasochism, then, is a useful point of entry into Mapplethorpes larger body of work not only because it is the subject matter of a large number of his photographs or it is the subject matter that catapulted him to fame, but because sadomasochism as a practice is so directly parallel to the notions of theatrical self-presentation with which Mapplethorpes images deal. As noted previously, it is not only the thematic of the photographs that are important, but also how they train the viewer to see.

Theories of Accident Causation Essay --

There is major concern about patient safety. It has been caused in part by obvious failures in which many patients have been harmed. This concern seems to be escalating worldwide. The medical culture that we’re in today seems to rely on secrecy, professional protection, defensiveness, and respect to authority. Theses ideologies are central to these failures, and preventing future failures depends on cultural as much as structural change in health care systems and organizations. Swiss Cheese Model James T. Reason developed the Swiss cheese model. The model is used in risk evaluations and risk management to determine accident causation. It’s an accident causation model used in aviation, engineering and healthcare. It represents the human systems used and equates them to Swiss cheese slices put side by side. Sometimes it is referred to as the cumulative act effect. The structure of the Swiss cheese model applies to most risky fields, but I will discuss how it applies to healthcare. The developer theorized that most accidents could be traced back to more than one failure. These failures include organizational influence, supervision, preconditions and specific acts. Some examples of preconditions include fatigued workers, or communication errors. Unsafe supervision can be explained as putting inexperienced nurses in an Oncology unit to administer chemotherapy. Organizational influences can be perceived as performing understaffed when the consequences are known. An organization’s guard against most failures, in the Swiss cheese model, are presented as a chain of walls, symbolized by the slices of cheese. The wholes that are in the cheese represent the weaknesses in individual parts of the healthcare system, and are constantly wavering i... ...ime or another, but if you can decrease that amount from what you normally see it could benefit your organizations reputation. Health care executives are able to better understand why keeping patients’ safe from harm protects market share, reimbursement levels, organizational reputation, and accreditation status (Carroll, 2009). Today, in almost every health care system, safety has become a top priority. Through patient safety efforts the risk management professionals can help to place trust back into the health care system. Reference Carroll, R. (2009). Risk Management Handbook for Health Care Organizations. San Fransisco, CA, USA: Jossey-Bass. Walshe, K., & Shortell, M. S. (2004, May). When Things Go Wrong: How Health Care Organizationa Deal With Failures. Retrieved January 15, 2014, from Health Affairs: content.healthaffairs.org/content/23/3/103.full Theories of Accident Causation Essay -- There is major concern about patient safety. It has been caused in part by obvious failures in which many patients have been harmed. This concern seems to be escalating worldwide. The medical culture that we’re in today seems to rely on secrecy, professional protection, defensiveness, and respect to authority. Theses ideologies are central to these failures, and preventing future failures depends on cultural as much as structural change in health care systems and organizations. Swiss Cheese Model James T. Reason developed the Swiss cheese model. The model is used in risk evaluations and risk management to determine accident causation. It’s an accident causation model used in aviation, engineering and healthcare. It represents the human systems used and equates them to Swiss cheese slices put side by side. Sometimes it is referred to as the cumulative act effect. The structure of the Swiss cheese model applies to most risky fields, but I will discuss how it applies to healthcare. The developer theorized that most accidents could be traced back to more than one failure. These failures include organizational influence, supervision, preconditions and specific acts. Some examples of preconditions include fatigued workers, or communication errors. Unsafe supervision can be explained as putting inexperienced nurses in an Oncology unit to administer chemotherapy. Organizational influences can be perceived as performing understaffed when the consequences are known. An organization’s guard against most failures, in the Swiss cheese model, are presented as a chain of walls, symbolized by the slices of cheese. The wholes that are in the cheese represent the weaknesses in individual parts of the healthcare system, and are constantly wavering i... ...ime or another, but if you can decrease that amount from what you normally see it could benefit your organizations reputation. Health care executives are able to better understand why keeping patients’ safe from harm protects market share, reimbursement levels, organizational reputation, and accreditation status (Carroll, 2009). Today, in almost every health care system, safety has become a top priority. Through patient safety efforts the risk management professionals can help to place trust back into the health care system. Reference Carroll, R. (2009). Risk Management Handbook for Health Care Organizations. San Fransisco, CA, USA: Jossey-Bass. Walshe, K., & Shortell, M. S. (2004, May). When Things Go Wrong: How Health Care Organizationa Deal With Failures. Retrieved January 15, 2014, from Health Affairs: content.healthaffairs.org/content/23/3/103.full

