How Does The Civil Rights Act of 1991 Changes the Workplace Research Paper

How Does The Civil Rights Act of 1991 Changes the Workplace - Research Paper Example As noted by the US Congress, other than the unlawful harassments and intentional discriminations as reasons, there was a need to strengthen civil rights laws because the decision of the Supreme Court in Wards Cove Packing Co. v. Antonio, 490 U.S. 642 (1989) weakened the scope and effectiveness of Federal civil rights protection (US Equal Employment Opportunity Commission). To address other challenges in civil rights law, the Civil Rights Act codified the concepts of â€Å"business necessity† and â€Å"job-related† acts that can amount to discrimination (Section 3, Civil Rights Act of 1991). Further, the law confirmed the statutory authority as well as providing guidelines on the adjudication of suits under the Civil Rights Act of 1964. Further, as a response to the Supreme Court decisions that emaciated the civil rights laws, the Civil Rights Act of 1991 expanded the scope of civil rights laws. Almost twenty years after the Civil Rights Act of 1991, it becomes possible to assess how the legislation contributed to the realization of non-discrimination in the workplaces. In this section, we assess employment figures for possible traces of discriminations in the workplace and interpret possible improvements in the workplaces as the achievements of the Civil Rights Act of 1991 even as we are aware that the legislation related to civil rights are not limited to the Civil Rights Act of 1964 and 1991. Table 1 on the earlier page shows that whites in management, professional, and related occupations compose about 33.6% of these occupations. In contrast, Table 2 shows that the whites who are no Hispanics in the US population are roughly 65.1% as of 2010. The data indicate that discriminations based on race are no longer as strong during the time of Martin Luther King, Jr.

Internet & interactive media-consumer website analysis and evaluation Research Paper

Internet & interactive media-consumer website analysis and evaluation project about Sephora - Research Paper Example Sales associates and make-up artists undergo intensive training so that they can be well prepared to answer customers’ questions and give them advice ranging from skin types, and application techniques. The company not only serves women who are frequent users of the beauty products, but also men. This paper examines the Sephora’s digital marketing strategy and its website which is located at http://www.sephora.com/. 2. Unique market positioning The company was launched in the 1960s and unlike other business entities which use the commission-based model, Sephora relies on the self-service model. Under this model, customers go around the store, and are able to feel, touch and try the available offerings. Its founder, Dominique Mondonnaud transformed the existing model by grouping products by qualities such as perfume notes and scents rather than by brand. By 1984, Dominique had opened more than 8 perfume shops, but in 1993 he sold all the stores to Louis Vuitton. Followin g the acquisition of Sephora, LVMH expanded its operations in many European countries as well as in the North America. Under the LVMH group, Sephora continues to expand the existing product lines and its current offerings include accessories, skin care, hair care, and make-up products. The company is renowned for its revolutionary products such as the anti-wrinkle cream StriVectin-SD. On its website, Sephora is highly recognized for providing the customers with an interactive shopping environment, and an unparalleled assortment of prestige products. Its products are most popular with those aged between 15 and 70 years old, and currently, the company operates in 24 countries. In North America, the company has established around 280 stores and mini-stores and has 11,000 products and 250 brands. Such a wide offerings ensures consumers needs and wants are adequately satisfied. 2.1 Products The company offers more than 200 brands and over 13,000 products and is considered a one-stop shop for all personal care needs. The company boasts of highly esteemed brands and trendy products and each of the brand features unique colors and packaging. In each of the stores, customers can receive innovative services from the Sephora professionals and it is this element that sets the company apart from its direct competitors. Maintaining high perceived quality products enables the company to charge premium prices. The prices of the available products and services are differentiated and this variation helps the company to serve a wider segment. Some of the products are highly priced while others are lowly priced to fit into the middle to upper range. The prices of course are higher than at other stores, and this price level is justified by the high quality services offered. 2.2 Communication and differentiation The company differentiates itself on three principles: freedom, experience and guarantee. In this regard, customers are guaranteed of quality services and they can s return product they are not satisfied

Using Theatre To Promote Social Change Theatre Essay

