Immigration And Nationality Act Of 1965 Essay - 1730 Words

The Immigration and Nationality Act of 1965 removed the national quota system for immigrants and allowed a new wave of immigrants from Asia, who were severely restricted from entering the U.S. prior to this change.1 The seven-category preference system created by this act allowed millions of people, including my uncle, Abdur Razzak Talukder, to immigrate to the U.S. The new wave of immigration after 1965, like the immigration of different periods of American history, raised questions about the willingness and ability of new immigrants into assimilate to the American society.2 Assimilation to the American society is only not about learning English, adopting an American-sounding name, or obtaining American citizenship, but it is also about making the U.S. as a home by being invest in American society and political process, seeing other Americans as fellow nationals, and developing a new identity. While many view the process of assimilation of immigrants as a straight-line path which en ds by obtaining American citizenship, I would argue that this process is actually a long and complex path of overcoming various obstacles, discovering new cultures, and changing the way one view oneself. Although my uncle’s decision of immigrating to the U.S. was primarily motivated by the desire to achieve political and economic freedoms, it became a struggled journey, in which he overcame the challenges of discriminations, redefined himself due to social pressures to become Americanized,Show MoreRelatedImmigration And Nationality Act Of 19651496 Words   |  6 Pagesher board exams and passed, thus establishing her permanent residence in the United States. The Immigration and Nationality Act of 1965 â€Å"eliminated the various nationality criteria† while substituting it with â€Å"a system based primarily on family reunification and needed skills† (Center for Immigration Studies), which is how Jaybelle received an H-1B visa under the Immigration and Nationality Act of 1965. Programs sought after foreign nurses to fill in labor shortages in America. For example, JaybelleRead MoreTheu.s. Immigration And Nationality Act Of 1965925 Words   |  4 PagesThe U.S. Immigration and Nationality Act of 1965, also known as Hart-Cellar Act, represents the most significant period in the history of Asian Americans. Decades of continuous exclusion and racist immigration policies, came to an end with the adoption of the Act, which resulted in unprecedented flows of immigrants from Asia, Mexico, Latin America, and other countries immigrating to U.S. Most influential proved to be the Civil Rights movement of the 1960s, which brought nati onal and internationalRead MoreThe Voting Rights Act Of 19651288 Words   |  6 Pagesthe year 1965; these changes positively impacted the minority community. During this year, Congress passed the Voting Rights Act and the Immigration and Nationality Act Amendments. The Voting Rights Act of 1965 helped enforce the 15th Amendment and prohibited racial discrimination in voting. The Immigration and Nationality Act of 1965 abolished quotas based on nationality and allowed Americans to sponsor relatives from their countries of origin. The Voting Rights Act and the Immigration and NaturalizationRead MoreImmigration And Nationality Act Of 1952 Essay1223 Words   |  5 PagesImmigration Immigration to the United States has become a significant public and political debate, questions primarily surrounding inflow, roles in the labor market, admission policies, benefits, and costs. In 1952, Congress proposed and passed the Immigration and Nationality Act, also known as the McCarran-Walter Act, to revise the laws relating to immigration, naturalization, and nationality. The Immigration and Nationality Act of 1952, signed by President Truman, was initially drafted to excludeRead MoreImmigration Reform Is Needed For Our Country880 Words   |  4 PagesImmigration reform is desperately needed for our country; otherwise unauthorized immigration will continue to be on the forefront of our country’s problems. Obtaining a visa for any reason has become an extremely difficult process, and many immigrants do not even qualify to apply. There are approximately 11.3 million undocumented immigrants in the United States. Prior to 1882, when the Chinese Exclusionary Act was passed, the United States had open borders. Immigration was further restricted withRead MoreThe Hot Topic of Immigration Essay791 Words   |  4 PagesImmigration remains to be a hot topic. There are many issues to consider but let’s look at stereotypes and regulatory control issues. Just what are some of the stereotypes about the economic impact of immigration in the United S tates? We have all heard that immigrants are taking jobs away from Americans. This stereotype is based on two fallacies: that there are a fixed number of jobs to go around, and that foreign workers are direct substitutes for citizens (Dangelo 236). The truth is that immigrantsRead MoreThese Quotas Made It Very Clear On Who Was And Was Not1628 Words   |  7 Pagesto protect against those fears. The quotas allowed for those reservations to hide behind numbers set by the government. The 1924 Johnson-Reed Act exposed the anxieties Americans were feeling about the ‘outsider’. Through the government and the passage of this act, the government was able to give the American people a sense of security. The Walter McCarren Act of 1952 addressed the unease of society and the government over immigrants who could not fit in to the social order of the United States. ThereRead MoreImmigration Policies During Mexican Immigration Across The Border From The Mid 20th Century Into The 21st Century1627 Words   |  7 Pages To what extent have United States immigration policies contributed to the fluctuating trends in Mexican immigration across the border from the mid-20th century into the 21st century? Alejandra Estrada Professor Sarah Lischer POL 251 To what extent have United States immigration policies contributed to the fluctuating trends in Mexican immigration across the border from the mid-20th century into the 21st century? This report is centralized around two main arguments. The first argumentRead MoreThe Segregation Of The United States938 Words   |  4 PagesJohnson-Reed Immigration Act of 1924 limited the number of immigrants allowed in the U.S. based on a racial census and completely excluded Asian immigrants. Only 2% of the total number of people of each nationality as of the 1890 national census received visas. This led to a divide within immigration because some races were more abundant than others, and as a result, a new racial map was formed. The Chinese Exclusion Act (1882) banned Chinese immigrants from entering the United States. This act also ledRead MoreEssay about The Dilemma of Immigration Philosophy967 Words   |  4 PagesThe legal and moral issues concerning immigration have been debated for countl ess of times since their booming popularity during the 19th century. People who believe that it is morally wrong for a country to deny immigration status argue that immigration promotes democracy, egalitarianism and libertarianism. On the other hand, people who believe that countries have every right to deny people who seek immigration argue that immigration taints the cultural roots of a country, weakens national security

Nature Responsible For Success Of Europe s Expansion

