BHS 499 (Computer & Information Systems) Module 4 SLP Essay - 2

BHS 499 (Computer and Information Systems) Module 4 SLP - Essay Example staff who can train understudies looking to take a crack at nursing; the vast majority of the current nursing employees are maturing (around 50-to 54 years old); there is insufficient pool of more youthful personnel; the absence of accentuation or spotlight on showing instructive standards in accordance with the exacting clinical, educational and research educational plans of larger part of the experts and doctoral projects; resources in nursing have inadequate and weakened job desires which are bothered by colossal job related pressure; new employees, the craving to be effective in all features of academe; there is absence of intensity in pay rates identified with the clinical area; too hardly any nursing employees are set up for doctoral projects; there is high workforce remaining task at hand, absence of qualified candidates and less personnel are willing encourage clinical courses just as to lead research. In this manner, corresponding to the previously mentioned nursing issues on the trouble to select and hold nursing instructors, the AANA Education Committee made a few activities or intercessions and coordinated it in the vital plans. The association made some initiative changes which incorporated a few components of workforce, regulatory, monetary, political just as recognition concerns. The group additionally led an electronic overview on CRNA workforce enrollment and maintenance in January 2006 so as to assess proficient necessities of nursing resources, reason for a advancement workshops and other improvement programs. The aftereffects of the review (Starnes-Ott and Kremer, 2007) uncovered that if the necessities of most employees will be positioned likewise, there concern is greatly coordinated towards the requirement for help with request for them to get ready for the doctoral projects, an imaginative guidance like separation learning and human patient reenactment and advancement of the educational program. The above discoveries are not extremely amazing, truth be told, different analysts have looked for a similar data at various clinical and instructive settings

Methodological Rigor Assignment Example | Topics and Well Written Essays - 250 words

Methodological Rigor - Assignment Example Self-determination creates when there is no portrayal of the examples. The self-choice procedure offers tact to the subjects to have a place with any gathering without legitimate thought of portrayal (Vogt, 2007). Basically, subjects in the examination can choose the gathering to have a place, or people may allocate themselves. The third danger to legitimacy in quantitative research is the volunteer impacts (Vogt, 2007). The danger creates when people don't give agree for them to be examined. The subjects who take an interest in the investigation give diverse data from the ones who don't give assent. The correspondence among subjects displays different difficulties and can broadly adjust data. Development happens because of additional time being spent in an investigation. History impact is a legitimacy danger since it brings about broadened time being outperformed during an exploration study (Christensen et al., 2011). There are assorted courses through which the characteristic legitimacy dangers to quantitative research can be moderated. Vogt (2007) noticed that it is significant for a specialist to individual allocate subjects to particular gatherings to stop self-determination. Subjects ought to be screened cautiously to maintain a strategic distance from whittling down impact. History impact is a principal issue that can be managed by guaranteeing that the estimations are taken on each interim. Subjects ought not be permitted to control the procedures of an examination (Vogt, 2007). Measurable force alludes to the ability of a test to decide with exactness an impact and the genuineness of its reality (Black, 1999). Measurable force help in decreasing kind I and II mistakes by effectively deciding presence of a relationship or impact (Black, 1999). In a perfect world, it lessens the inaccurate dismissal of an invalid theory in type I mistake (Peck et al., 2011). Thus, it decreases the dismissal of an invalid speculation since it accurately decides the

How to Make Yourself Work When You Just Dont Want to

How to Make Yourself Work When You Just Don’t Want to Not ?ll of u? ?r? l?z?, but ??m?tim??, w? ju?t d?n’t feel lik? w?rking or doing that thing whi?h w? ?r? ?u?????d t? d? ?t th?t tim?. N?rm?ll?, what w? d? is ?r??r??tin?t?.Sometimes w? ?nd up ?r??r??tin?ting and procrastinating ?ll over again. Pr??r??tin?ti?n i? n?t really a f??t?r ?f being l?z?, ??m?tim??, we are just not in th? m??d.L?t’? start with an ?n?l?g?. H?v? you ?v?r h??rd ?f th? l?w of inertia? Y?u ?r?b?bl? h?v? fr?m ??ur days in Ph??i?? ?l??? during elementary school.Th? l?w ?f Inertia of R??t ?t?t?? that: “There i? a t?nd?n?? f?r a b?d? ?t rest t? r?m?in at r??t unl??? an external force i? ???li?d t? it”.Basically, if you d?n’t move it, it’? n?t g?ing t? m?v?. Thi? l?w i? v?r? much ??rtin?nt t? our lif? ?nd plays a ?ignifi??nt r?l?. It t?k?? a little ?ff?rt t? g?t th?t ?tuff done, r?g?rdl??? ?f wh?th?r you w?nt to do it ?r not. And ??u h?v? t? ?r??t? that effort.S? lik? w? ?t?t?d ??rli?r, one ?f th? things you d? wh?n ??u r??ll? don’t w?nt to w?rk i? ?r??r?? tin?t?.W? ?ut it ?ff ?nd hope to d? it in a couple of minut?? ?r hours, ?nd th??? h?ur? ??m?tim?? turn int? d???.But d? n?t be ?l?rm?d, ?r??r??tin?ti?n affects everyone. It ?n??k? up ?n most ????l? ?????i?ll? wh?n th??’r? tired ?r b?r?d. But f?r some, procrastination can be a full-fledged addiction.P???h?l?gi?t? ?t C??? Western R???rv? University conducted ?n int?r??ting ?x??rim?nt where th?? offered college students a d?t? r?ng? in?t??d ?f a ?ingl? du? d?t? f?r th?ir papers.The r????r?h?r? tr??k?d th? date th?t ?tud?nt? turn?d in their ????r? ?nd ??m??r?d this to their ?tr??? l?v?l? ?nd overall h??lth. Stud?nt? wh? waited until th? l??t minut? to turn in their ????r? h?d greater ?tr??? ?nd m?r? h??lth i??u?? th?n ?th?r? did.Th?? ?l?? received w?r?? grades ?n th?ir papers ?nd in th? ?l??? ?v?r?ll th?n students who turn?d their ????r? in ??rli?r.An?th?r study published b? Bishop’s Univ?r?it? ?x?l?r?d th? link b?tw??n ?hr?ni? ?r??r??tin?ti?n ?nd stress-related h??lth i??u??.Th? r? ???r?h?r? f?und a strong link b?tw??n procrastination ?nd h???rt?n?i?n ?nd h??rt di?????, ?? ?r??r??tin?t?r? ?x??ri?n??d gr??t?r ?m?unt? ?f ?tr??? ?nd were more lik?l? t? d?l?? healthy activities, ?u?h as ?r???r diet ?nd ?x?r?i??.Pr??r??tin?ti?n i? fu?ll?d b? ?x?u???. We cannot ?x???t to overcome ?r??r??tin?ti?n and im?r?v? ?ur health ?nd ?r?du?tivit? until w?’r? ?bl? t? ?v?r??m? th? negative mental habits th?t lead u? t? ?r??r??tin?t? in th? first place.HERE ARE A FEW REASONS WHY WE PUT OFF WORK WE ARE SUPPOSED TO DO NOW AND APPROACHES TO POWER THROUGHTh? m??t troubling excuses w? u?? to h?l? u? convince ?ur??lv?? to put ?f work f?r l?t?r are troubling b???u?? th??’r? th? m??t diffi?ult ?x?u??? t? conquer.Lack of DesireIt ?ll ?t?rt? with h?w w? f??l ?b?ut ?ur lif?. H?w we f??l greatly ?ff??t? our m?tiv?ti?n?.Most ????l? ?r? in ??m? form of comfort, but it’? a n?g?tiv? ??mf?rt. It’? a ??mf?rt wh?r? ??u’r? not m?king ?r?gr??? t?w?rd? ??ur dr??m? but ??u’r? n?t in that mu? h pain ?ith?r.D?n’t b? in thi? space.The b??t m?tiv?t?r? are ??in ?nd progress.Wh?n you are in a ?itu?ti?n th?t genuinely hurt? ??u find a ??luti?n. It’s not a m?tt?r of m?king ?x?u???, you ju?t d? it.And likewise, when you’re making ?r?gr??? th? ??m? thing h????n?, ?lth?ugh from a mu?h m?r? positive ?t?nd??int. You feel great ?nd the momentum-based ??hi?v?m?nt k???? ??u d?ing th? thing? ??u ?h?uld b? d?ing.But ??in will ju?t hurt and ?r?gr??? will b? non-existent unl??? you are in??ir?d ?r h?v? a burning desire to m?k? a ???itiv? ?h?ng? in ??ur life.It’? diffi?ult to transform a “?h?uld” int? a “mu?t” (?? T?n? R?bbin? w?uld ?ut it), but th?r? ?r? a f?w approaches:W?it till it g?t? ?? b?d it hurt?. Thi? i?n’t recommended b???u?? ??in isn’t ?lw??? the b??t m?tiv?t?r (there ?r? ?x???ti?n? remember) and it’? ??rt ?f silly t? put ??ur??lf in a worse ?itu?ti?n t? get better.Commit t? d?ing it ?n??. Giv? it a g?. Ju?t ?n??.F?r ?g?? I knew I ?h?uld ?t?rt writing a blo g lik? this, but I put it off. Th?n I started it, ?nd I loved it. Giv? it a go.Und?r?t?nd th? r????n wh?. Understand why you ?h?uld be doing ??m?thing. Understand wh?t you’re mi??ing ?ut on.ConfusionAlth?ugh, ?x?u??? ?r?n’t ?lw??? ju?t excuses, th?? m?? stem fr?m ??nfu?i?n, and th?t’? a diff?r?nt ?r?bl?m entirely.It’? ???? t? b???m? ?v?rwh?lm?d with ?ll th? things ??u ?h?uld b? d?ing ?nd ??u ??uld ?udd?nl? b???m? ??nfu??d. Especially wh?n there i? n? deadlin? for th?t w?rk ?r activity.T? fight the overwhelming n?tur? ?f h?ving t?? mu?h w?rk t? do with no deadline to k??? ??u ?n ??ur toes, ?it back with a ??n ?nd ????r ?nd writ? ?ut a ?l??r ?l?n of wh?t ??u should be d?ing.Break it down int? numb?r?.Misuse of NegativityTim F?rri?? h?? di??u???d ????imi?m ?? a ?r?du?tivit? ???t?m, but a constructive u?? ?f negativity g??? b???nd ju?t ?r?du?tivit?. A???rding to Th? L?w ?f Attr??ti?n f??u?ing on n?g?tivit? will bring th?t int? ??ur lif?. And t? a certain ?xt?nt I agree.But negat ivity ??n be u??d ??n?tru?tiv?l? as l?ng ?? ??u d?n’t dw?ll ?n it. The majority ?f th? time ??u ?h?uld focus ?n wh?t inspires you and your burning d??ir?, but whenever ??u feel ??rti?ul?rl? unm?tiv?t?d, ??k ??ur??lf “Wh?t will h????n if I don’t do this?”S?? ?n unhealthy ??u if ??u d?n’t g? f?r th?t run, ?r ?n unfulfill?d ??u if ??u ?h???? n?t t? follow your ????i?n.I Dont Know Where to BeginParadoxically, we ?ft?n find ?ur??lv?? fr?z?n lik? a deer in headlights wh?n ??nfr?nt?d with a diffi?ult t??k.A? well, much lik? d??r, th? b??t thing w? can do i? m?v? in ?n? direction, f??t. When a t??k is particularly difficult, ??u need ?ll the tim? you ?r? giv?n t? complete it.Th?r?’? n? ??n?? in w??ting v?lu?bl? tim? by allowing ??ur??lf t? b? ?v?rwh?lm?d b? the ??m?l?xit? ?f the task.The k?? here is t? n?t ?ll?w f??r of th? wh?l? to ?t?? ??u fr?m engaging in th? parts.Wh?n ??m?thing looks too diffi?ult, ?im?l? br??k it down.Wh?t can ??u ????m?li?h in 60 minut?? that will help ?? u slay th? b???t?Then, wh?t ??n ??u d? in 60 m?r? minut???There are too many DistractionsF?r most ?f u?, g?tting ?t?rt?d ?n a l?rg? project i? a challenge. W? stumble over ?ll ??rt? of ?m?ll?r, irr?l?v?nt tasks th?t di?tr??t u? from th? r??l ???ignm?nt. W? ?n?w?r ?m?il?, m?k? calls, check th? n?w? online…anything t? avoid th? ?l??h?nt in th? r??m.B?ing bu?? is n?t th? same as being ?r?du?tiv?.When ??u find ??ur??lf ?v?iding a ??rti?ul?rl? ?iz??bl? t??k, ?l?w down ?nd vi?u?liz? wh?t will happen if you ??ntinu? t? ?ut off th? t??k.Di?tr??ti?n? numb you by ?hifting your attention ?w?? fr?m th??? ??n???u?n??? (a.k.a., ?w?? fr?m r??lit?).R?minding yourself of wh?t will h????n if you continue procrastinating i? a gr??t way to m?k? distractions l??? enchanting ?? th?t you can focus ?n ??ur w?rk.Its too EasyTasks that ?r? t?? easy can be surprisingly dangerous, because wh?n you ?ut th?m ?ff, it’? easy t? underestimate how mu?h time th??’ll t?k? to ??m?l?t?.You ?r?b?bl? d? this because you ?r? good ?t th?t task or may b? g??d ?t your job.But ?n?? ??u fin?ll? ?it d?wn t? w?rk ?n them, ??u di???v?r ??u h?v? n?t giv?n ??ur??lf enough time t? ??m?l?t? th? t??k (?r at least to complete it well).If a task i? too easy, dr?w ??nn??ti?n? to th? bigg?r picture, b???u?? th??? connections turn mundane tasks int? a fundamental (?nd do it n?w) ??rt ?f ??ur j?b.F?r example, ??u might h?t? data entry, but wh?n you think ?b?ut th? r?l? th? data ?l??? in th? ?tr?t?gi? objectives ?f your d???rtm?nt, the t??k b???m?? worthwhile.Wh?n th? ?m?ll?r, ???mingl? in?ignifi??nt thing? d?n’t g?t d?n? or g?t d?n? ???rl?, it has a ri??l? effect th?t’? f?lt f?r mil??.I don’t like itPr??r??tin?ti?n isn’t ?lw??? about a t??k b?ing t?? ???? ?r t?? h?rd.S?m?tim??, ??u just d?n’t w?nt t? d? it. It ??n be v?r? hard t? g?t m?ving on a t??k in which ??u’r? di?int?r??t?d, mu?h less despise.Unf?rtun?t?l?, th?r?’? n? fool ?r??f w?? to teach yourself t? find ??m?thing int?r??ting, because cert ain things will n?v?r dr?w your ?tt?nti?n.R?th?r th?n ?u?hing th??? tasks t? th? b??k of your plate, make it a rul? th?t ??u ??nn?t t?u?h any ?th?r ?r?j??t ?r t??k until you’ve fini?h?d th? dreaded one.In thi? w??, ??u ?r? ??li?ing ??ur??lf b? f?r?ing ??ur??lf to “??t your v?g?t?bl?? b?f?r? you can have dessert.”Wh?n ??u do get started, ??u ??n always turn the t??k int? a g?m?.H?w ??n ??u achieve ??ur task more efficiently?H?w ??n ??u change the steps of th? process ?nd still ?r?du?? the same r??ult? Bringing mindfuln??? t? a dr??d?d t??k gives ??u a fresh ??r????tiv?.Th? t??k it??lf might n?t b? fun, but th? g?m? ??n b?.I Dont Think I Can Do ItYou ?r? ???ign?d a n?w project b? your ?u??rvi??r.In fact, it’s ?n? you’ve wished he ?r she would give you f?r a while. H?w?v?r, n?w th?t it’? in your lap, ??u simply ??nn?t get ?t?rt?d. Y?u cannot g?t ???t thoughts ?f f?ilur?. Wh?t’? going to h????n if I bl?w it? H?w am I going to do this? Could I b? fired ?v?r this? It can