Using Theatre To Promote Social Change Theatre Essay Theatre can makes concepts coherent and real for people. It involves its audience both intellectually and emotionally, it sensitizes audiences to issues, ideas and people portrayed, and it engenders a personal connection with the events and characters on stage. Community-based theatre goes a step further; when a play is directly relevant to audience members lives and concerns, a process begins which can lead to deeper understanding and change. Audience members recognize the characters and their dilemmas and identify with the people portrayed. And because they can watch rather than live the experience, they also objectify the problems, and in so doing begin to be able to think critically about possible solutions or alternate actions and so have the ability to change. In this essay I will examine the need for social change as well as the impact of theatre on the society. I will explore the uses of theatre as an instrument of change as well as focusing on Boals theatre as his methods were used as a tool for change. What is social change and why it is needed? One of the most concise definitions of social change is characterised as the significant alteration of social structure and cultural patterns through time(Harper, 1993). And this social structure is made up of a persistent network of social relationships(Harper, 1993). In which interaction between people or groups has become repetitive. The resultant changes can affect everything from population to the economy, as industrialisation and shifting cultural norms and values, are also established agents of social change (Popenoe, 1995). In another words social change is the transformation of culture and social structure over time. There are various causes of social change. One of these causes is Culture which is a system that constantly loses and gains components. Also values, beliefs, and ideologies have certainly shaped directions of social change in the modern world, such as Nationalism, Capitalism and others. Change can be occur through the impact of environmental factors such as famine, International shifts in economic or political advantage, as the Globalisation which is one of the key factors in our modern society affecting the global economy, political structures, culture, etc. Change can also occur from social movement where people join together for a common cause or The mass media which considered a vital factor in speeding social change. It permits rapid diffusion of ideas, making this manifest in the private and relaxing environs of the home, where audiences are at their most susceptible. From all the above, social change can occur because of lots of reasons that mean there is always a demand for change, whether by individuals or through a larger forces which leads the community in some cases to a comprehensive change. Theatre is considering a mean to reflect people lives and re-create it for a deeper insight, it might be a tool to understand the real problems of society and contribute in finding solution for them as continues attempt for change. Theatre and societies Theatre arose in the ancient Egyptians era before 4500 years ago and in Greece before 2400 years ago on the basis that it is an education intermediate, Aristotle argues that the purpose of tragedy is purification while the purpose of comedy is social criticism (Aristotle, 1987), this what lead me to believe that the theatre in the beginning was closely connected with the concept of social change as we understand it today. Thus become the development of theatre throughout the history of the European Communities which was linked to their need for change, The history of theatre in Europe was and still in a clear continues progress, on the contrary, in many other cultures for example in the history of the ancient Egyptian Theatre, who did not continue its progress. Taking the example from history of Europe theatre does not negate the evolution of theatre in other societies such as China, India and some regions of Latin America. Back to linking the concept of theatre to social change in E urope, we find it represented in several periods which I will focus on some of them. The association with the Christian religion with politics and power in the first third of the fourth century theatre art has been eliminated temporarily as theatre artists was persecuted and considered to be heretics and enemies of religion but After a period of time theatre was revived again by the church itself, which used the theatre as a new way to celebrate and spread the message the religions and to promote to it. Thus, over the middle Ages the Church had to take a reconciled position with the theatrical art, perhaps this was a recognition of the clergy at that time of the role that could be played by theatre as a good and appropriate way to achieve the communication between the members of the community, which possessed the ability to unify a minimum fair amount of collective consciousness and activating the concept of culture that carries values for the society in which it was designed to be Christian, this theatre was used for social change towards the values and concepts of Christianity that was adopted as a prerequisite for this period. This played a role as in our own concept of the role of contemporary media, but because when theatre impersonating the media it loses much of its dramatic interactive and become closer to preaching than exploration and surprise pleasure. So soon after the fall of the Romanian empire and the weakness in the dominance of the church, new artists emerged in what is reminiscent of the Renaissance, this was an era in which theatre carried out to revive the Greek and Roman heritage and values relating to them, but in the frameworks respect to the traditions of