Cassandra DeSantiago Professor Vargas History 103-3186 24 May 2015 Nature Responsible for Success of Europe’s Expansion In today’s society, many people wonder why there are countless Caucasians living in different places around the world that are not Europe. The author of Ecological Imperialism: the Biological Expansion of Europe, Alfred W. Crosby, makes this question the main point in his book and thoroughly addresses his viewpoint as the answer. The places these people live are what Crosby likes to call, the Neo-Europes, â€Å"lands thousands of kilometers from Europe and from each other† but are lands that are conquered by the Europeans (Crosby 2). Crosby believes that the reason the Europeans were able to succeed and spread out across the†¦show more content†¦With the concepts of culture and adaptation came the start of the Old World Neolithic Revolution. The Neolithic Revolutions starts with the developing of better tools and the most important factors, the ability to produce more food and the domestication of animals. The Old World Neolithic Revolution was very significant because it showed that, not only the Europeans but other peoples as well, were able to learn how to use their agriculture and domesticated animals to their advantage and they were soon able to create civilizations, and advance their food making, labor, and technology. After the Europeans learned how to create civilizations, they were able to start colonizing in different places, but first before the talk of how the they were able to succeed, the question of how the Europeans were able to travel from place to place should be discussed. Crosby explains that â€Å"the births of the Neo-Europes had to wait for the sailors of Europe, who rarely ventured beyond the continental shelf, to become blue-water sailors† (Crosby 105). Sailing was a pretty new concept to the Europeans, and it was not something they particularly advanced in. Usually when the European sailors were not able to face harsh winds they would just give up and go back to their home land, but the Europeans that sailed through the Mediterranean figured out a new strategy. If unable to sail against the wind, they had to

Diabetes and Nutrition Free Essays

Diabetes mellitus is a continual disorder of carbohydrate and lipid metabolism in which blood levels of glucose and lipids are elevated. This abnormal metabolism results from a relative lack of insulin, either too little insulin is secreted or the insulin that is secreted is not effective. In addition, diabetes is associated with chronic systemic complications, which, over time, can affect the retina, kidneys, nerves, and cardiovascular system. We will write a custom essay sample on Diabetes and Nutrition or any similar topic only for you Order Now The most common classifications of diabetes mellitus include type I, or insulin-dependent, diabetes mellitus (IDDM); type II, non-insulin-dependent diabetes mellitus (NIDDM); and gestational diabetes (GD). How it is Developed The problems of diabetes originate in an organ located behind the stomach about the length of a human hand called the pancreas. The pancreas is necessary for both digesting food and regulating energy. It is the regulation of energy for the body that is important in the development of diabetes. The pancreas produces hormones that metabolize food. These hormones regulate the use of glucose, a simple sugar, which is used for most of the activities in our bodies. The pancreas regulates energy in a variety of behaviors in which humans engage such as exercise and movement, responding to trauma and stress, and infections. The pancreas emits three different types of hormones. Insulin is the first hormone that is produced when glucose rises in the blood. Insulin usually rises after eating a meal, and excess glucose that is not used is stimulated by insulin to be stored in muscles and fat cells so that energy can be used later. The liver also stores excess glucose in the form of a carbohydrate called glycogen. The second type of pancreatic hormone is glucagon. Glucagon breaks down glycogen stored in the liver so that it can be used as energy when blood glucose supplies are down. The third type of pancreatic hormone is called somatostatin, thought to be important in regulating both insulin and glucagon. When diabetes develops, this balanced control system does not operate properly. The glucose in the bloodstream increases, and the cells are not able to utilize it. The individual develops hyperglycemia (excess glucose in the blood). This can be detected by measuring the glucose in the blood from a blood sample, or if the glucose is elevated enough, it can be detected in the urine as spillover. This sort of situation occurs when there is not enough insulin to permit the cells to utilize the glucose, or there is resistance most likely at the cellular level to the presence of insulin. Both cases produce diabetes. Symptoms of Diabetes Some of the symptoms of Diabetes Mellitus are increased thirst, increased urination, weight loss even though the individual is eating more, fatigue, nausea, and vomiting, skin infections, vaginitis, blurred vision, bladder infections, and impotence in men and cessation of menses in women. One severe symptom of diabetes is diabetic ketoacidosis. This symptom sometimes produces slightly sweet-smelling breath that is caused by acetone, a metabolic byproduct, when the body is forced to burn fatty acids rather than glucose. This process becomes more and more toxic to the body as it continues; the individual may develop diabetic coma and die. Ketoacidosis occurs when individuals are either not getting enough insulin or the insulin is not adequate to allow cells of the body to utilize the glucose. Effects of Diabetes Diabetes has two types of long-term effects. One type is associated with blood vessel involvement. Damage to the large vessels puts the diabetic at greater risk of stroke, heart attack, and gangrene of the feet. When small blood vessels are damaged, eyes, kidneys, and nerves become damaged. The other long-term effect is nerve damage usually in the feet, but also occasionally in the hands. This nerve damage is called diabetic neuropathy. This damage may cause a painful burning sensation with loss of sensation over time, making the body part more subject to injury and infection. Foot ulcers and gangrene can develop, with further damage in the extremities. In men, diabetic neuropathy may cause erectile impotence. Nutrition for Diabetes Consultation with a dietitian familiar with children and with type 2 diabetes is important for all patients. The dietitian should assess the nutritional status and practices of the patient and then counsel them to provide a meal plan which, at least initially, does not deviate in a major way from their usual eating practices. Changes made gradually, through subsequent appointments and interviews, frequently achieve compliance more successfully than does radical and rapid change. Individuals providing counseling must be clear about the differences in the management of patients with type 1 and type 2 diabetes. Because obesity is a typical finding in type 2 diabetes and caloric restriction results in improved glycemic control and insulin sensitivity, modest caloric restriction and weight loss or maintenance are important goals: so is correction of the dyslipidemia, which frequently accompanies the metabolic syndrome or IRS. In general, calories from dietary fat should not exceed 30% of energy intake, and calories from saturated fat should not exceed 10%. An effort is also made to limit cholesterol in the diet to 300 mg/day, and 200 mg/day if hypercholesterolemia is present. Monounsaturated fats can be increased to up to 15-20% of total calories and may have beneficial effects on triglycerides and high-density lipoprotein (HDL). Protein should account for 15-20% of total calories. The remainder of calories is made up of carbohydrate. Dietary advice for people with diabetes has changed over recent years. Old regimen instructions demanded that all foodstuffs were weighed and their energy content calculated according to standard tables. Everything was assigned a specific value, and patients were expected physically to weigh each constituent of every meal. This fashion of numerical quantification has now been relaxed with the realization that it is impossible to quantify every factor in what is now conceived of as a lifestyle disease, and that, far from assisting patients, the strategy was itself a major cause of distress that impeded compliance. The focus now is on education, integrating medical advice within the patient’s existing lifestyle rather than attempting to supplant it. What health professionals denote is that since the objective is to ‘live a normal life’ patients should not become over-obsessed and not be excluded from special occasion foods such as at weddings and birthdays. A treat for patients, however, is often the regular, habitual tonic that they use as a focus in their day-to-day