r?? ?h a point wh?r? ?v?iding f?ilur? seems lik? the best possible ??ti?n. Aft?r ?ll, if ??u never engage in a ?r?j??t, you’ll n?v?r f?il. Right?Wr?ng! Pr??r??tin?ti?n it??lf i? failureâ€"failure t? utiliz? ??ur innate t?l?nt? ?nd ?biliti??. Wh?n you procrastinate, ??u’r? failing t? believe in ??ur??lf.R?m?mb?r when you were l??rning t? driv? ?nd you could ?nl? look ?tr?ight ahead, because if you l??k?d ?t ??m?thing ?ff th? road, you’d unwittingl? turn the wh??l in th?t dir??ti?n? Worrying ?b?ut ?v?r?thing that might g? wr?ng if ??u f?il h?? the ??m? ?ff??t. It ?ull? ??u toward f?ilur?.Y?u mu?t ?hift ??ur mind in a confident dir??ti?n by f??u?ing ?n all the positive thing? th?t ?r? g?ing t? h????n wh?n ??u ?u????d. Wh?n you b?li?v? ??u ??n d? ??m?thingâ€"?nd ??u vi?u?liz? the ???itiv? thing? that will come fr?m doing w?llâ€"??u ??ui? yourself to ?u????d.Thi? thought ?r????? gets ??ur mind h??d?d in the right dir??ti?n.W?rr?ing ?b?ut ?v?r?thing that could g? wr?ng only bind? your h ?nd?.Br??k th? ?h?in? ?nd g?t started!I am Afraid of FailingS?m?tim??, w? are t?? afraid t? do something ?r ?t?rt ?v?r ?g?in ?? w? h?v? ??nfirm?d in our h??d? th?t w? ?r? going t? f?il.But ??u mu?t r?mind ??ur??lf ?b?ut th? ????m?li?hm?nt.What if ??u d? it this time and then ?u????d?Think about th? ??? raise or th? ?xtr? income ??u w?ld ??rn ?r th? simple smile ??u would ?ut ?n that persons f??? wh? i? counting on you to get that work done.Wh?t is b?tt?r than th?t?If you w?rk ?ut regularly, ??u ?r? g?ing to l??k ?m?zing, ?nd everyone will b? all-praise f?r ??u.D?n’t you w?nt that?Lif? doesn’t ?t?? monotonous if you keep challenging yourself and th?t i? what ??u should d?.H?W DO YOU M?K? Y?UR SELF WORK WHEN YOU R??LL? D?N’T F??L LIK??  Dont Think, Just Do it AlreadyY?ur mind i? a ?r? at resisting pain ?nd di???mf?rt, ?nd it will ??m? u? with all ??rt? of th?ught? th?t will m?k? ??u procrastinate ?r influence ??ur decisions.Rather th?n sitting th?r? ?nd l?tting your mind just ru n wild with n?g?tivit?, just ?t?? thinking ?nd try t?king ??ti?n.Yes, it’? h?rd. And no, it won’t work ?ll th? time, but wh?n it d??? work, you’ll find that it won’t b? ?? b?d ?? ??ur mind w?? m?king it ?ut t? b?.Wh?n ??u are “n?t in a mood”, you g?t t? ignore your “sensitive” f??ling? and Ju?t Do It, ??l. I know it i? ?r?tt? ?bvi?u?, but it i? th? only motto whi?h can m?k? you g? on a run wh?n ??u d?n’t w?nt t? because it i? wh?t you need t? get done.Life i? not always about wh?t ??u “f??l” like d?ing.Cut It Out!Don’t l??k f?r motivation by sitting idly but by starting with a b?b? step.Meditate on Why You Need to Do ThisIn?t??d ?f giving in t? distraction, ?it th?r? f?r a minute ?nd meditate.Wh? do you n??d t? do this task you don’t w?nt to d??Sure, because it’? ?n your t? d? li?t, ?r because ??m??n? ?l?? w?nt? ??u t? d? it. Or ??u’r? g?tting ??id f?r it, ?r ??m??n?’? g?t to d? it.But why?What will this task help accomplish? Wh? is it h?l?ing?Dig dee per and find the g??d that ??u’r? ?r??ting in th? w?rld.If ??u’r? a di?hw??h?r, you might not think getting dirty di?h?? ?l??n m?tt?r?, but those di?h?? are r??uir?d to serve f??d, and th? f??d n?uri?h?? ????l? ?nd it can m?k? th?m h???? ?nd th?n they ??n g? out ?nd d? something g??d in th? w?rld with a ?mil? on th?ir f???.So connect th? di?h?? to th? g??d.Commit to Working on It For Just 20 MinutesD???it? b?ing aware ?f h?w gr??t thing? ??n b? if it ?ll w?rk? out, ??m?tim?? it’? still h?rd t? get moving when it ?ll ???m? so ?v?rwh?lming. During th??? tim?? when it ?ll f??l? lik? just too mu?h t? h?ndl?, ?t?rt with 20 minutes. An??n? ??n d? ju?t 20 minut??.Y?u’ll f??l r??ll? g??d about at l???t g?tting ?t?rt?d, ?nd it will ?r?b?bl? ?v?n giv? you some momentum t? ??ntinu?.Pr?mi?? ??ur??lf breaks to g?t up and gr?b a drink or ?t?? ?ut?id? for a br??th of fresh ?ir every 20 to 25 minutes to help maintain it ?nd look forward t? ??m?thing along th? w??.Focus More on Learning and Less on ResultsW? all w?nt thing? t? go our own w??, and w? all w?nt to b? in control. Sometimes we ju?t get ?? caught up in wh?t could g? wrong and how thing? turn out, w? forget all ?b?ut th? im??rt?n?? ?f l??rning ?nd gr?wing from th? ?x??ri?n??â€"?nd yes, virtually ?n?thing ??n b? ??n?id?r?d a l??rning ?x??ri?n??! It’? all about mind ??t. The right mind set is to create value, not what ??u w?uld g?t in return. S? once ??u are f??u?ing ?n th? v?lu? ?r??ti?n, you ??n b? m?tiv?t?d to get ?n with the w?rk immediately.Embr??? ?v?r?thing that h?? th? ??t?nti?l t? t???h you a n?w l????n and allow ??u t? discover n?w thing? ?b?ut th? w?rld or ??ur??lf. It will really h?l? t?k? ??ur mind ?ff ?f th? ?nd r??ult you’re looking f?r ?nd you start doing in?t??d ?f wondering.Write it outWh?n n?n? ?f these seem t? work, ju?t write. Pull ?ut a n?t?b??k or a bl?nk document ?n your ??m?ut?r and ju?t writ? whatever’s going through ??ur mind.Writing i? ?n? ?f the b??t things you can d? to ir?n ?ut everything th?t’? g?ing on in?id? ?f ??u, and it ?v?n gives ??u th? ????rtunit? t? consciously id?ntif? ?v?r?thing ??u’r? grateful for despite ?ll th? n?g?tiv? th?ught? ?nd emotions.Y?u d?n’t have t? f?k? being ???itiv? ?nd ?r?t?nd th?t the dreadful thing ??u need t? d? is actually ?w???m?.It’s m?r? about ???ing it h?w it is, ?????ting it ?nd finding new perspectives th?t ??tu?ll? d? r?v??l ??m? ???itiv? ?????t? ?b?ut it.Thi? w??, ??u w?uld realize ??u have ?t?rt?d d?ing that ?tuff ??u w?nt t? d?, th?ugh n?t directly, but it giv?? a m?m?nt?u? push to ?t?rt.Incentivize YourselfR?w?rd ??ur??lf, ?r ?t least, ?l?n t?. Treat ??ur??lf t? ??ur favourite coffee ?r t?? ?n ??ur w?? t? w?rk. Make lun?h ?l?n?. Schedule ??m?thing ni?? ?ft?r work, like a w?rk?ut, a g?t t?g?th?r with friends, ?r a ?j’? night ?t h?m? with a g??d m?vi?.R?mind ??ur??lf th??? thing? ?r? ?nl? possible if ??u get the work d?n? and over with now, r?th?r th?n dw?lling on it l?t?r in th? d?? wh?n ??u should b ? having fun.Make Things Easier for YourselfMaybe ??u need t? g? t? work, but ??u r??ll? d?n’t f??l like. M?k? thing? easier for yourself. Take a ??b in?t??d of th? bu?. Skip the tri? t? the dr? cleaner. W??r ??m?thing comfy. Cross ?ff a ??u?l? of thing? ?n ??ur “T? Do” li?t t? light?n th? load.Ask f?r th? ?u???rt ??u n??d fr?m ??ur ??rtn?r, fri?nd? and f?mil? ?v?n if it’? ju?t a pep t?lk ?r a littl? ?r?dding.Lighten the l??d ?f wh?t?v?r it i? you ?h?uld d? ?nd ??u would ??? h?w easy t? ?tuff look ?nd th?n ??u ??n have th? ?u?h t? get it d?n? already.Focus on Intention, not ResultsY?u ?r? ??ught u? with th? results ?f th? taskâ€"what will h????n if ??u do it, what f?ilur? might result.S? f?rg?t about th? r??ultâ€"??u ??n’t know wh?t it will