the church, where the renaissance theatre worked for guiding the society towards rejection the superstitions. Theatre has also taken a functionality based on the guidance and education for people of moral values as well as changing society through the promotion of virtue and prevent vice. And with the emergence of William Shakespeare and his keen interest in issues of human self-imaging and his pain and anguish. where theatre become a carrier and reflective of the human as well as giving up it guidance role, and so theatre played a new role in the social life by becoming the centre of the desired change in that period which was elevating the attention of human beings and embody his suffering of all social, religious and political restrictions. The Norwegian writer Henrik Ibsen had realized the need for social change in his era, his works became one of the most visible models and a boot process for social change, as not only his attempts to deal with real issues and address the prevailing values by criticism and queries which leads to a demand for social change, but also he himself changed and shocked the theatre audiences when he used prose rather than poetry in writing the play in order to approach the level of daily language, and if he did not just announce the need for change but also uses new tools of his time (Barton and McGregor , 2008). Thus, from the history of the European theatre progress I conclude that the theatre and social change have always been two sides of the same coin, which theatre recreate life either by condensation, auditing, deletion, selection and rearrangement the art elements to be performed in front of viewers who can re-evaluate the performance and have hopes of change, or recreate life by staging it according to its creators thoughts in a period of time to put an image in front of the viewers pushing them towards the future of access desired. So, we cannot describe the theatre as a direct cause for social change this is because the social changer creates a model that community is required to reach while the art in general as a social and cultural practice wonder about the feasibility of the concept of change. And theatre in particular, as the form closest to the cultural practices in the community exposed to what is going on and measure the pulse of the community to discern the need for change and enquire about its usefulness, which he often does not answer these questions, even if the content has been alluded to answer, leaving the community to adopt these responses or even rejected, but in the end there will be perceptions of change, These perceptions were not to interact with reality, However, after the experience of these interactions through the theatre as a metaphor laboratory to test the prevailing societal values or alternative values that may be proposed within the assumed process of social change. Thus the theatre obligated to change its shape and form according to the causes and issues of society that generated it, However, these variables remained committed to the centrality of the theatrical text that presents what I referred to attempts to change, the theatre performance continued in bringing together all the elements for the interpretation of the text and despite the diversity of performance styles representative as the backbone of the performance that it was only in the context of the character. It is worth mentioning in this regard the most influential theoretical and pedagogical model of the twentieth century has been, without doubt, Konstantin Stanislavskys method. And here comes Bertolt Brecht to put new principles on the theatre art and be a pioneer in the exploitation of this art to the concept of a radical positive social change. Brecht attempts for change The reason for Brechts importance in theatre is that his work attempted to bring about a change in the whole relationship between the actor and the audience, the purpose of which was to broaden the social basis of the theatre and to set it once more in its proper social context. What Brecht most disliked and reacted against was the professionals view of the theatre as an end in itself. He wanted the theatre to accept its responsibilities as the social art with the utilitarian purpose of communicating with ordinary people about the matters that most concern them. (Bradby McCormick, 1978) In pursuit of theatre as craft or sporting display, Brecht later evolved his characteristic production style: the half curtain which did not attempt to completely cover the preparations in progress behind it; the use of placards or screen projections to comment on the action; the non-naturalistic settings; the visible rows of stage lights. These followed naturally from Brechts desire to reduce empathy in the audience and to induce his actors to demonstrate rather than to incarnate their characters. Just as a concert pianist or a boxer tries to show off his technique, so Brecht wanted every technique and object used in the production to be visible and comprehensible (Bradby and McCormick, 1978). For the production of The Mother in 1935 for the Theatre Union in New York, he wrote: Lets have a platform, and on this platform well put chairs, tables, partitions whatever the actors need. For hanging a curtain give me a wooden pole or a metal bar; for hanging a picture a piece of wall. And Ill want a large projection screenà ¢Ã¢â€š ¬Ã‚ ¦ Let it all be elegant, thin and fine like Japanese banners, flimsy like Japanese kites and lanterns; lets be aware