lives. It is tempting to think that for diabetics it is because certain foods should be eliminated that they are desired. However, many state that sweet foods, such as confectioneries and cakes, were regarded as personal rewards even prior to diagnosis. These special foods are defined not solely by their sweetness, but in combination with their place in people’s diets as extras: not satisfying hunger so much as providing sensual pleasure at certain times in daily routines. This reward dimension is fully incorporated into the rhythms of their lives, supplying markers between periods of labor, such as mid-morning breaks or afternoon snacks. That it is precisely these which are banned is interpreted as belief-affirming; treats always were seen as transgressions from labor, and the medical advice derived from the diabetes merely confirms their status. When pressed, patients admit that they are aware the advice does not really condone regular misdeeds. Yet, leaving the message sufficiently unquestioned serves to absolve them morally. In the early years after the discovery of the disease, there was carbohydrate restriction, then an increase in carbohydrates and reduction in fat intake. Now the American Diabetes Association recommends 10% to 20% protein in the diet but no specific limitations on carbohydrates and fats. An individualized dietary plan is recommended, including occasional indulgences in small amounts of sucrose. The effects of drugs on blood sugar must be given serious consideration in the management of diabetes because a number of medications commonly used for elders affect blood sugar in adverse ways. The probability of developing diabetes increases if someone eats many foods that have a high glycemic index score-foods that quickly increase blood sugar levels, for example soda, ice cream, and chocolate cake. Thus it shouldn’t be surprising that eating in the opposite way, that is, eating foods that don’t quickly increase blood sugar levels-high-fiber foods such as beans, whole-wheat bread, and oranges-may help normalize blood sugar levels and control diabetes. Recent findings indicate that people who eat lots of fiber are less likely to have gained weight or to have abnormal insulin levels a decade later. So eating lots of fiber may help to prevent or control diabetes. People who perceive themselves as generally able to accomplish their goals are relatively successful at controlling what they eat so as to live reasonably well with diabetes. Conclusion The majority of patients fail to keep within the desired range of blood sugar levels, and although medication can easily be altered, it is the diet that is the first thing to come under scrutiny. In this way, food, the means of success rapidly comes to serve also as a means of symbolizing guilt and failure. Its dual function is useful in this way to both professional and patient, since it provides a common site on which both can focus, distilling the vast range of possible lifestyle factors into clear elements that can be acted upon. Reference Hiser, Elizabeth N. (2002). The Other Diabetes: Living and Eating Well. New York: William Morrow. How to cite Diabetes and Nutrition, Essay examples

Auditor Independence Revisited

Questions: 1.Discuss the importance of maintaining the independence in conducting an audit? 2.Identify the threats to the auditors independence in the above case and suggest how these threats might be mitigated? Answers: 1. The main rationale of an audit is to offer company shareholders with a proficient, self-sufficient view regarding if the yearly accounts of the corporation reveal a correct and reasonable view of the fiscal situation of the corporation and if they can be trusted. Independence is the major way through which an auditor shows that he can carry out his job in an objective way (Reynold, Deis, and Francis, 2014). The auditor has to be independent from the customer corporation, in order that the audit estimation will not be persuaded by any link among them (Umar and Anandarajan, 2014). The necessity for independence comes up because in a lot of cases consumers of financial reports and different third parties do not have adequate details or understanding to know what is enclosed in a companys yearly reports. Therefore, they trust the auditors independent review (Gul, Jaggi and Krishnan, 2010). By Sally becoming the CFO, she can influence the opinion of auditors on whether the financial reports of the corporation are properly made or not. As Sally hosted the dinner, there has been non-appearance of independent acts. It is necessary that the auditor not only performs independently, however appears independent also. In case an auditor is actually independent, however one or additional aspects propose otherwise, this could possibly bring about the ending that the audit report does not signify an accurate and reasonable analysis. Independence in appearances will lessen the chance for an auditor to proceed otherwise than independently, which finally attaches trustworthiness to the audit report (Paterson and Valencia, 2011). 2. Since Sally has taken the post of Financial Controller in this year at Madeira 3 of the threats, are: Self-interest hazard: This is a hazard due to a monetary or different self-interest clash, together with a straight or oblique monetary interest in the customer, reliance on the customers audit or non-audit charge, and inspiration to keep hold of the customer. So as to safeguard its future earnings, Madeira audit team will attempt to keep hold of their customers. Instinctively, the more the earnings, the further reliant will the auditors are on the customers, and the more will be the requirement to hold on to them. To keep hold of these clients, the auditing team of Madeira will be hesitant to act in a manner that would harmfully influence the clients interest, although this might mean sacrifice of their own independence. Support and acquaintance threat: This means a threat mostly caused by continuous successive auditing jobs, specifically, auditor term, with the single client. As per Blay and Geiger (2012), the more period of time the auditors carry out auditing for the single clients, the further impairment is to auditors independence. This impairment is because of below reasons: Eventually, an auditor is prone to recognize and perform like the managements believer for the consumers situation more willingly than as an exterior auditor necessary to keep up a sceptical viewpoint. Eventually, an auditor will face a conviction determination condition, that is, a propensity to adhere to one's preliminary conviction even if he gets latest information that opposes or de-validates the source of that trust. An auditor will attempt to keep hold of a business for the continuing task to cover the auditors start-up expenses spent throughout the primary-year job. Therefore, the auditor might be easygoing with the client (Anandarajan, Kleinman and Palmon, 2008). Intimidation threat: This is usually set as per the type of the auditing procedure, wherein the client chooses the auditor and decides the extent of the audit. References Anandarajan, A., Kleinman, G. and Palmon, D. (2008). Auditor independence revisited: The effects of SOX on auditor independence. International Journal of Disclosure and Governance, 5(2), pp.112-125. Blay, A. and Geiger, M. (2012). Auditor Fees and Auditor Independence: Evidence from Going Concern Reporting Decisions*. Contemporary Accounting Research, 30(2), pp.579-606. Gul, F., Jaggi, B.L. and Krishnan, G.V. (2010). Auditor independence: evidence on the joint effects of auditor tenure and nonaudit fees. Auditing: A Journal of Practice Theory, 26 (2), 117142. Paterson, J.S. and Valencia, A. (2011). The effects of recurring and nonrecurring tax, audit-related, and other nonaudit services on auditor independence. Contemporary Accounting Research, 28 (5), 1510-1536. Reynold, J.K., Deis, D.R. and Francis, J.R. (2014). Professional service fees and auditor objectivity. Auditing: A Journal of Practice Theory, 23 (1), 2952. Umar, A. and Anandarajan, A. (2014). Dimensions of pressures faced by auditors and its impact on auditors independence. Managerial Auditing Journal, 19 (1), 99-116.