b? ?n?w??.Th?t’? in th? future.For n?w, focus ?n ??ur intention: wh? are ??u doing it?If it’s t? m?k? th? lif? of a l?v?d one better, then th?t’? your intention.That int?nti?n i? tru? n? matter wh?t the r??ult might b?.Focus ?n th is, n?t what b?d things might or might n?t h????n.Do the Work that is Easier for YouPerhaps today isn’t the day you are g?ing to complete th? big project, but keep in mind that anything ??u do right n?w n? m?tt?r h?w small i? m?r? th?n wh?t ??u w?uld accomplish if you don’t start the work in th? fir?t ?l???.It b??i??ll? means th?t d?ing something i? ?lw??? a hundr?d ??r??nt m?r? productive th?n d?ing n?thing. G?t that filling d?n?, it i? n?t that diffi?ult ?nd moreover, ??u have t? ?v?ntu?ll? do it l?t?r, ?? wh? n?t g?t it ?v?r with.Complete that mindless paperwork whi?h d???n’t take mu?h of ??ur time ?r ?n?rg? ?r m?k? a ?u??l? run, r?th?r than t??kling ??m?thing th?t r??uir?? m?r? brain ??w?r ?r passion. Make ??ur j?b easier for ??ur??lf and you ??n get it d?n? with?ut ?v?n thinking ?b?ut it.Practice Self-CarePr??ti?? a f?w minutes ?f d??? breathing ?r guid?d m?dit?ti?n t? r?vit?liz? ??ur??lf.T?k? br??k? when ??u ??n ?t w?rk. Get ?ut of th? office ?nd w?lk ?r?und th? bl??k t? ?l??r th? ??bw?b? fr?m ??ur mind. Get ?r???r rest, nutriti?n ?nd ?x?r?i??.C?n?id?r a massage, m?ni-??di ?r similar if within ??ur budget. If n?t, ?h???? ??lf-??r? th?t i? free, ?u?h as r??ding a b??k, t?king a bubble bath, ?r practicing ??g?. R?fu?l yourself so th?t tomorrow is a b?tt?r d??!Baby StepsIf ??u t?k? a fir?t b?b? ?t??, it w?uld b? b?tt?r. As ??u might have h??rd, “W?ll begun i? half d?n?.” Do n?t beat ??ur??lf u? that you ?r? n?t doing it. It i? b?tt?r t? stay ?w?? from guilt b? ?u?hing yourself t?w?rd? ??ur goal.But, if b? ?n? ?h?n??, ??u ??nn?t f?r?? ??ur??lf to it, whi?h is alright too. It mu?t b? troubling for you and causing ??u th? ??in of ??m? kind t? be th?t diffi?ult.S?m?tim??, it i? ?k?? to l?t ??ur??lf l???? ?nd accept th?t there ?r? some things which ??u just cannot d?. N?t your f?ult, M?t?!If ??u h?v? t? writ? ??m?thing, ju?t writ? a sentence. Then g?t u?, get ??m? water, ?tr?t?h. P?t ??ur??lf ?n the b??k for g?tting ?t?rt?d! Now do a littl? more: writ? a f?w m?r? ??nt?n???.Get u?, t?k? a m?nt?l br??k (d?n’t g? t? another w?b?it?), d? a f?w push u??. G? back, d? a bit more. Pretty ???n, you’re in th? fl?w of it. It’? called baby steps ?nd it h?l??. Th?r? i? n? pressure, do it ?t ??ur ?wn ????.Do it with FriendsR?m?mb?r h?w ??u prepared f?r ??ur calculus exam in college when ??u ??uldn’t d? it ??ur??lf?Y??, fri?nd? ??n h?l? ??u wh?n ??u d?n’t feel lik? d? it ?ith?r ?t ?ll or alone.Y?u can j?in th? gym with th?m, ?r ??u could join di?t groups ?? ?ll of you t?g?th?r ??n ?h?d that w?ight fr?m your b?ll?, right?If ??u can manage t? find ??m? friends d? th?t “t?ugh” t??k with ??u, it would be l?v?l?!Set Yourself up to SucceedW?’d ?ll like to think w? h?v? th? will??w?r to r??i?t temptation, but ultimately … w? d?n’t (the f?rtun?t? f?w wh? d? probably d?n’t n??d ti?? on how t? w?rk wh?n th?? really d?n’t want t?).Kn?w ??ur??lf ?nd, instead ?f ?utting yourself into ?itu?ti?n? where ??u h?v? t? actively r??i?t tempt ation, tr? to avoid th??? t?m?t?ti?n? ?lt?g?th?r (th?r?’? a r????n th?t ????l? wh? ??n n?v?r eat “ju?t ?n? ???ki?” d?n’t k??? Costco ?iz? boxes ?f cookies at h?m?).B? ??h?duling ??ur writing ?nd writing br??k? ?r?und th? path ?f least r??i?t?n??, ??u can w?rk m?r? ?v?n wh?n you ?r? n?t in the mood.Don’t ?l?n t? ?t?? in the libr?r? on a Frid?? night and writ? fiv? ??g?? ?f a d?n?? ?nd ??m?li??t?d paper when you kn?w a fri?nd is h?ving a birthd?? ??rt?.Odd? are, ??u’ll ?nd u? leaving th? libr?r? f?r th? party, and f??ling guilt? for not h?ving ??hi?v?d your writing g??l f?r the day. In?t??d, be r??li?ti? and give ??ur??lf Frid?? night off â€" with the ?r?mi?? th?t ??u will d?v?t? tw? hours to th? paper on S?turd?? morning in?t??d.Simil?rl?, wh?n ??u take a br??k from w?rk, m?k? sure your ?l?nn?d “br??k activity” m?k?? sense in th? context ?f your ??h?dul?. If you’ve d??id?d to take a fift??n-minut? break, don’t t?ll ??ur??lf th?t ??u’ll watch “ju?t” fifteen m inut?? of ?n h?ur-l?ng episode.It i? f?r t?? easy to end up w?t?hing the entire ?h?w; w?t?h fift??n minut??’ worth ?f m?vi? tr?il?r? or YouTube videos ?r take a ?h?rt walk in?t??d.Call in the CavalryIf it w?r? ???? t? ??t and ?ti?k to d??dlin?? ?ll by ourselves, n?b?d? w?uld ?r??r??tin?t?.But we’re hum?n, ?nd ?? it’s h?rd.Y?u can h?l? ??ur??lf out b? creating “?ut?id? ????unt?bilit?” ?h??k? t? m?tiv?t? you thr?ugh that w?rk th?t needs t? b? d?n?.F?r example, ask your friend or b??? (depending on the situation ?r t??? ?f w?rk) if he ?r ?h? w?uld ??ll th? check up ?n you ?r ask how far you h?v? gotten with th? w?rk.If that’s n?t good ?n?ugh f?r ??u, ??k them t? ??m? ?h??k u? on ??u in a ??u?l? ?f h?ur? wh?n ??u ?h?uld b? done with th? w?rk. Thi? giv?? you a ??n?? of urgency t? d? th? work n?w.Kn?wing that you h?v? t? show ??ur work to ?n?th?r person ??n be a great m?tiv?t?r f?r g?tting things d?n?, and getting them d?n? w?ll.If ??u don’t w?nt to m?k? ?n ????intm?nt with someone wh? will ??m? ??? the w?rk, there ?r? still ??v?r?l w??? other ????l? ??n h?l? you stay ?n tr??k.Make your g??l? ?ubli? â€" tell ??ur fri?nd?, ??ur f?mil?, ?r ??ur roommate that ??u are w?rking. S?, wh?n the urg? strikes t? w?t?h TV ?r ?ut ?ff th? w?rk until t?m?rr?w, ??u’ll h?v? ????l? t? g?ntl? (?r not-so-gently) ???, “D?n’t you h?v? ??m?thing to d? n?w?”A? a rul?, w? t?nd to ?v?id asking for h?l? ?r ?h?ring our diffi?ulti?? with ?th?r people â€" t?lling ??ur boss “I ju?t d?n’t kn?w h?w t? do this” m?? ???m lik? a shameful ?dmi??i?n ?f defeat, but it’? n?t.Y?u simply n??d a littl? guidance or ?u?h ?nd th?n ??u ??n b?gin ?nd g?t it d?n? quickly.There is n? shame in ??king f?r help or assistance to d? something ??u ?r? ?u?????d to d?.Aft?r ?ll, w? all agree that n? m?n i? an i?l?nd.C?N?LU?I?NS?m? ?f u? l?v? our jobs while ??m? ?f u? hate it.At tim??, w? l?v? it for th? environment in ?ur ?ffi?? ?nd other tim?? we hate it b???u?? we are not doing wh?t w? l?v?. Some of u? also d?n’t lik? th? ??tiviti?? w? h?v? t? do but w? h?v? to d? th?m anyways ?nd th?t really m?k?? u? ??d ?nd th?m we b?gin t? ?ut th?m ?ff. Whatever be th? ????, th?r? ?r? days wh?n w? ?r? b?r?d ?f doing th?t ?tuff that we are ?u?????d to d?.Well, th?? ?r? n?t adventurous t??k lik? th?t ?f Superman wh? has to save ????l?, plus k??? flying, ?? it is ?bvi?u? that ?ur w?rk gets irksome ?nd t?di?u?.It’s not your f?ult, it’s how lif? rul?? are for most ?f u?.Follow th??? f?w ti?? and ??u might ju?t find the one th?t springs ??u int? ??ti?n.