of the natural textures of wood and metalà ¢Ã¢â€š ¬Ã‚ ¦ Well place two grand pianos visibly at one side of the stage; the play must have the quality of a concert as well as that of a dramaà ¢Ã¢â€š ¬Ã‚ ¦ And well show the lighting units as they dim on and off, playing over the scene. He approached acting less from an emotional and hence psychological angle than from its ability to demonstrate social relationships. Gestus or physical movements that accompany speech should not be seen as an expression of an actors personal experience but rather as supra-individual and thus symptomatic of larger, social contexts. This means that the actors relationship to his or her role is a detached one. Role enactment should serve as alienation or distancing effect whose goal is to endow the spectator with a searching, critical attitude towards the action on stage. (Balme, 2008) The alienation effect is the most consistently misunderstood part of Brechts theory. It is interpreted to mean that any emotional pleasure in the theatre must be suppressed. But for Brecht the strongest source of emotion to be found in the theatre was the delight in understanding reality. The alienation effect consists in the reproduction of real-life incidents on the stage in such a way as to underline their causality and bring it to the spectators attention. This type of art also generates emotions, such performances facilitate the mastering of reality, and this it is that moves the spectator. The purpose of the alienation effect, then, is to foster an alert, critical spirit in the audience by emphasizing causality. But this alone is perhaps not enough to generate emotions or give rise to fun. It goes hand in hand with an attitude towards people and their life in society summed up by the Philosopher in The Messingkauf Dialogues: I have an insatiable curiosity about people; its impossible for me to see and hear enough of them. The way they get along with each other, the way they develop friendships and enmities, sell onions, plan military campaigns, get married, make tweed suits, circulate forged bank notes, dig potatoes, observe the heavenly bodies; the way they cheat, favour, teach, exploit, respect, mutilate and support one another; the way they hold meetings, form societies, conduct intrigues. I always want to know why they embark on their undertakings, and my aim is to distinguish certain laws that would allow me to make predictions.(Brecht, 1965) To achieve the desired alienation effect, Brecht suggested that the actor perform in the third person, transpose the action into the past and speak the stage directions and commentaries. (Balme, 2008) Using a third person and the past tense allows the actor to adopt the right attitude of detachment. Speaking the stage directions out loud in the third person results in a clash between two tones of voice, alienating the second of them, the text proper (Brecht, 1964). Thus, far from wanting to suppress the emotions of his audience, Brecht wanted, like all great artists, to channel them, He wanted to provoke a spirit of passionate but detached enquiry. For this, he found that the ideal dramatic structure was that of the Shakespearean history play; a sequence of events narrated with no artificial restrictions as to time or place, which could vary the scene with ease from individual destinies to national conditions and back again. Brechts basic political position as a Communist, however unorthodox, meant that his plays were always addressed to the people rather than to the intelligentsia, and written in a language that would enable him to communicate effectively with working people. (Bradby McCormick, 1978) Brechts theatre was a theatre struggling for reintegration with society. He liked to describe it as a theatre that was scientific and dialectical scientific because of the detached way in which it tried to dissect the mechanisms of social life, and because it aspired to be useful; and dialectical because its method is one of discussion and contradiction, not of doctrinal affirmation. (Bradby McCormick, 1978) To conclude Brecht was convinced that theatre must be an agent of social and political change. He believed that theatre should appeal not to the spectators feelings but to his reason. While still providing entertainment, it should be educational and capable of provoking social change. Boals Spect-actors Theatre is a form of knowledge: it should and can also be a means of transforming society. Theatre can help us build our future, rather than just waiting for it (Boal, 1992) Augusto Boal established The Theatre of the Oppressed in the early 1970s which is nowadays used all over the world in different fields of social activities such as: education, culture, arts, politics, social work, psychotherapy, literacy programs and health. The Theatre of the Oppressed, in all its various modalities, is a constant search for dialogical forms, forms of theatre through which it is possible to converse, both about and as part of social activity, pedagogy, psychotherapy, politics (Boal, 2004). Two Brechtian principles underpin Boals praxis the first is that theatre should promote concrete political action. A performance should represent actual life, not for the purpose of allowing contemplation of powerful artistic fictions but to provoke and rehearse interventions that might change those aspects of society that oppresses individuals and groups. The second is the notion that dramatic performance it self constitutes a dialectical process of learning (Gordon, 2006). Boal was not satisfied with the inflammatory relationship that formulated in Brechts epic theatre, but he built a partnership between the spectators and actors in order to establish the scene and direct the events of the performance. He made more radical alternatives to the process of the epic that was adopted by Brecht, persisted in approaching the oppressed groups, contact with their problems in order to raise awareness of the causes and the potential to overcome these causes as well as engaging the public in analyze their problems, and search for their own solutions as a way to attempt change.