Macbeth †Blind Ambition Essay

Q. The drama Macbeth explores the dangers associated with unsighted aspiration. Discuss. William Shakespeare’s drama Macbeth is chiefly concerned with researching the dangers associated with unsighted aspiration. Shakespeare presents the audience with a character faced with clear moral picks and who is led down a way towards devastation because of his tragic character defect. his overarching aspiration. We can see this in how easy Macbeth is ab initio convinced to get down down this route by the witches’ prognostication. Finally we see how Macbeth is driven to of all time greater extremes of inhuman treatment in order to keep the place that his aspiration has allowed him to achieve. The dangers associated with unsighted aspiration are portrayed in the mode in which the offenses they commit take a awful toll on the heads of both Macbeth and Lady Macbeth. Macbeth is ab initio presented in the drama as a brave and baronial character but it takes merely a intimation in the way of kingship from the enchantresss to enflame his aspiration. Early in the drama Macbeth is praised by the male monarch for his bravery and trueness. He is a figure of esteem and is rewarded for his attempts with the Thane of Cawdor. Shakespeare gives Macbeth his first gustatory sensation of power and aspiration with the prognostication of the enchantresss and this kindles a sense of wonder in him about what the hereafter may keep. He makes a spring between being a inactive figure in the face of fate to entertaining the thought that he may himself direct the workings of destiny. As Macbeth says. â€Å"The Prince of Cumberland: that is a measure On which I must fall down. or else o’erleap. † It seems to take merely the merest jog in the way of his â€Å"dark desires† to do a deep alteration in his character and to entice him into entertaining some atrocious offenses in order to accomplish those aspirations. We are left with the inquiry. would Macbeth hold of all time strayed from his baronial character if he had non been given the initial push in that way by the enchantresss? The reply seems to be that the enchantresss have simply allowed something that was dark and evil within Macbeth’s character to be pulled out into the visible radiation. If we begin to covet what others have so our aspirations can run amuck and destruct us. Having achieved his end to go the King of Scotland Macbeth is forced togo of all time more barbarous and cruel in order to support his illicit place. Initially we see that Macbeth has a profound battle with his scruples over the chance and so finds many good grounds for non killing him. It is merely the prod of Lady Macbeth over his manhood that keeps him on his bloody way. The slaying causes Macbeth a great trade of mental anguish and we see a character distraught by the injury of traveling against his indispensable character in the minutes straight after the act. â€Å"†¦ Sleep no more: Macbeth does slay sleep†¦Ã¢â‚¬ As the drama progresses he overcomes his remorses and supresses his scruples wholly. The deduction is that in order to keep his place he must go more and more bloodthirsty and that his character must go more and more distorted. Shakespeare is doing the observation that aspiration is like a famished fire that consumes all in its way in order to keep itself. Like autocrats throughout history we can see that. â€Å"Who is all powerful should fear everything. † The fright. intuition and paranoia created by supreme power illicitly gained leads to an inevitable bloodletting as the natural order is destroyed and pandemonium is unleashed. Macbeth’s aspiration is such a force for upset in the drama and causes non merely his ruin but that of many other characters and the whole province of Scotland. The greatest component of calamity in the drama is the spectacle of Macbeth easy losing his head as a consequence of his guilt over the offenses that he has committed in order to carry through his aspiration. The beginning of the drama portrays Macbeth as a baronial warrior of sound head and sound organic structure. This nevertheless changes as the drama progresses to the point where Macbeth becomes insane. This is due to the guilt of his actions. What emphasises the guilt that Macbeth feels even more is the nucleus values that he has. He battles with his head trying to convert himself that it was justifiable yet his nucleus ethical motives and values tell him otherwise. â€Å"It will hold blood ; they say. blood will hold blood† Here Macbeth reflects on his workss after Banquos shade disappears. This is the start of his conflict for his saneness. Because of his righteous nucleus values. he believes that the evil title that he has committed will finally ensue in his decease. As the drama progresses. his mental stableness degrades with each evil title he commits to the point where he has no desire to populate any longer as he realises that all there is to populate for. he has wasted off. â€Å"I have liv’d long plenty: my manner of life Is fall’n into the sear. the xanthous foliage ; And that which should attach to old age. † He remarks that old age has come upon him hurriedly as his manner of life has caused this.

Advices, which will make your LinkedIn profile attractive for employers

Advices, which will make your LinkedIn profile attractive for employers What Every College Student Should Post on LinkedIn Have you already completed your resume? Are you trying to find success formula to achieve suitable job search? If you focus on these above mentioned questions and make first steps to succeed within carrier questions, you should know that resume is not enough for modern job market. Nowadays, except resume, employers consider and pay great attention to your LinkedIn profile. Most of applicants should take care about the existing of such profile and its suitable content. Modern job hunting world establishes its own rules and one of them is the appropriate and active presence in the corresponding social networks. So what to post in your profile and what should be avoided by you, in order to make your LinkedIn perfect? Let’s find out what your future employer will appreciate and what can become success factor. Post a profile photo. Profile photo plays a significant role for job recruiters. Except your personal information, academic degree and skills, they want to discover your personality and your photo is important by that. Do not hesitate about your age or any other persuasions. Profiles with photos are more often viewed and highly appreciated by the employers. Though, keep in mind that you should add more or less official photo to your profile. There is hardly a HR-specialist, who will appreciate your selfy with the radiant make-up or photos from parties or pubs. Include coursework and term paper themes It will be great for your LinkedIn page if you do your best for detailed description of all topics of term papers and coursework. Thus, you can work over some problem, which suits exactly for some company or particular position. Employers can search innovative ideas and researches within definite sphere and your experience can become the real finding for them. Besides, your careful and detailed overview of your academic works can show that you are a conscious and responsible person, who exposes the cause, you deal with. Ask for recommendations If you already have some work experience, ask your previous employer to write some words about you. Having no experience of work, you can ask your college professor or teacher to post some recommendations. Your achievements and aptitudes, mentioned by other people, can attract interest of your potential employer. Do not lose an opportunity to use positive impressions and opinions of other people and get your carrier arranged. Connect with successful people You have a certain sphere of interest. Thus, it can be fashion, building or IT sphere. It will be great for you to have significant people within the industry in your connections. There can be different opportunities, you can follow their activity and find out new information for you. Sometimes such connections can make your chance to be employed really high. But never request connection by asking for a job. It will not work out. Find something common for you and the person, like the same college or native town. Ask professional advice or make an interesting comment – that is also your chance to connect with the right person. Comment on industry-specific articles First of all, following and reading such articles bring invaluable knowledge and development for you. You find out all the latest news and researches within the sphere and improve your professional level. Your reasonable comments can attract attention of desired recruiters and bring your targeted position. Be active, ask thoughtful questions and show your professional aptitudes. Check for spelling and grammar errors Be sure to check all your posts and comments to be grammatically correct and contain no misspelling. Believe that it will be one more point to your score for the employers. Follow our tips and gain professional achievements, it's in your hands!