The Things They Carried by Tim OBrien - 580 Words

In life, everyone has obligations. People have responsibilities they have to tend to everyday, but sometimes there are passions of love or revenge that makes one stop thinking of what their true responsibilities are. For soldiers fighting in war, their responsibility is to take care of their men and make sure no one gets hurt. They fight for their country and protect the men who have become their family. Lieutenant Jimmy Cross went against his honor to protect his men. He let his responsibly go, which caused one of the men in his group to die. Lieutenant Jimmy Cross confronts the demands of the love for Martha, which conflicts with his responsibility in the war, which affects him and the story. Lieutenant Jimmy Cross is sent to war, but is leaving behind someone he loves. Jimmy is in love with Martha, but the love between them isn’t the same. Jimmy loves her and would wish to marry her, but Martha doesn’t love him in the same way and doesn’t want to be with him. Jimmy carries photographs of Martha with him at all times. Martha is consistently on his mind, which distracts him from his duties in the military. One day, the men are out in combat and as always, Jimmy is thinking about Martha. Ted Lavender is scared of the war and carries 34 rounds of ammo with him. While they were out in combat, Lavender gets shot, collapses, and dies. Lieutenant Cross emerged from daydreaming and felt the pain of Lavenders death. He came to realize he was to blame for the death of TedShow MoreRelatedThe Things They Carried by Tim Obrien1426 Words   |  6 PagesThe War at Home The Things They Carried, by Tim O’Brien, transports the reader into the minds of veterans of the Vietnam conflict. The Vietnam War dramatically changed Tim O’Brien and his comrades, making their return home a turbulent and difficult transition. 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Liberal Arguments Against the Death Penalty

The problem with the death penalty was on stark display last week in Arizona. No one disputes that Joseph R. Wood III committed a horrific crime when he killed his ex-girlfriend and her father in 1989. The problem is that Woods execution, 25 years after the crime, went horribly wrong as he gasped, choked, snored, and in other ways resisted the lethal injection that was supposed to kill him quickly but dragged on for nearly two hours. In an unprecedented move, Woods attorneys even appealed to a Supreme Court justice during the execution, hoping for a federal order that would mandate that the prison administer life-saving measures.Woods extended execution has many criticizing the protocol Arizona used to execute him, especially whether it is right or wrong to use untested drug cocktails in executions.  His execution now joins those of Dennis McGuire in Ohio and Clayton D. Lockett in Oklahoma as questionable applications of the death penalty. In each of these cases, the condemned men appeared to experience prolonged suffering during their executions.   A Brief History of the Death Penalty in America For liberals the larger issue is not how inhumane the method of execution is, but whether the death penalty itself is cruel and unusual. To liberals, the Eighth Amendment of the U.S. Constitution is clear. It reads, Excessive bail shall not be required, nor excessive fines imposed, nor cruel and unusual punishments inflicted. What is not clear, however, is what cruel and unusual means. Throughout history, Americans and, more specifically, the Supreme Court have gone back and forth on whether the death penalty is cruel. The Supreme Court effectively found the death penalty unconstitutional in 1972 when it ruled in Furman v. Georgia that the death penalty was often too arbitrarily applied. Justice Potter Stewart said that the random way that states decided on the death penalty was comparable to the randomness of being struck by lightning. But the Court seemingly reversed itself in 1976, and state-sponsored executions resumed. What Liberals Believe To liberals, the death penalty is itself an affront to the principles of liberalism. These are the specific arguments liberals use against the death penalty, including a commitment to humanism and equality. Liberals agree that one of the fundamental underpinnings of a just society is the right to due process, and the death penalty compromises that. Too many factors, such as race, economic status, and access to adequate legal representation, prevent the judicial process from guaranteeing that each of the accused receives due process. Liberals agree with the American Civil Liberties Union, which states, The death penalty system in the U.S. is applied in an unfair and unjust manner against people, largely dependent on how much money they have, the skill of their attorneys, race of the victim and where the crime took place. People of color are far more likely to be executed than white people, especially if the victim is white.Liberals believe that death is both a cruel and unusual punishment.  Unlike conservatives, who follow the biblical eye for an eye doctrine, liberals argue that the death penalty is merely state-sponsored murder that violates the human right to life. They agree with t he U.S. Catholic Conference that we cannot teach that killing is wrong by killing.Liberals argue that the death penalty does not reduce the prevalence of violent crimes.  Again, according to the ACLU, The vast majority of law enforcement professionals surveyed agree that capital punishment does not deter violent crime; a survey of police chiefs nationwide found they rank the death penalty lowest among ways to reduce violent crime...The FBI has found the states with the death penalty have the highest murder rates. The recent death penalty executions have graphically illustrated all of these concerns. Heinous crimes must be met with firm punishment. Liberals do not question the need to punish those who commit such crimes, both in order to affirm that bad behavior has consequences but also to provide justice for victims of those crimes. Rather, liberals question whether the death penalty upholds American ideals or violates them. To most liberals, state-sponsored executions are an example of a state that has embraced barbarism rather than humanism.

The Glass Menagerie (Critical Article #1) Free Essays

string(55) " paint the picture during the act of recalling† \(p\." Journal of the American Psychoanalytic Association http://apa. sagepub. com Tennessee Williams: The Uses of Declarative Memory in the Glass Menagerie Daniel Jacobs J Am Psychoanal Assoc 2001; 50; 1259 DOI: 10. We will write a custom essay sample on The Glass Menagerie (Critical Article #1) or any similar topic only for you Order Now 1177/00030651020500040901 The online version of this article can be found at: http://apa. sagepub. com/cgi/content/abstract/50/4/1259 Published by: http://www. sagepublications. com On behalf of: American Psychoanalytic Association Additional services and information for Journal of the American Psychoanalytic Association can be found at: Email Alerts: http://apa. agepub. com/cgi/alerts Subscriptions: http://apa. sagepub. com/subscriptions Reprints: http://www. sagepub. com/journalsReprints. nav Permissions: http://www. sagepub. com/journalsPermissions. nav Citations http://apa. sagepub. com/cgi/content/refs/50/4/1259 Downloaded from http://apa. sagepub. com at CALIFORNIA DIGITAL LIBRARY on September 9, 2009 jap a Daniel Jacobs 50/4 TENNESSEE WILLIAMS: THE USES OF DECLARATIVE MEMORY IN THE GLASS MENAGERIE Tennessee Williams called his first great work, The Glass Menagerie, his â€Å"memory play. The situation in which Williams found himself when he began writing the play is explored , as are the ways in which he used the declarative memory of his protagonist, Tom Wingfield, to express and deal with his own painful conflicts. Williams’s use of stage directions, lighting, and music to evoke memory and render it three-dimensional is described. Through a close study of The Glass Menagerie, the many uses of memory for the purposes of wish fulfillment, conflict resolution, and resilience are examined. T he place: St. Louis, Missouri. The year: 1943. Thomas Lanier Williams, age thirty-two, known as Tennessee, has returned to his parents’ home. He has had a few minor successes. Several of his shorter plays have been produced by the Mummers in St. Louis. For another, staged by the Webster Grove Theater Guild, he was awarded an engraved silver cake plate. He has retained Audrey Wood as his literary agent and with her help had several years earlier won a Rockefeller fellowship to support his writing. But Williams’s Fallen Angels bombed in Boston the previous summer. Its sponsor, the Theater Guild, decided not to bring the play to New York. Since obtaining a B. A. from the University of Iowa in l938, Williams has been broke more often than not. He has no home of his own. He’s led an itinerant existence, living in New Orleans, New York, Provincetown, and Mexico, as well as Macon, Georgia, and Training and Supervising Analyst, Boston Psychoanalytic Society and Institute; faculty, Massachusetts Institute for Psychoanalysis; Assistant Clinical Professor of Psychiatry, Harvard Medical School. Submitted for publication October 12, 2001. Downloaded from http://apa. sagepub. com at CALIFORNIA DIGITAL LIBRARY on September 9, 2009 Daniel Jacobs 1260 Culver City, California. He has subsisted on menial jobs—waiting tables, operating an elevator, ushering at movie theaters—tasks for which he is not f itted and from which he is often f ired. His vision in one eye is compromised by a cataract that has already necessitated surgery. And just before moving back home from New York, he was beaten up by sailors he took to the Claridge Hotel for a sexual liaison. Arriving home in 1943, Tennessee f inds many things unchanged: his parents, Cornelius and Edwina, remain unhappily married and their bitter quarrels f ill the house. Williams must again deal with the father he despises. Tennessee is pressured by Cornelius, who opposed his return home, to f ind a job. If Tennessee will not return to work at the International Shoe Company, as Cornelius advises, then he must earn his keep by performing endless domestic chores. But it is the changes in the family that are even more troubling. Williams’s younger brother Dacon is in the army and may be sent into combat after basic training. His maternal grandparents have moved in because Grandma Rose, now conf ined to an upstairs bedroom, is slowly dying. Most important of all, Tennessee’s beloved sister, also named Rose and two years older than he, is no longer at home. She has in fact been at the State Asylum in Farmington since l937. Diagnosed schizophrenic, she has recently undergone a bilateral prefrontal lobotomy to control her aggressive behavior and overtly sexual preoccupations. During this stay at home, Williams visits Rose for the f irst time since her surgery. He f inds her behavior more ladylike, but she remains clearly delusional. The lobotomy, Williams realizes, was â€Å"a tragically mistaken procedure† that deprived her of any possibility of returning to â€Å"normal life† (Williams 1972, p. 251). â€Å"The poor children,† he will write of his St. Louis childhood, â€Å"used to run all over town, but my sister and I played in our own back yard. . . . We were so close to each other, we had no need of others† (Nelson 1961. p. 4). Now, for Tennessee, Rose is irretrievably lost except as a memory, alternately recalled in pain and shut out in self-defense. Williams cannot abide his situation, thrown amid his parents’ bitter quarrels, the slow death of his