( Gordon, 2006) In the traditional theatre, the spectator is a passive element, receptor of subjective representation of the reality. And since those responsible for theatrical performances are in general people who belong directly or indirectly to the ruling classes, obviously their finished images will be reflections of their visions of the world. Aristotle elaborated the poetics of the theatre that focused on its political dimensions.( Boal, 2000) The Theatre of the Oppressed therefore aims to transform the spectator into spect-actor. The word oppression is used as any force that private one individual to express and realize his wills. Everybody can be oppressed and an oppressor. This theatre gives the opportunity to express ones desires, identify the oppressions, which can be objective or subjective, and try to find the best way to deal with them. It is a Game of the Dialogue, where everybody can speak, and where everybody learns interacting with the others. ( Boal, 2000) When the spectator becomes spect-actor; he can modify the scenes he does not like in order to find different solutions that maybe would be afraid to attempt in his real life. He becomes active, developing his creativity and freedom of speaking. This activation that does not end with the play, activate his feeling of member of one society and his will to act in reality to improve it. Being citizen is not only living in one society but actively participate in it, trying to do it better for everyone.(Boal, 1992) The Theatre of the Oppressed appears as an effort to transform the traditional passive role of the spectator during and after any kind or performance. It consists in different techniques and games that can be used in order to make the spectator participate in the construction and the realization of the piece as the Image theatre, Newspaper theatre, Invisible theatre, Rainbow of desire and others. The main goal of this theatre is activate the creativity and the capacity of expression of the spectator, in order to analyze and find original solutions to the conflicts our society. As when the objective oppressions have been identified, a pacific confrontation to them will be proposed. When there is not a real oppressor or oppressed, the dialog should help find the better solution to deal with the conflict. One of Boals most influential methods is Forum theatre which was born from simultaneous dramaturgy when, according to Boal, by chance an audience member who was so frustrated that the actor did not understand her directions, took their place. This undid the audience/actor split and a new form of political theatre was created. He discovered that through this active participation the audience-actors, spect-actors, become empowered. This concept of the spect-actor became a dominant force within Boals later Forum theatre work. The audiences were now encouraged to not only imagine change but to actually practice that change, reflect collectively on the suggestion, and thereby become empowered to generate social action. Forum theatre events take place in public areas, in popular community, not necessarily in a theatre venue. They involve representing a scene with a conflict situation, or including an issue that the community suffers from, or telling a personal story that is without end. The performers are people from the community with Forum theatre trainers multipliers, the audience is invited at the end to make an intervention and suggest a way to deal with the issue or the situation by coming to the performance space and playing one role in the scene to try and change the events. This way we can provide live suggestion from the people to their own issues, through representation, as well as public discussion (Boal, 1992). Boals Legislative Theatre is also one and most remarkable stage in his work. Legislative Theatre is an attempt to use Boals method of Forum Theatre within a political system to create a truer form of democracy. It is an extraordinary experiment in the potential of theatre to affect social change. Forum Theatre invites members of the audience to take the stage and decide the outcome, becoming an integral part of the performance. As a politician in his native Rio de Janeiro, Boal used Forum Theatre to motivate the local populace in generating relevant legislation. In Legislative Theatre Boal creates new, theatrical, and truly revolutionary ways of involving everyone in the democratic process (Boal, 1998). Finally, the main purpose of Theatre of the Oppressed is to search for solutions to actual cases of oppression that members of the community suffer. From there the hope is that the community is empowered to manifest the change and dismantle the oppression. Theatre of the Oppressed clearly has the potential to make social structures, power relations and individual habits visible and, at the same time, provide tools to facilitate