Mayo Clinic free essay sample

Strategic planning and evaluation is extremely complex for every organization. The Mayo Clinic is a not-for-profit medical organization that services three metropolitan areas: Scottsdale/Phoenix Arizona, Jacksonville Florida and Rochester Minnesota. It’s known for specialization in hard-to-treat diseases, and also known for their innovative and effective treatments for diseases that have gone undiagnosed or under-treated in the same patients with other doctors. Health care is the single most important and essential service that touches the lives of everyone worldwide today. The competition is fierce, and that is why the Mayo Clinic’s founders and co-founders have integrated strategic objectives that will shape and guide the direction of their future as they know this is crucial to the productivity and the longevity of their organization. Dr. William Worrall Mayo (a pioneering physician) established the very first Mayo Clinic in Rochester, Minnesota in 1863. Dr. Mayo had a zeal for medicine and considered practicing medicine to fall under the guidelines of what he felt to be a family tradition. We will write a custom essay sample on Mayo Clinic or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page In 1883 is son Doctor William James Mayo joined him and in 1888 is other son Doctor Charles Horace Mayo followed. Through watching their father practice medicine for years, is what too gave them a zeal for medicine and venture out and follow into his footsteps and practice medicine. It was in 1883 that a tornado swept through Rochester leaving in its wake, both fatalities and injuries. This unfortunate experience is what inspired Mother Alfred Moes, a nun, of the â€Å"Sisters of Saint Francis† teaching order, to request Dr. Mayo and sons alongside them, to build the first general hospital in Southeastern Minnesota. This was the world’s first private integrated group practice. â€Å"The 27-bed Saint Mary’s Hospital opened in 1889 as a result of this partnership. (Medical Foundation of Education and Research copyright 2001-2011). http://www. mayoclinic. org/careerawareness/mi-history. html It was in 1919, â€Å"that the Mayo brothers dissolved their partnership and turned the clinics name and assets, including the bulk of their life savings, to a private, not-for-profit, ch aritable organization now known as Mayo Foundation. † (Medical Foundation of Education and Research copyright 2001-2011). Dr. William W. Mayo felt deeply that they should give back to those individuals that gave to them, that started the organization; and that could only be accomplished through medical education. From this point on, the Mayo’s, their associates and all other potential Mayo Clinic physicians; could not receive a salary or profit personally from any proceeds established from the practice. Any income gained beyond this point from operating expenses, must be contributed to education, patient care and/or research. A board of governors and a committee system was established by the brothers to â€Å"present effective oversight of many aspects of Mayo life, thereby reinforcing the cooperative spirit of the founders. (Medical Foundation of Education and Research copyright 2001-2011). http://www. mayoclinic. rg/careerawareness/mi-history. html It was in the late 1980’s that the Mayo Clinic took the initial step to expand the organization beyond the state of Minnesota. In 1986 a clinic was established and launched in Jacksonville, Florida and again in 1987 in Scottsdale, Arizona. It was not until 1998 the Mayo Clinic reached their milestone by opening the Mayo Clinic Hosp ital located in Phoenix, Arizona. This two hundred bed facility was designed to incorporate technology into all aspects of patient care and experiences which required extensive and costly investments of information technology systems. The organization realized that â€Å"Technology was no longer a thing of the past that was once referred to as a â€Å"back of the office support enabler,† (Medical Foundation of Education and Research copyright 2001-2011). and that they had to strategically devise a plan to secure the future of the organization. http://www. mayoclinic. org/careerawareness/mi-history. html As the organization’s strategic appetite broaden for technology, their initiative to broaden their strategic direction did also because their completion deadline in late 2000 was fast approaching. Several Phoenix metropolitan area Mayo clinics were either consolidating or closing their practices. Senior leaders were very disturbed by this because this marked a change of the organizations strategic direction from the first 10 years of operations prior to the opening of the Mayo Clinic Hospital. The Chief Information Officer (CIO) partnered up with the physician chair of the IT oversight committee and conducted a situational analysis of the organizations components and map out a five year diagram of all the related human factors, physical factors, social factors, and economic factors that has come into lay as they attempted to fulfill the organizational goals and strategies; and modify them as they saw fit. The situational analysis consisted of evaluating the organizations management teams existing strategies, guidelines and procedures to ensure authentic comprehension of the organization’s objectives and that they are or were implemented appropriately. This analysis help ed the organization to identify and eliminate weak points within the preceding system. Together the CIO and the physician chair of the IT oversight committee developed a plan parallel to that of the division’s information system. Kranmer, Frey, Kirby, Lenko and Vrabel (2005) state that â€Å"The objectives of this team were to create a similar strategic roadmap that would not only create a technology vision and direction for the Arizona operations; it would clearly illustrate the importance of technology in supporting the broader organizational strategic plan. † Edell, Curtright and Stolp-Smith (2000) stated that â€Å"Managing and measuring performance become exceedingly complex as healthcare institutions evolve into integrated health systems comprised of hospitals, outpatient clinics and surgery centers, nursing homes, and home health services. They further state that, â€Å"Leaders of integrated health systems need to develop a methodology and system that align organizational strategies with performance measurement and management. To meet this end, multiple healthcare organizations embrace the performance-indicators reporting system known as a balanced scorecard or a dashboard report. This discrete set of macro level indicators gives senior management a fast but comprehensive glimpse of the organizations performance in meeting its quality, operational and financial goals. The leadership of outpatient operations for Mayo Clinic in Rochester, Minnesota, built on this concept by creating a performance management and measurement system that monitors and reports how well the organization achieves its performance goals. † The â€Å"scorecard† concept is how the Mayo Clinic in Rochester, Minnesota leadership management team monitored and reported how well the organization completed their performance goals. The Mayo Clinic’s vision, primary value, core principles, and day-to-day operations key performance indicators were monitored on a weekly, monthly or quarterly basis. January 2001 the leadership team found themselves in a crisis because the capital investment of the proceeding three years was focused on the hospital opening and the remediation of Y2K concerns. It was determined that many of (IT)’s customers had forgone using their more strategic information system in deference to the technological and organizational imperatives of the time. This caused for a demand for new systems and exceeds the available capital budget by more than 300 percent. Edell, Curtright and Stolp-Smith (2000) state that â€Å"Healthcare systems face strong pressures to improve clinical quality, enhance service, expand access, and reduce costs. Competitive pressures in the marketplace require healthcare systems to measure, monitor, and report system performance to maintain and expand a market base. Thus, those healthcare systems that are capable of dearly articulating and demonstrating the value of services provided enjoy a competitive advantage. They further state â€Å"As healthcare institutions evolve into integrated health systems comprising hospitals, outpatient clinics and surgery centers, nursing homes, and home health services, the task of measuring performance increases in complexity. Leaders of these institutions need to develop a methodology and system that align organizational strategies and core principles with performance measurement and management indicators. † â€Å"In the true business management sense, strategy is distingui shed by several key dimensions. (Moseley III, 2009). According to Moseley III (2009), â€Å"it may be easier to understand the concept of â€Å"strategic† planning by contrasting it with two other forms of planning – â€Å"operational† and† tactical. † As these operations combine, they will â€Å"merge into a seamless continuum of forward-looking activity intended to ensure the survival and growth of the organization (Moseley III, 2009). At this point, the key dimensions of the organizational strategy will become directly linked to the strategic mindset of the organization. It is my belief that key dimensions of the organization are relevant to having a strategic mindset because it is ultimately planned to over exceed the organizational goals which requires engaging and performing activities different of that of the competition. In order for your organization to stand out from the competition, communication must be persuasive and artistic. Organizational goals are set to â€Å"do something that is not being done at that very instance. † (Moseley III, 2009, p. 3). The strategic and planning processes derived by this rganization have transitioned from being irregular reactive exercises to becoming planned, judicious and practical components of the overall IT management plan. A major benefit derived from this process is the ability to demonstrate the strategic alignment of IT initiatives and projections. Plans are ineffectual if they are not carried out accordingly. In conclusion, the Mayo Clinic one of the most accredited quality standard organizat ions known today. They have provided quality health care for more than six million people since it was founded in 1883.