grandmother, and the terrible absence of his sister. His only escape: the hours of writing he does every day in the basement of the family home. Here, between washing garage windows and repairing the gutters on the back porch, he writes the â€Å"memory play† that he f irst calls The Gentlemen Caller and then Downloaded from http://apa. sagepub. com at CALIFORNIA DIGITAL LIBRARY on September 9, 2009 DECLARATIVE MEMORY IN THE GLASS MENAGERIE The Glass Menagerie. The play is a brilliant, profound, and intricate study of declarative memory and its psychological uses. DECLARATIVE MEMORY Declarative memory is the system that provides the basis for conscious recollection of facts and events. But this system, we know, is not just a warehouse of information, of veridical memories of actual happenings that can be retrieved at will. Rather, like an autobiographical play, declarative memory is a creative construction forged from past events and from the fears, wishes, and conf licts of the one who is remembering. As Schacter (1995) notes, â€Å"The way you remember depends on the purposes and goals at the time you attempt to recall it. You help paint the picture during the act of recalling† (p. You read "The Glass Menagerie (Critical Article #1)" in category "Papers" 23). It was just this complex and creative aspect of memory formation that led Freud (l899) to write that â€Å"our childhood memories show us our earliest years but as they appeared in later periods when memory was aroused† (p. 322). The stories we tell of our lives are as much about meanings as they are about facts. In the subjective and selective telling of the past, our histories are not just recalled, but reconstructed. History is not recounted, but remade. Williams understood this when he wrote, in the stage directions of The Glass Menagerie, that â€Å"memory takes a lot of license, it omits some details, others are exaggerated to the emotional value of the article it touches, for memory is seated predominantly in the heart† (p. 21). Williams has Tom Wingf ield, the play’s protagonist, tell us this. In his opening speech, Tom is both creative artist and unreliable rememberer: â€Å"I have tricks in my pockets. I have things up my sleeve. . . . I give you truth in the pleasant guise of illusion† (p. 2). In this way, Williams warns us from the play’s beginning that memory is a tricky business—f ickle, changeable, susceptible to distortion and embellishment, but always true to the current emotional needs of the rememberer. This paper is an exploration of the emotional needs of the rememberer—of Tom Wingfield, the rememberer in the play, and Tom Williams, the rememberer as writer. Williams could have chosen any f irst name for his protagonist. He chose his own to emphasize the loosening of boundaries between fact and f iction. It is as though he is telling us that autobiography—which is, after all, organized declarative memory—is Downloaded from http://apa. sagepub. com at CALIFORNIA DIGITAL LIBRARY on September 9, 2009 1261 Daniel Jacobs 1262 an elaborate f iction based on facts. And that f iction (the creative use of memory) is at its heart emotional autobiography. Both Tom Wingf ield and Tom Williams carry a burden of guilt for leaving the family, especially a disabled sister, and have a need to justify their behavior through the use of recollection. Both Toms live with deep sorrow alongside a wish to retaliate against loved ones who have disappointed them. Remembering is for both Toms, as for all of us, a coat of many colors, worn to set us apart from others as well as link us to them, to justify our choices, to take revenge on others, to compete with them, to kill them once again, or to resurrect them from the grave. The distortions and selective uses of memory are as manifold as the needs of the rememberer. Williams endows each character in his play with his or her own dynamic uses of memory. Amanda can escape the harshness of her current situation by evoking memories of a triumphant past. She is like a patient Kris (l956b) describes who â€Å"while the tensions of the present were threatening . . . was master of those conjured up in recollection† (p. 305). Amanda’s use of memories is aggressive as well, used as a weapon against her husband and children. In constantly contrasting the memories of a happy youth with the unhappiness of her marriage and the bleakness of her children’s lives, her anger and competitiveness take a brutal form. Unlike Amanda, her daughter Laura, who is crippled, has relatively few memories. But the memory of Jim, the gentleman caller, provides her a modicum of comfort. In a pale and pathetic imitation of her mother’s recollections of a house f illed with jonquils, she recalls that Jim gives her a single bouquet of sorts, the sobriquet â€Å"blue roses. † It is a nickname derived from his psychologically intuitive misunderstanding of the illness â€Å"pleurosis,† which had kept Laura out of school. She cannot compete with her mother in the fond memory department and retreats to the concrete but fragile satisfactions of her glass menagerie, where memory and imagination are safely stored—until Jim arrives. The gentleman caller is a man who lives in the present and seems to have little use for the past. It is the future to which he looks. In fact, one feels that memory of his high school greatness are both a satisfaction and a threat to him. For he, like John Updike’s Harry Angstrom (1960) will never experience the glory days of the past. He says as much to Laura: â€Å"But just look around you and you will see lots of people disappointed as you are. For instance, I had hoped when I was going to high school that I would be further along at this time, six years later, Downloaded from http://apa. agepub. com at CALIFORNIA DIGITAL LIBRARY on September 9, 2009 DECLARATIVE MEMORY IN THE GLASS MENAGERIE than I am now. You remember that wonderful write-up I had in ‘The Torch’ † (p. 94). While Amanda revels in her triumphant past as a way of dealing with the present, Jim runs from his into the future. Seeing in the crippled Laura some aspect of his own feared limitati ons, he tries to help her overcome hers through encouragement and f inally a kiss. His inability to help her in the end may be a harbinger of his own failures. MEMORY AND LOSS Williams was aware also that declarative memory is paradoxical in that it resurrects and keeps alive in the present what is dead and gone forever. Referring to this paradoxical aspect of memory, he wrote that â€Å"when Wordsworth speaks of daffodils or Shelley of the skylark or Hart Crane of the delicate and inspiring structure of the Brooklyn Bridge, the screen imagism is not so opaque that one cannot surmise behind it the ineluctable form of Ophelia† (Leverich 1995, p. 536). The very presence of memory implies loss. Memory, if you will, is the exquisite lifelike corpse that both denies and acknowledges what has passed away. There is for all of us that double vision that memory imparts, one that at once has the capacity to help and to hurt. Declarative memory provides coherence and direction to our lives, but also reminds us that our path inevitably leads to disintegration and death. The daffodils recollected in tranquility are, at the same time, Ophelia’s garland. Amanda Wingf ield’s recollection of her past social triumphs only reminds us of how much time has passed and how many hopes have been dashed. Laura’s attachment to the happy memories of childhood innocence represented by her glass menagerie only makes harsher the realities of her adult life and the bleakness of her future. Laura and Amanda are represented as having a choice between the infantile omnipotence of their past or a feeling of victimization in the present. When Amanda stirs up old memories as a hedge against the painful present and uncertain future, they are only partially effective. For the contrast between past and present, and the knowledge that what is past will never come again, lead only to further depression and anxiety (Schneiderman 1986). Similarly, behind Tom the protagonist’s memory of Laura at home lies, for Tom the author, the real Rose in a current state of institutionalized madness. Downloaded from http://apa. sagepub. com at CALIFORNIA DIGITAL LIBRARY on September 9, 2009 1263 Daniel Jacobs MEMORY AND RESILIENCE 1264 Davis (2001) points out the contribution declarative memory can make to resilience â€Å"through soothing af fects that are evoked in recalling a declarative memory of a loving relationship with a parent or other important person† (p. 459). Such memories can grow directly out of warm relationships or â€Å"they can be achieved through retrieving and modifying memory of more problematic attachments† (p. 466). Davis illustrates his point with the example of Mr. Byrne, a subject in a longitudinal study of adult development. Davis focuses on the fact that in interviews at different times in adult life, Mr. Byrne’s memories of his father changed. At age forty-six, surrounded by a supportive community and family, Mr. Byrne had no memories of his alcoholic and neglectful father and did not think his father’s being a f ireman had inf luenced his own decision to become one. At sixty-six, retired and with his children grown, Mr. Byrne â€Å"had succeeded in ‘f inding’ his father inside as a sustaining inner object in declarative memory (p. 465). He did so through creating or retrieving warm memories of their times together in the f irehouse and by ‘misremembering’ the humiliating events of his father’s death so as to have a more positive image of him. Mr. Byrne’s father had committed suicide, alone and away from the family. But late in life, Mr. Byrne spoke frequently of his father’s having taken him to the f ire station when he was a youngster. He was now sure these happy times with his father had inf luenced his decision to become a f ireman himself. He placed his father’s death in a family setting and claimed to have been the one who found him. Davis points out that we often create the memories we need in order to maintain psychological resilience and mental health. Whatever good experiences Mr. Byrne did have with a diff icult and neglectful father seem to have been magnif ied through the lens of memory aided by imagination in the service of wish fulf illment. It is an example of what Kris (1956a) meant by describing autobiographical memory as telescopic, dynamic, and lacking in autonomy: â€Å"our autobiographical memory is in a constant state of f lux, is constantly being reorganized, and is constantly being subject to the changes which the tensions of the present tend to impose† (p. 299). In a way, Williams does the same thing by creating a memory play. Lonely, guilty over his sister’s fate, f inding St. Louis and his family unbearable, Williams begins writing a play that both ref lects his current Downloaded from http://apa. sagepub. om at CALIFORNIA DIGITAL LIBRARY on September 9, 2009 DECLARATIVE MEMORY IN THE GLASS MENAGERIE suffering and at the same time assuages it. In writing The Glass Menagerie, he creates for himself one of those delicate glass animals— a small tender bit of illusion that relieves him of the austere pattern of life as it is lived in the present and makes it more bearable. He does so not by setting his play in the harsh realities of the present, too painful to write about, but in creatively altered memory. Sitting at his writing table, Williams reclaims his sister (Laura in the play) from the State Asylum and places her at home again. She is not frankly delusional and lobotomized. She is not even in Rose’s presurgical state of illness—a state of aggressiveness and talkativeness made worse by utter and