change. It is one of the few methods that offers an integrated approach to work on individual, group and social levels, and involves both the body and the mind. Study case: Theatre and Women Development The project name Theatre and Women Development, One year project in four segments, Series of training workshops, onsite community work, performances and publications, it was held in Alexandria, Egypt. Organised and managed by Reflection for arts training and development NGO. 2008 The project focused on the promotion and support of human rights via theatre, namely the rights of the freedom of expression linked with some personal rights, such as the freedom of opinion, and the rights of women, specifically to be protected from sexual harassment and domestic violence. The first segment of the project was a Forum theatre training workshop for theatre artists and social activists. Forum theatre was and still a methodology used for community work. It was the first time to create a Forum Theatre team in Egypt, a method that is made specifically for dealing with social issues, community participation, democratic discussion and seeking change. The second segment was a workshop for young women. The workshop was implemented in a community space in partnership with a feminist NGO, inviting 20 young women between the ages of 16 to 22. The workshop also used the Forum Theatre technique in order to represent situations which the participants live, suffer from, aspire to or oppose to. The end of the workshop included 3 nights of Forum theatre public events, where the participants performed stories and situations and ask the audience for their opinion, and how to find better ways to manage the difficult situations or experiences of those young women when they are faced by social values oppressing them. The aim of the workshop is not to reach the public events only, though it will be the culmination of the whole process and the real test of how this work can relate to the community and produce dialogue leading to change, but the aim is also to provoke discussions and give voice to young women who do not usually express themselves. The workshop was function as an open space for the participants to speak out, to gain self-confidence, to break the usual social hypocrisy and to acquire new skills of expression and of creative positive thinking, which could support their future roles in society as potential community leaders. The third segment of the project was a workshop with women between the ages of 30 to 50. The theme was domestic violence, one of the most sensitive and unspoken issues in Egypt. Domestic violence is a theme that will require a lot of care and sensitivity when it comes to community work. It will be our responsibility to respect the social borders surrounding this issue, while raising the awareness of the participants of their rights to be secure, respected and protected in their own homes and families. Forum Theatre technique was taught to the participants and used to structure scenes about situations of domestic violence that the participants suggest. The task of the group was to find out how to prevent those situations, how to deal with them and how to protect the women who are suffering in those situations. Special attention was given to traditional values as well as legal views, in order to analyze the reasons behind this phenomenon and to find out how to support and empower women to speak out and seek help. The fourth segment of the project used storytelling techniques and dramatic theatre to represent the real stories of sexual harassment in Egypt. For this segment we collected real stories from the community, re-worked on them dramatically, then brought female participants from the previous workshops, train them to act the stories out, and present them as the first theatre production in Alexandria based on true stories of harassment. The project Goals was to promote awareness on human rights: Freedom of expression, freedom of opinion, the right to security at home, and self-protection, the right to be respected and not discriminated against, and all related womens rights, To create a public form of participation in the dissemination of those rights via Forum theatre, To use this public form to represent real issues and stories of the community, To allow democratic discussion and management of those issues via Forum theatre, To empower young womens thinking and provide social skills of self-expression, To create new ways combining arts/theatre and development and social work, To bring sensitive issues to the surface in a creative and sensitive way, such as domestic violence . The project succeeds in reaching the majority of his goals and become a genuine basis of using theatre as a tool for social change. The Conclusion To conclude, Theatre through history had a great role on affecting peoples lives, by helping them to see their lives and problems more clearly. It become a tool to understand the real problems of society and tries to find an effective solution for them. It tries to enable those who are marginalized in some way to examine collectively their issues from their perspectives, to analyze causes of these issues, to explore avenues of potential action, and to create an opportunity to take such action. Through dialogue by rising the level of awareness as well as it contributes to the empowerment of all involved. It may also mobilize people to take action and support them in processes of social and political change.