Serial Killer Couple Karla Homolka and Paul Bernardo

Serial Killer Couple Karla Homolka and Paul Bernardo Karla Homolka, one of Canadas most infamous female serial killers, was released from prison after serving a 12-year sentence for her involvement in drugging, raping, torturing, and killing young girls. The teenage victims included Homolkas younger sister, whom she offered to her boyfriend Paul Bernardo  as a gift.   Homolka was born May 4, 1970, to Dorothy and Karel Homolka in Port Credit, Ontario. She was the eldest child of three, and by all accounts, was well-adjusted, pretty, smart, and popular. She received ample love and attention from friends and family. Homolka developed a passion for animals, and after high school she started work at a veterinary clinic. Everything about her seemed normal. No one suspected her of hiding deeply disturbing desires. Homolka and Bernardo Meet At age 17, Homolka attended a pet convention in Toronto, where she met 23-year-old Paul Bernardo, an  attractive, charismatic blond with a persuasive personality. The pair engaged in sexual relations the day they met and soon discovered that they shared sadomasochistic inclinations. Paul quickly took on the role of master and Homolka willingly became his slave. Over the next few years, the relationship intensified. The couple shared and encouraged one anothers psychotic behavior. Bernardo began raping women with Homolkas approval. Bernardos specialty was attacking women getting off buses, sexually assaulting them, and subjecting them to other  humiliations. The police and media dubbed him The Scarborough Rapist, after the Ontario town in which many of the sexual assaults were committed. A Surrogate Virgin One source of friction between the couple was Bernardos incessant complaint that Homolka had not been a virgin when they met. Homolka was aware of Bernardos attraction to her sexually inexperienced 15-year-old sister Tammy. Homolka and Bernardo came up with a plan to force Tammy into being a surrogate virgin for her older sister. To accomplish the plot, Homolka stole Halothane, an anesthetic, from the veterinary clinic where she worked. On December  23, 1990, at a Christmas party at the Homolka family home, Bernardo and Homolka served Tammy alcoholic drinks spiked with halcyon. After the other family members had retired, the couple brought Tammy to the basement, where Homolka held a cloth soaked in Halothane over Tammys mouth. Once Tammy was unconscious, the couple raped her. During the attack, Tammy began choking on her own vomit and ultimately died. Unfortunately, the drugs in Tammys system went undetected and her death was ruled an accident. Another Present for Bernardo After Homolka and Bernardo moved in together, Bernardo began blaming Homolka for her sisters death, complaining that Tammy was no longer around for him to enjoy sexually. Homolka decided a young, pretty, virginal teenager named Jane, who idolized the attractive, older Homolka, would make a good replacement. Homolka invited the unsuspecting teen out to dinner and, as shed done with Tammy, spiked the girls drinks. After inviting Jane to their home, Homolka administered Halothane and presented her to Bernardo. The couple brutally attacked the unconscious teen, videotaping the sexual assaults. The next day when the teenager awoke, she was sick and sore but had no idea of the violation she had endured. Unlike others, Jane managed to survive her ordeal with the couple. Leslie Mahaffy Bernardos thirst to share his rapes with Homolka increased. On June 15, 1991, Bernardo kidnapped Leslie Mahaffy and brought her to their home. Bernardo and Homolka repeatedly raped Mahaffy over a period of several days, videotaping many of the brutal assaults. They eventually murdered Mahaffy, cut her body into pieces, encased the pieces in cement, and threw them into a lake. On June 29, some of Mahaffys remains were found by a couple who were canoeing on the lake. The Bernardo-Homolka Wedding June 29, 1991, was also the day Bernardo and Homolka married one another in an elaborate wedding at a Niagara-on-the-Lake, Ontario, church. Bernardo orchestrated the wedding plans, which included the couple riding in a white horse-drawn carriage, and Homolka dressed in an elaborate and very expensive white gown. The guests were served a lavish sit-down meal after the couple exchanged vows, which included, at Bernardos insistence, Homolka promising to love, honor, and obey her new husband. Kristen French On April 16, 1992, the couple kidnapped 15-year-old Kristen French from a church parking lot after Homolka lured her to their car on the pretext of needing directions. The couple took French to their home, and for several days, they videotaped as they humiliated, tortured, and sexually abused the teen. French fought to survive but just before the couple left for Easter Sunday dinner with Homolkas family, they murdered her. Frenchs body was found in a ditch in Burlington, Ontario, on April 30. Closing in on the Scarborough Rapist In January 1993, Homolka separated from Bernardo after months of constant physical abuse. His attacks became increasingly violent, resulting in Homolka being hospitalized. Homolka moved in with a friend of her sister, who was a police officer. Evidence against  the Scarborough Rapist was building. Witnesses had come forward and a composite drawing of the suspect was released. A work associate of Bernardo contacted the police, reporting that Bernardo matched the sketch. Police interviewed Bernardo and obtained a saliva swab, which eventually proved Bernardo to be the Scarborough Rapist. The Ontario Green Ribbon Murder Task Force closed in on Bernardo and Homolka. Homolka  was fingerprinted and questioned. The detectives were interested in a Mickey Mouse watch Homolka had that resembled the one  French was wearing  the night she disappeared. During questioning, Homolka learned that Bernardo had been identified as the Scarborough Rapist. Realizing they were about to be caught, Homolka confessed to her uncle that Bernardo was a serial rapist and murderer. She obtained a lawyer and began negotiations for a plea bargain in exchange for her testimony against Bernardo. In mid-February, Bernardo was arrested and charged with the rapes and the murders of Mahaffy and French. During a search of the couples home, police discovered Bernardos diary, with written descriptions of each crime. Controversial Plea Bargain A plea bargain was discussed that would offer Homolka a 12-year sentence for her participation in the crimes in exchange for her testimony against Bernardo. According to the deal, Homolka would be eligible for parole after serving three years with good behavior. Homolka agreed to all terms and the deal was set. Later, after all the evidence was in, the plea bargain  was referred to as one of the worst in Canadian history. Homolka  had portrayed herself as an abused wife forced into participating in Bernardos crimes but when videotapes that Homolka and Bernardo had made were given to police by Bernardos ex-lawyer, Homolkas true involvement came to light. Regardless of her apparent guilt, the deal was honored, and Homolka could not be retried for her crimes. Paul Bernardo was convicted on all counts of rape and murder and received a life sentence on September 1, 1995. Rumors that Homolkas punishment was too lenient surfaced after pictures of her sunbathing and partying with other prisoners were published in Canadian newspapers. Tabloids reported that she was in a lesbian relationship with Lynda Verrouneau, a convicted bank robber. The National Parole Board denied Homolkas application for parole. Homolkas Release On July 4, 2005, Karla Homolka was released from prison in Ste-Anne-des-Plaines, Quebec. Strict conditions for her release limited her movements and whom she could contact. Contact with Bernardo and the families of several murdered teens was expressly forbidden. She is paralyzed with fear, completely panicked, said Christian Lachance,  one of Homolkas attorneys. When I saw her she was in a state of terror, almost in a trance. She cannot conceive of what her life will be like outside. Sources McCrary, Gregg O and Katherine Ramsland. The Unknown Darkness: Profiling the Predators Among Us. 2003.Burnside, Scott and Alan Cairns. Deadly Innocence. 1995.Transcript of Homolka interview. The Globe and Mail, 4 July 2005.