unending vulgarity. Instead, she is portrayed as painfully shy, weak, and schizoid. And Cornelius, the real-life father he must face daily, is gone. Gone from the play for dramatic purposes to be sure: the play would lose a certain edge were there another breadwinner in the house. But in the play, Williams expresses his wish to reconstruct reality and, in this play of memory and desire, rid himself of the old man. Yet he is not entirely gone, for the father’s picture hangs on the wall, like Hamlet’s ghost, reminding us of a son’s ambivalent longing for a father. For in 1943 and throughout his life, Williams longed for some man to comfort and help him. In the play, his own wish for a supportive, loving father is transformed into the wish for the gentleman caller—someone who, unlike his father, will help Laura, satisfy Amanda, and, by his assuring presence, bless Tom’s own departure. He is not only the person Williams longs for, but also the one he longs to be, though he knows it is a role he can never play. It is no accident then that Jim, the gentleman caller, conveys an uncomfortable uncertainty about his future. He is, in a sense, the failed high school â€Å"hero,† with perhaps unrealizable dreams for the future. Jim already hints that the realities of life may not meet his expectations. He expresses resentment at having to work at two jobs: his work and his marriage, in which he has to â€Å"punch the clock† every night with Betty. He is f lirtatious with Laura, even going so far as to kiss her, showing a clear sympathy and attraction to women other than his f iancee. Tennessee’s father, a bitter man from a prominent Southern family, a heavy drinker and a womanizer, while banned from the play, haunts it through his portrait and is resurrected in the f lesh in Jim, who is likewise disappointing and cannot be counted on and who, in the future, may come to resemble Cornelius. In his own life, Williams found and lost gentlemen callers hundreds of times over. And when he was Downloaded from http://apa. sagepub. com at CALIFORNIA DIGITAL LIBRARY on September 9, 2009 1265 Daniel Jacobs ot looking for the gentleman caller, he was being one, abandoning and disappointing those who loved him. The only one he was truly faithful to was Rose. Memories are like dreams or fantasies in that all the characters remembered at a particular moment may represent aspects of the rememberer’s own personality. Amanda’s steely will to survive is ref lected in Tom’s stubborn insistence on leaving. Laura’s fragility and submissiveness are wha t he must try to get away from in himself. Jim is the artist manque, the average joe Tom fears he will become if he doesn’t leave. THE STAGING OF MEMORY 1266 Through the very structure of his play and the physical placement of its characters, Williams shows us that we cannot have a past without a present or a present uninf luenced by the past. He takes us back and forth in time as Tom Wingf ield literally steps in and out of the railroad f lat of his memory. He both ref lects on his past and participates in it, as his memories come alive. All the play’s characters slip in and out of memory, from present to past and back again, as they interact with one another, forging their current identity and present relationship in the anvil of a past they selectively remember. The stage set that Williams proposed concretizes the alternating forward and backward movement of time that takes place in the characters’ and in all of our minds. Tom’s opening soliloquy is stage front in the present and is often played outside the apartment. The scene that follows is from the past, set in a dining room at the back of the stage, as if to emphasize the remoteness of memory. The f igures move backward and forward on stage, like memories themselves, coming into consciousness and then receding. Lighting is used in a similar way: to emphasize through spotlighting the highly selective and highly cathected aspects of memory. Lightness and darkness, dimness and clarity, play an important role in the ambience of the play, heightening the shifting play of memory. Williams is specif ic about the use of lighting in his production notes for The Glass Menagerie: â€Å"The lighting in the play is not realistic. In keeping with the atmosphere of memory, the stage is dim. Shafts of light are focused on selected areas or actors, sometimes in contradistinction to what is the apparent center. . . . A free and imaginative use Downloaded from http://apa. sagepub. om at CALIFORNIA DIGITAL LIBRARY on September 9, 2009 DECLARATIVE MEMORY IN THE GLASS MENAGERIE of light can be of enormous value in giving mobile, plastic quality to plays of more or less static nature† (Williams 1945, p. 10). By commissioning an original musical score, Williams makes a deliberate attempt to evoke memory in members of the audience— memories of their own youthful stirrings, with all the fears and pleasures that attend them. Schac ter (1996) notes that it is the memories of adolescence and early adulthood that are most often retained as we grow older. In asking Paul Bowles to write a new piece of music for his play, Williams, I think, is playing with the notion that memory is a new creation, similar to Bowles’s new music, Williams counts on the fact that while the score has never been heard before by the audience, it nevertheless feels familiar and seems a part of one’s previous experience. While the music may stimulate declarative memories of young adulthood in the audience, by its wordlessness it is designed to evoke nondeclarative memory experienced as a feeling state (Davis 2001). By using a new score rather than relying on familiar tunes, Williams insists that memory is an invention of the present rather than a reproduction of the past. CONCLUSION 1267 So we have Tom Williams in his basement room writing about Tom Wingf ield. His protagonist is thrust both forward and backward in time: Tom Wingf ield in 1945 is ref lecting on a time before World War II began. Tom Wingf ield is Tennessee and not him at the same time. The memories Williams calls forth from his own experiences are transformed in ways that are not only dramatically but psychologically necessary for the author. Rendering the truth through selective and transformed memory, Williams creates his own glass menagerie to which he could each day retreat from the harsh realities of his life in St. Louis in l943. He creates fragile f igures he can control, moving them around the imagined setting of creative memory. In creating the play, he can always be near Rose. On the page and on the stage, the two are bound forever, like f igures on a Grecian urn. At the same time, the play is a justif ication for Tennessee’s departure from the family, a plea for understanding as to why he must leave the altered Rose (his castrated self) behind and pursue his own path. Freud (1908) pointed out how both in creative writing and fantasy â€Å"past, present, and future are strung together, as it were, on the thread of the wish that runs through Downloaded from http://apa. sagepub. com at CALIFORNIA DIGITAL LIBRARY on September 9, 2009 Daniel Jacobs 1268 them† (p. 141). In the process of writing The Glass Menagerie, the infantile wish to reunite with Rose, to rid himself of a hateful father, and to overcome the threats of castration that Rose’s situation and his own imply, f inds a solution to his torments. He does what Tom Wingf ield does in the play. He leaves. By May of l943, Tennessee is on his way to Hollywood to become, for a short time, a screenwriter. But like Tom Wingf ield, Tennessee cannot leave his past behind. He will be as faithful to Rose as Tom Wingf ield is to Laura when at the play’s end he says, â€Å"I tried to leave you behind me, but I am much more faithful than I intended to be† (p. 115). Of their relationship, Rasky (l986) wrote, â€Å"Just as Siamese twins may be joined at the hip or breastbone, Tennessee was joined to his sister, Rose, by the heart. . . In the history of love, there has seldom been such devotion as that which Tennessee showed his lobotomized sister† (p. 51). Peter Altman, former director of Boston’s Huntington Theater, points out how with the writing of The Glass Menagerie Williams blows out the candles on an overtly autobiographical form of writing and moves on to create full-length plays less obviously reliant on t he concrete details of his own history (private communication, 1997). While he could never psychologically free himself from the traumatic events of his upbringing, artistically he was able to move ahead. By creating within and through the play his own glass menagerie, where the characters are f ixed and can live forever in troubled togetherness, he grants himself permission to leave St. Louis once again. Such a creation is akin to Kris’s description of the personal myth (1956a): â€Å"A coherent set of autobiographical memories, a picture of one’s course of life as part of the self-representation [that] has attracted a particular investment, it is defensive inasmuch as it prevents certain experiences and groups of impulses from reaching consciousness. At the same time, the autobiographical self-image has taken the place of a repressed fantasy . . † (p. 294). But in the patients Kris described, sections of personal history had been repressed and the autobiographical myth created to maintain that repression. In Williams’s case, he is quite conscious of the distortions in his â€Å"memory play,† but creativity serves a function for the artist similar t o that served by personal myth in Kris’s patients. Williams is able to separate further from his family by keeping himself, through his memory play, attached to them forever, selectively remembered and frozen in time in a way painful, yet acceptable, to him. By writing the play, a visual representation of memory and Downloaded from http://apa. sagepub. com at CALIFORNIA DIGITAL LIBRARY on September 9, 2009 DECLARATIVE MEMORY IN THE GLASS MENAGERIE wish, Williams creates a permanent wish-fulf illing hallucination providing gratif ication and psychic survival (see Freud 1908). Of his sister Rose’s collection of glass animals, which was transformed into Laura’s glass menagerie, Williams wrote that â€Å"they stood for all the small tender things (including, I think, happy memories) that relieve the austere pattern of life and make it endurable to the sensitive. The areaway [the alley behind his family’s f lat in St. Louis, where cats were torn to pieces by dogs] was one thing—my sister’s white curtains and tiny menagerie of glass were another. Somewhere between them was the world we lived in† (Nelson 1961, p. 8). What enables Williams to survive psychically and adds to his resilience in St. Louis in l943 is, I believe, his ability to create a space between the bitter realities of family life and his impulse to f lee and forget it all—to blow out the candles of memory. That space was his memory play, a space he inhabited daily through his writing, a space of some resilience where psychologically needed memories are created amid the pain and sorrow of the present. And in so doing, he reminds us all of the role memory plays in our survival. Our memories are like glass menageries, precious, delicate, and chameleonlike. We can become trapped by them like Laura and Amanda. Or, as in the case of Tennessee and Mr. Byrne, we can gain resilience from their plasticity that allows us to move forward psychologically. Williams wrote, in his essay â€Å"The Catastrophe of Success† (1975), that â€Å"the monosyllable of the clock is Loss, loss, loss, unless you devote your heart to its opposition† (p. 17). Tennessee felt that for him the heart’s opposition could