Freedom, Patriarchy, and Racial Oppression Essay example -- United Sta

Freedom, Patriarchy, and Racial Oppression The French philosopher Jean-Paul Sarte is known to have established existentialism in France after the liberation of Paris in 1944. Existentialism is the philosophy that states that the values people choose influences the choices they make and how they interpret the meanings of their decisions. When existentialism was introduced in the United States, it challenged Americans to access their ethical standards from a different perspective. America is associated with being "The land of the free". However, the American society has set standards on women's roles and racial castes and until these oppressions are eliminated the entire society will never have freedom. What is freedom? Freedom, as defined by Krisnamurti, is a state of mind in which there is no fear or compulsion, no urge to be secure. In the American society there is a need for security and there is fear. People conform to society's ideas to feel secure and fear being different, fear thinking on their own to set their own standards and choose their own values. Sartre's existentialist view of freedom is that it preexists value choices. Because people do not freely choose and follow their values, society creates ideals that control their views in life. These ideals are supposed to maintain order in society by showing everyone their place, but these ideals displace what society should stand for and prevent people from freedom. Should people follow societybs norm or become existentialists and think on their own? Society has set limits on gender roles with ideals such as male privilege and patriarchy. Patriarchy is the political structure to control womenbs thoughts on their sexuality, laboring, and place in society so... ... the exact abilities that they have and that those views and values weakening society. They could choose new values that would allow equal opportunity for all people and a better society would be able to come into existence. Minorities could use an existentialist perspective to improve their standards of themselves. The American ideals on patriarchy, male privilege, and race will continue to oppress the entire society from freedom until these views can be changed as people realize what freedom really is. People must first free themselves from society's views by realizing that they have a negative affect on everyone. They must freely choose their own values. When people in society assess their ethical standards from a new perspective and become existentialist, freedom will preexist value choices and people will choose values with the equality of everyone in mind.

Coffee Culture Essay

Coffee has been around for a very long time. It is no coincidence that such an influential and integral drink has created a cultural realm of its own. According to â€Å"Hot and Bothered: Coffee and Caffeine Humor† by Elise Decamp with Catherine M. Tucker, coffee humor has been depicted to be one of the compliments that has culturally elevated coffee-drinking to a another human aspect – humor. Humor can be interpreted and expressed in more ways than one. There are no set rules of what constitutes humor in any society; therefore, humor comes in many shapes and sizes. So, how is increasing coffee humor relayed to â€Å"caffeine culture? † Each culture and point in time is different, but coffee has always had a strong correlation to a â€Å"caffeine culture† that stemmed from the physiological and mental attributes that coffee, or caffeine, imposes on its consumer. Because of its notorious effects coffee has on its consumers, drinking coffee has been portrayed as an energizing, riveting, and delectable image. The article also makes references to cartoons and sketches about consuming coffee in the mid-1900’s and how it depicted the consumption of coffee and its effects. This is perhaps because during that span, societies were emerging as more work-oriented lives that led to the more practical use of coffee, or caffeine. Coffee humor emerged as a way of interpreting coffee consumption and its effects by portraying the consumers as very alert, alive, and even somber. The articles also notes that research on caffeine consumption not only may make a person more energized and alert, but also relaxed and at ease. This eventually led to the relationship coffee had with its consumers by allowing avid coffee drinkers to demonstrate their affinity and devotion by either wearing it as a shirt, bumper sticker, or on a description via social media. Eventually, coffee humor has contributed to the image many coffee drinkers hold and has been an essential method of showing the world the many faces of drinking coffee. Drinking coffee, however, has not always been portrayed as a positive influence. Through coffee humor, modern preoccupations about coffee or other aspects of modern life have been revealed to be a concern for the consumption of coffee. The article explains the use of caffeine as drug, known as dopamine, which is responsible for the effects it has on its consumers. Those effects being alertness sleep depravity, high-energy, and an increase in blood pressure. Caffeine not only causes these effects to take place during its intake, but like many other drugs, it leads to withdrawals that bring forth anxiousness, depression, muscle fatigue, insomnia, and headaches. These withdrawals, however, only last a couple days, unlike stronger drugs with longer lasting withdrawals. Consequently, coffee humor has taken an interpretation of the effects of coffee consumption by portraying what would happen if someone was to go without drinking coffee and their lives would be different. What may seem like an innocent joke at first, could actually be analyzed as a portrayal of a social issue of the potential dangers and misinformed lifestyles many choose to be a part of.