Strategic Planning With the Hoshin Essay Example | Topics and Well Written Essays - 500 words

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Complete draft dissertation

Complete draft dissertation Chapter One Introduction Music can provoke different responses because of the way its message communicates and gives meaning to peoples lives. Ned Rorem stated, ‘music is the sole art which evokes nostalgia for the future (Shuman 1997: 140). The music scene is testimony to the way in which old musical genres have either provoked a sentimental nostalgic response in wanting to maintain and preserve a traditional sound, or a pragmatic artistic response which chooses to use the memory of an old musical message and sound to inspire new, creative innovations. Flamenco is no exception. Throughout its history there are those who have sought to encase it, referring to it with notions of romanticism and sentimentality, and those who have embraced its evolving nature. The first is true of intellectualists Falla and Lorca, who sought to preserve cante jondo -the ‘deep song of the outcasts by hosting festivals strictly for traditional artists to display its ‘purity. It is also evident in the attraction of the rising middle classes in Andalusian cities toward the tragic song of flamenco. Flamenco provided a romantic perspective of the past, a ‘folklore-like history to provide a distinctive identity for Andalusians, also allowing them to express their sympathy for the downtrodden. The poor, for their part, embraced the ‘romantic song style of flamenco because it expressed their anguish, and also allowed them in hindsight to have a rosier slant on their miserable pasts ‘holding out a hope, however faint, that the since rity of their song would qualify them as bonifide cultural heroes in the future (Washabaugh 1996: 55). Since flamenco evokes ancestral history, the art form can encase and preserve these memories, only to re-live them through melancholic sentimentality. Conversely, Và ©lez suggests that ‘the pleasures of the past are not lost to the present, but are transformed into radically different aesthetics by the manifold forces that operate through time (Và ©lez 1976: 25). This approach recognises the contributions of the past that keep giving to the present, allowing the process of musical evolution to keep an art form alive and developing. In this way, ‘each generation builds new pleasures on top of old, and adds fresh memories to existing recollections (Featherstone 1991: 32). This is true of modern flamenco artists, who seek to recognise their ‘roots, while introducing their own interpretations and often experiment with other musical sounds. Globalisation has meant th at the product of this approach is seen in a fusion of elements with very diverse musical styles. Modern flamenco fusion band Ojos de Brujo share this approach: Flamenco is in many places and it can evolve in many ways†¦ we draw from the same source and we have the same love and the same respect for this music (Flamenco World 2002). This dissertation will examine the main perceptions of flamenco; an older, traditional perspective that views flamenco as  ´dead ´ and another younger perspective that argues flamenco is still a vibrant and living art form. It will account for aspects within the raging debate over flamencos historical purity, studying how it has remained a constant, changing and evolving art form. Chapter Two will examine the  ´purity ´ of the history of flamenco, considering the four main perspectives through which it has been viewed. Chapter Three studies the significance of the message and emotion characterising flamenco, and the way in which the song forms serve as a window into the lives of the flamenco community. It also accounts for the fact that though traditionalists contend for one ‘pure song form, there are in fact many branches within the genre. Chapter Four describes the journey in the modernisation of flamenco, considering how traditionalists blame this era for the ‘degeneration of flamenco, whilst modernists praise it for its progress. Chapter Five analyses the two groups that have emerged in the flamenco scene, the purists who insist that ‘true flamenco resides in the past, and the modernistswho look embrace the evolution of the art form. Chapter Two The History of Flamenco Flamenco holds many threads of history. Depending on who is narrating its past, the  ´proper ´ and  ´true ´ history of flamenco can be found in various long-lived and widespread claims. Washabaugh identifies four main ideologies held by flamencologists; ‘Andalusian, ‘Gitano, ‘Populist and ‘Sociological (Washabaugh 2006: 32). This chapter will consider the debate over the purity of the history of flamenco and examine the four main varying perspectives through which its origin has been viewed. The line of ideology emphasisng the Andalusian character of flamenco music conveys its deeply-rooted and cultural musical characteristics only formed by Andalusia ´s unique history and demographic make-up that created the conditions which birthed a very distinct art form. Unlike the constructions of Spanish nationalism, especially in the Basque and Catalan regions, Andalusian identity was not predicated on the notions of racial purity, Andalusia ´s unique identity was often defined by the very multiplicity of cultural and racial layers from which it had evolved (Brown 2007: 230). Contributing to this melting pot, the 800 year reign of the Moors tolerantly allowed other diverse culture groups to cohabit within their society; Arabs, Jews and Catholics all contributing to the rich mix found in multicultural southern Spain. However, the Christian Reconquista in 1492 brought a new era of hostility to the region, driving out all Jews and Muslims who refused to convert to Christianity, alongside gitanos who refused to conform to sedentary occupations. This expulsion united the persecuted cultures against the Inquisition who now shared a muliticultural common life. An intense blend of Muslim, Jewish, Indian and Christian cultures characterised these underground communities, producing a fusion of distinct musical sounds which formed what we now call flamenco, here, in the midst of the minorities. ‘And there it stayed, performed in the privacy of their houses or caves unknown to the world until the end of the eighteenth century when it began to be heard in the ta verns and other public places (Totton 2003: 15). There is a vivid debate between the gitanos and payos over the origin of flamenco, both people groups insisting on their contribution due to their cultural bonds.  ´The majority of non-gitanos do not deny the role of the gitanos in the enriching and developing process of the flamenco art, but they are very absolute when it comes to the origin, Andalusia (Papapavlou 2003). Many composers and philosophers such as Manuel de Falla were keen to preserve a musicological perspective that contributed to a Spanish identity based on the romanticism of Andalusias origins as a primitive artefact. Writers and philosophers ´ diverse assertions of a distinct Andalusian identity give varying emphasis to oriental music through Indian (the gitanos place of origin) and Arab roots, Sephardic Jewish music, as well as influences as far back as the early Greek, Roman, Visigoth and Byzantine rulers. These concepts are all based on the diverse musical influences that can be traced in the flamenco cante, baile and toque; its very un-Western chant like melodies and long melismatic wails, its strong twelve-count compà ¡s which provides a driving underlying rhythmical structure with syncopated accented golpes, as well as the exaggerated upper body movements and stamping zapateado created by the bailaor. Altogether these speculative transferring influences are said to play a pa rt in the evolution of flamenco. These claims also contain cultural connotations that provoke issues of race and identity, which seek to shape Spanish cultural consciousness and identity. In this way,  ´the anthropomorphised Andalusia passionate, musical, changing, and anarchical- had become the true source of flamenco ´ (Deutsch 2004: 220). ‘Though Lorca contends that flamenco has to do with a purely Andalusian canto which existed in embryonic form before the gypsies arrived, others think that flamenco is the ethnic music of the gitanos (Steingress 2003: 154 quoting Lorca 1984). The active participation of the gitano community created a phenomenon by virtue of their extraordinary facility for adaptation which brought the diverse cultures of Andalusia finally into harmony (Leblon 1994: 72). Cante gitano refers to the songs that expressed the pain of the gitanos under persecution. They were kept alive ‘underground and performed in the gitanos notorious family gatherings and fiestas where the atmosphere was conducive to spontaneous song and dance. These performances were so intimate that the distinguishing lines between audience and performer were blurred. Their strong oral traditions and  ´gritty ´ songs of old provided a strong identity amongst the Andalusian gitanos, the reason why writers such as à lv arez Caballero believe they were nothing short of the prime movers of flamenco (Caballero 1988: 70 Washabaugh p.34). To many, therefore, the word flamenco has become a synonym for the gitano. This is helped by the fact that thiscommunity is still a very visible sector of society. Although historically by the nineteenth century the gitanos were now an integrated part of Spain, they represent a people group with a uniquely separate racial status, while still forming an integral part of Andalusian culture (Brown 2007:230). The gitano perspective is not without criticism, however, and there are debates about attributing the entire creation of flamenco to the gitanos, some flamencologists even questioning the very nature and instinct of the gitano to be able to create an art form. Ruiz, amongst others, believes that the gitano by nature does not create, but assimilates and integrates, contributing, rather, his influence in this way (Ruiz 2007). Similarly, Totton believes that the gitanos did not bring their music to any country they settled in. Instead, they adopted the music of that country, adapting it to their own particular style of musicality, their strong rhythmic sense, and their tendency to dramatise. In this way he believes that  ´the gitanos have been the catalysts, but flamenco developed in the melting pot of Andalusia ´ (Totton 2003: 14). Others believe that the origins of flamenco matter not, and that flamenco is not just the music of southern Spain but forms a way of life that influences the daily activities of many southern Spaniards. Moreover, one does not have to be a performer of flamenco to be a flamenco.  ´A flamenco is anyone who is emotionally and actively involved in this unique philosophy†¦an outward expression of the flamenco way of life ´ (Pohren 2005: 9). This ideology is also held by the populist point of view which sees flamenco as a voice of resistance. Instead of emphasising its ethnic origins, flamenco primarily is seen to have been used as a means by which to express an outcry from the conditions of oppression in which marginalised people found themselves. This account merits these oppressed artists as the creators of flamenco, their cante jondo marked by a deep and moving performance brought to life by duende. ‘For Lorca, the supernatural force of the duende enters human beings and possesses them as they create inspired, deeply moving work (Hayes 2009: 40). A performance which lacks the essence of duende would be considered as shallow and ‘unpure; a common accusation of the flamenco purists of modern, more commercial, performances. This populist account suggests that the flamenco style persisted in Andalucà ­a for nearly 500 years. However, ‘during the nineteenth century that resistant song of the lower classes began to lose its bite with the commercial developments of the art form (Washabaugh 1996: 36). Still others argue that the spirit of duende continues. The sense of Andalusian oppression has been a central theme in flamenco, and the present political freedom and crisis of mass emigration have, if anything, intensified the use of flamenco as a vehicle of social commentary both through text content and, less overtly, through stylistic innovations (Tong 1998: 176). The sociological perspective is that flamenco is a phenomenon that brings classes together, and disagrees with many populists assessment of the  ´degrading ´ transition flamenco went through in its commercialism. Flamenco remained a voice of the lower classes though it became popular and began to be heard by the upper classes in the  ´golden age ´ of the cafes cantantes. It was on this stage that performers were able to vent their tragic past to their audience of wealthy oppressors. Washabaugh explains that  ´the song, on this account, performs a double catharsis, exposing and relieving both the pain of the poor and the guilt of the wealthy ´ (Washabaugh 1996: 36). In this way, flamenco is a means of connecting both sectors of society as both poor and wealthy can walk away from the performance psychologically unburdened by the awareness of their different social standings. Focussing on the sociological history of flamenco, this perspective coincides with what is described as the ‘second wave of the genre, a time when flamenco embarked on a process of what Biddle and Knights term as  ´re-Andalusianisation ´, finding its identity in both a local and global dynamic (Biddle and Knights 2007: 14). Though this point in flamencos development is seriously criticised by flamenco purists, for sociologists it was here that flamenco truly came into being, reaching the popular scene, and finding its  ´Golden Era ´. In this way, some authors believe ‘there is no point in searching in the distant past for origins or a genre that really did not come into