best be expressed through writing. He felt that the artist, his adventures, travels, loves, and humiliations are resolved in the creative product that becomes his indestructible life. (Leverich 1995, p. 268) I think he might have agreed that while creative work plays that role for the artist, memory and fantasy are its equivalent for all of us. Williams knew that it is through the creative transformation of experience, sometimes in verse, sometimes in memory, that we draw nearer to that â€Å"long delayed but always expected something we live for† (1945, p. 23). REFERENCES 1269 DAVIS, J. (2001). Gone but not forgotten: Declarative and non-declarative memory processes and their contribution to resilience. Bulletin of the Downloaded from http://apa. sagepub. com at CALIFORNIA DIGITAL LIBRARY on September 9, 2009 Daniel Jacobs 1270 Menninger Clinic 65:451–470. FREUD, S. (1899). Screen memories. Standard Edition 3:301–322. ——— (1908). Creative writers and day-dreaming. Standard Edition 9:143–153. K RIS , E. (1956a). The personal myth. In The Selected Papers of Ernst Kris. New Haven: Yale University Press, 1975, pp. 272–300. ——— (1956b). The recovery of childhood memories in psychoanalysis. In The Selected Papers of Ernst Kris. New Haven: Yale University Press, 1975, pp. 301–340. LEVERICH, L. (1995). Tom: The Unknown Tennessee Williams. New York: Norton. NELSON, B. (1961). Tennessee Williams: The Man and His Work. New York: Obolensky. RASKY, H. (1986). Tennessee Williams: A Portrait in Laughter and Lamentation. Niagara Falls: Mosaic Press. SCHACTER, D. (1995). In Search of Memory. Cambridge: Harvard University Press. SCHNEIDERMAN, L. (1986). Tennessee Williams: The incest motif and f ictional love relationships. Psychoanalytic Review 73:97–110. UPDIKE, J. (l960). Rabbit, Run. New York: Knopf. WILLIAMS, T. (1945). The Glass Menagerie. New York: New Direc-tions, l975. ——— (l972). Memoirs. New York: Doubleday. ——— (l975). The catastrophe of success. In The Glass Menagerie. New York: New Directions, 1975, pp. 11–17. 64 Williston Road Brookline, MA 02146 E-mail: Danjacobs@rcn. com Downloaded from http://apa. sagepub. com at CALIFORNIA DIGITAL LIBRARY on September 9, 2009 How to cite The Glass Menagerie (Critical Article #1), Papers

Value of Eclectic Paradigm in Relation to International Business

Introduction Eclectic paradigm is a theory used in the field of business economics. It is also referred to as OLI-Framework or OLI-Model, and has been related to international business through the advantages it possesses, which benefit multinational corporations.Advertising We will write a custom essay sample on Value of Eclectic Paradigm in Relation to International Business specifically for you for only $16.05 $11/page Learn More It is describes an improvement of Dunning theory of internalization that was based on transaction cost theory. Eclectic paradigm has been the strongest ever paradigm that offers a greater understanding of cross-border transaction and foreign value-added activities of business firms. This is through agreements on inter-firm collaboration and trading at arm’s length (Dunning, 1997, p.4). Application of theories There was an earlier belief that no single theory could explain the existence of foreign direct investment. This is the reason why Dunning come up with the eclectic approach. He suggested that international production is a result of internalization, ownership, and localization process. These theories target the determinants of foreign direct investment. According to Dunning, it is much possible to view the act of using international financial market as a cover mechanism to mobilize ownership and location factors through foreign portfolio investment FPI. This is in the case when the decision involved in FPI is firm specific and recognized (Dunning Gray, 2003, p.16). In real world, eclectic paradigm can be used to give a clear explanation on the means of ownership, internalization, and location advantages, which give shape to multinational Enterprise (MNE) entry to specific market (Johnson Turner, 2003, p.226). Modes of Internationalization Internationalization aspects are more culturally based visions that highlight human variables underlying particular corporate actions. In addition, Intern ationalization is associated with economic and business strategy analyses of international market (Sitkin Bowen, 2010). There are various modes of entry into international markets including direct export, licensing, international agents, international distributors, strategic alliances, joint ventures, overseas manufacturing, and international sales subsidiaries. Internationalization process takes place in a number of stages that involve indirect licensing, direct exporting through a local distributor, foreign presence, home manufacture, foreign assembly, and manufacturing (Anon, N.d).Advertising Looking for essay on business economics? Let's see if we can help you! Get your first paper with 15% OFF Learn More Comparison and Contrast between Comparative Advantage and Dunning’s Eclectic Paradigm Comparative advantage This may be defined simply as the ability of an individual, company, or economy to conduct an activity better than another for some fixed, almost u nchangeable reason. Comparative advantage is important in making decisions such as what products one should make or sell. If a company is unable to make a product that is unlikely to change, the company might be well advised to make a different product. Dunning’s Eclectic Paradigm In his theory, Dunning recommends on future improvements and reappraisal of the OLI characteristics of the paradigm and accepts the increasing importance of indulging in FDI (Margardt, 2007, p.31). His concepts of localization and ownership advantage enlarged the standard neoclassical theories of international production and dealt more on empirical facts (Cheng Hitt, 2004, p. 30). Just like internalization paradigm, Eclectic Paradigm provides an analytical outline that aims at explaining the activities of industrial formats, growth, geographical movement and any type of international business. Its operational robustness in international market is also limited (Dunning, 1997, P.4). In addition, it r ejects all the means related to international production. The theory also picks important competing ways to explain the international phenomenon. The starting point of eclectic paradigm is the Heckscher-Ohlin factor. This assumption factor acts as an endowment explanatory factor for international trade. The theory’s assumptions imply that all the international markets operate efficiently, no scale for economies, and presence of perfect and costless information (Johnson Turner, 2003, p.225). Born Global’s Relation to International Theories Born Global firm is a business organization that utilizes resources of any given country or several countries. These firms are the ones that are growing in numbers in international business activities (Cavusgil Knight, 2009, p.1). Scholars in the early 1980’s started to recognize the ability of some companies to undergo internalization (Sitkin Bowen, 2010). This seemed to be the earliest study to investigate the Born Global phenomenon. Researches revealed that understanding of the foreign and international market relating to local agents, joint venture partners and licensing methods supported faster entry to the market.Advertising We will write a custom essay sample on Value of Eclectic Paradigm in Relation to International Business specifically for you for only $16.05 $11/page Learn More Two other scholars, Hedlund and Kverneland, in 1985 claimed that these studies create doubt on traditional view, that internationalization of companies occurs slowly, and suggested that internalization views should be revised to cater for differences in climatic conditions (Cavusgil Knight, 2009, p.29). Market Imperfection Theories; Ownership, Localization and Internalization These theories refer to the advantages of an eclectic paradigm. Here, ownership refers to as origin of investment, characterized with ease of investment funds transfer and choice of investment like Equity including amount, location and others. Secondly, localization is the direction of investment. It is the commitment and level of government support for portfolio investment. Thirdly, internalization refers to the reason for investment, which is characterized with correlation of returns with other markets, especially home market, and mobility of finance capital (Blomstrom, Kokko Zejan, 2000). A Case Study carried out in Guinness Nigeria limited (GNL) on drinks consumption show that, GNL started many breweries branches in different location on the region. The pressure to enhance local ownership and staff grew up rapidly in 1970’s and by 1980’s, localization process was complete. Localization process here involved three different issues. First, the level of local shareholding increased; secondly, there was choosing of Nigerian Directors; and finally, the decrease in number of experienced managers. This pressure came from the local staff, government, and corporate Headquarters (Hail ey, 1993, p.10). By 2007, Nigeria was the second biggest consumer of this beverage behind the UK (Dunning Gray, 2003, p.19). Conclusion International businesses relation and trade is a very important issue to a nation’s economic growth and development. Furthermore, the manner in which countries participate in foreign trade and global economy is an important aspect of life in the contemporary society (Katsikeas Morgan, 1997, p.68).Advertising Looking for essay on business economics? Let's see if we can help you! Get your first paper with 15% OFF Learn More Eclectic paradigm does not only focus on international production theory, but also represents the integration of other theories such as theory of the firm, location, organization and trade theory. It therefore covers the view of John Dunning in a broader perspective (Johnson Turner, 2003, p.226). Reference List Anon. N.d. Modes of Entry into International Markets. Web. Blomstrom, M., Kokko, A., Zejan, M., 2000. Foreign direct investment: firm and host country strategies. NY: Palgrave Houndmill. Web. Cavusgil, T., S., Knight, G., 2009. Born Global Firms: A New International Enterprise. NY: Business Expert Press. Cheng, J. L., Hitt, M. A., 2004. Managing multinationals in a knowledge economy: economics, culture, and Human Resources. Oxford: Elsevier ltd. Web. Dunning, H. J., 1997. Alliance capitalism and global business. London: Routledge. Web. Dunning, H. J., Gray, E., 2003. Extending the eclectic paradigm in international business: essays in honor. Cheltenham Edward Elgar Publi shing limited. Web. Hailey, J., 1993. Localization and Expatriation: The Continuing Role of Expatriates in Developing Countries. Web. Johnson, D., Turner, C., 2003. International Business: Themes and Issues in the Modern Global Economy. NY: Routledge. (Online ). Katsikeas, C., Morgan, R., 1997. Theories of international trade, foreign direct Investment and firm internationalization: a critique. Management Decision, 35(1); 68 – 78. Margardt, D., 2007. A Critical Comparison of Internationalization Theories: Eclectic Paradigm of Dunning vs. Uppsala school. Norderstedt: Grin Verlag. Web. Sitkin, A., Bowen, N., 2010. International Business. Oxford: Oxford University press. This essay on Value of Eclectic Paradigm in Relation to International Business was written and submitted by user Madilynn Cortez to help you with your own studies. You are free to use it for research and reference purposes in order to write your own paper; however, you must cite it accordingly. You can donate your paper here.