Professional Career

Professional Career Action Plan As the health care industry grows, the request for higher education is also at a demand. With health care evolving and technology expanding, professional within the health care category must utilize career building and planning resources. As a student of higher education, one must analyze his or her professional aspect within the health care system. This essay will discuss my views on my professional goal, the health care Job I plan to have, the skills I currently have and the skills that I will need to alter.Thus the essay will further discuss my plan to achieve my professional goal, he resources available with organizations that will help further professional goal, and the benefits of acquiring a professional career action plan. Professional Goal As I went through my Journey at University of Phoenix, my professional goals have changed many times. With so many knowledgeable facilitators in the fields and receiving feedback on the fields have helped co nstruct a definite decision on what my professional goals will be.There are so many opportunities in assisting the community and health care organizations from small clinics to larger health organizations. I would like to be an advocate for the Hmong community. I believe that within the Hmong community there is much needed guidance for the children of this generation and many generations to come. This goal does not necessarily remain with the health care industry however; I believe that it is the foundation of all generations to have a successful ongoing community for the Hmong population.This professional goal is to Join a nonprofit anti- bullying association and volunteer my free time to gain knowledge on educating the society on how prevalent bully is and the effects. From there I wish to gain access to reach out to the Hmong Women's ssociation. This association is a Sacramento based organization dedicated advance the knowledge of the Hmong community. I want to help educate the H mong community on bully within the community because all forms of bullying can have an impact on these children who will be able to help shape our society and our health care system (â€Å"Hmong Womens Association†, 2012).My next professional goal is to work in a health care facility within a hospital setting. The Job I wish to acquire in the Health care facility is to be a management coordinator for the utilization unit at a hospital. Job Skills The Job skills that I currently have for the health care management utilization coordinator is I am a confident speaker, the desire of being a patient advocate, and the self will to retain and gain higher education and the ability to adapt to changes.I believe that my skills are essential to this Job because I am able to speak confidently on the work I do, my desire for being a patient advocate will ensure that patients are receiving quality of care, attaining higher education to expand my knowledge in the field and the ability to ad apt to the new health care reform that will be taking place within the health care industry. The skills that I need to hone for this Job is to advance my knowledge in technology. Another skill that is needed is on now to use an excel program. As the health care industry evolves so does technology.I believe that technology is forever changing and growing. Therefore, I need to have knowledge because health care systems are becoming paperless and becoming digital. For example, the use of video conference is very common in the health care field and the knowledge to run such program is beneficial. The use of excel spreadsheet is a growing skill within this field because it helps track the patients ases that are and need to coordinated. Having such skill is extremely beneficial because it will help organizing cases to make sure patients receive quality care (â€Å"Microsoft Excel Spreadsheet†, 2012).Another skill that I may need to obtain is experience of the Job. I see while Job s earch on Monster Jobs is health sectors are searching for candidates with Job experience. While looking through there I also notice that for this Job it requires me to have a degree of Bachelor or higher. I can understand that within this economy, the education I have is a good aspect, however I must be able to market my education and my knowledge (Health Care Administration, 2011). Achieving Professional goals I think that my career goals are within reach and I can accomplish anything that I sent my will to.My plan to achieve these goals is to keep expanding my knowledge and education myself on the changing and evolving health care system. I also plan to further my education and obtain a Master's degree in management and leadership. I want to obtain a degree higher than bachelor degree because I want to my children, family and community to look up to me and realize that education will be a lifetime orth investment. The professional organizations that will be able to help me achieve these goals are to belong to the American College of Health Executives

Hitler5 essays

Hitler5 essays During the Depression, Germans were overcome with strife and filled with the need for change. They were eager to be led and desperately wanted positive direction for Germany. The conditions in Germany were perfect for Hitlers ideology to be planted and grow in the minds and lives of Germans. In some way or another the Nazi ideology permeated in aspects of everyday life, family relationships, social relationships, and economic circumstances in German village communities. In order to understand the extent of the Nazis influence in village communities, you have to first understand the circumstances present in Germany before the Nazi integration. Traditionally, villages in Germany relied on agriculture as their main source of income. As the population in the villages continued to grow and economic circumstances were declining, many Germans had no choice but to seek another source of income for their household. Many men went to urban areas to find work during the industrialization. The women and children stayed in the village and became responsible for not only the household, but also the land. This one thing paved the way for the transformation from the traditional way of life. The instability created from this was present in many aspects of the German village community. Family life was very much changed by the men going to work in urban areas. The roles of every member of the family were different. The traditional German family had the women and girls taking care of the household and the boys and men were responsible for the land. The men were the "breadwinners" of the family, while the women had no roles with any responsibility. When the men went to the cities, the women became responsible for the household and the land also. The women now became an integral part of family survival. The social structure in Germany had been the same way for years and years. The elite were deeply entrenched in their ...