being until the middle of the last century (Leblon 1994:77). Upon reflection, the tradition of flamenco has not enjoyed the same faithful written record as other classical forms (Hayes 2009: 53). The origins of flamenco seem likely to remain shrouded in mystery for some time to come, due to the circumstances surrounding its birth and musicologists ´ unwillingness to tackle the question. As long as the only efforts made in this field have as their sole aim the ruthless elimination of a given community from the competition, there is no chance of our knowledge progressing (Leblon 1994:73). To conclude, this chapter has exposed the variation in the historic accounts of flamenco, and the ideologies that have emerged from four different perspectives. It is therefore evident that flamenco has not followed a  ´pure ´ linear history, but has encountered many different components equally indispensable to the process of its creation. Chapter Three The Voice of Flamenco in Society Flamenco has been described as ‘a way of life, a way of perceiving and interpreting daily existence (Martinez 2003: 5). Its central position in its communities distinguishes the art form from many other musical genres, and only in understanding its voice in society can one appreciate the passion that flamencos feel for their music. This chapter therefore sets out to discover the significance of flamenco and its legacy by studying the messages that its song forms carry, which serve as a window into the lives of the flamenco community. It will also examine the importance of personal expression channelled through the three musical elements of flamenco: cante, baile and toque. Furthermore the chapter accounts for the different subdivisions of the genre, also suggestive of the fact that there is not one ‘pure form of flamenco but many branches that serve as a reflection of different flamenco communities. Though there is much discussion concerning the exact origins of flamenco, it is evident that, at first, it was an art form in the hands of the minorities. There are many song forms within flamenco that serve as a window into the lives of these communities. Flamenco was a reflection of social life, engaging not only with universal themes such as love or death, but also referring to religious and political issues affecting personal life. Many have examined the way in which the community expressed their ways of life through flamenco; lifes pressures, work conditions and the inequality of hierarchy in labour, social structure, and social divisions. En este aspecto, la desigualdad es el eje vertebrador del cante a travà ©s de diversas temà ¡ticas que, aun referidas a lo universal, al amor, a lo panhumano de la muerte o el dolor, està ¡n siempre socializadas traspasadas por una experiencia cultural no abstracta ni confundible con otras: la andaluza (Roldà ¡n : 112). Flamenco palos, or song forms, convey these themes, many categorically giving emphasis to one theme in particular. For example, amongst many, Carceleras are prison songs, alboreà ¡s are gypsy wedding songs, and mineras are miners songs. Other song forms emphasising a more general theme accentuate a specific musical element of flamenco: the cante, toque or baile. Flamenco in its original form was only cante, a primitive cry or chant accompanied only by the rhythm which would be beaten out on the floor by a wooden staff or cane. These styles are known as Palos Secos and they are the oldest forms of cante known today. These including the tonà ¡s, and the saetas, religious songs thought to be of Jewish decent used during processions, improvised without any accompaniment. Other palos are above all rhythmic which have also given rise to leading dance forms, such as the soleà ¡, and bulerà ­a. In the revelation of these mostly tragic song themes, it is important to convey the difference between flamenco and western music, primarily in the way in which, in the west, one hears the tune first, and then only then, perhaps, the harmony, rhythm and words. To the flamenco, the tune is little or nothing, and the harmony less, being aware, above all, of the words and their rhythmic and forceful expression (Totton 2003: 84). Fà ©lix Grande has defined flamenco as ‘a tragedy in the first person and ‘a protest without hope or destination (Grande 2007). The siguiriya is an example of this concept, the heart of cante jondo. ‘It expresses anguish, lament, and despair, and has been described as an outcry against fate and quintessence of tragic song (Totton 1995: 90). It is an example of how the transmission of song serves as a window into the lives of the flamencos. The following copla from a traditional siguiriya is an example of how the history of these Andalusian communities is communicated through the art form: Seà ±or Alcalde mayor Lord high mayor Y demà ¡s seà ±ores And other fine lords Estas penitas a este cuerpo mà ­oThe pain in this body of mine No le corresponden Is not deserved (Kirkland 2001 :9) Felix Grande would respond to such an example by saying : Listen closely to a tonà ¡, truly hear a seguiriya; let some tientos slide through the hairs of your arm. Perhaps you will sense something resembling the hand of Philip V signing a paper in 1745- surely without trembling- to authorize those pursuing a Gypsy to enter a church and take him from its protection (Kirkland 2001: 9). The striking imagery and emotional purity of cante lyrics is also evident in the following coplas: El tiempo y la marea todo me viene en contra; los golpecitos de este mar furioso salen por la popa ( : 94). Hasta las piedras saben la desgracia mà ­a que yo las vendo -mis desgracias- de noche y de dà ­a (: 95) On one level, the coplas serve as a descriptive reflection of the lives of the flamencos, and on another, serve as a representation of complaints, hopes and vindication. El flamenco sirve para descubrir la realidad, para exponer las formas de vida y hasta cuadras de costumbres, pero tambià ©n para reflexionar sobre ellas y denunciar las desigualdades. Pasa de lo descriptivo a lo analà ­tico sin saberlo, y a veces a lo crà ­tico (Roldà ¡n : 112). It is therefore evident that the role of flamenco in society is not merely aesthetic, or for ephemeral enjoyment, but that it has become a living testimony of the flamencos themselves, and an outlet for emotional unburdenment. No canten, pues, con el à ºnico objetivo de hacerlo mejor que la vez anterior o mejor que otros cantaores: cantan porque es sus propias carnes o en las carnes de su propio grupo social o clase han padecido marginaciones y atropellos que a su vez se convierten en exponentes y portavoces de sus propios grupos, familias o entornos. (Gelardo y Belade :21) This is also suggestive of the reason why purists seek to protect the purity of this expression. Clemente believes that dealing with cantes, palos, compà ¡s, and melody is like dealing with living beings, ‘they deserve the respect involved in keeping them alive (Clemente n.d). This reveals an intrinsic link between the lyrics and expressive aspects of the music. Early developments of flamenco show that the socio-political dimension of the art form is manifested in both these facets. Pohen (1995) believes that it can not be overemphasised that flamenco, above all the jondo flamenco, is in essence an emotional art. Moreover, the artist needs only enough technique to enable him to convey his emotions to himself and to his public: The improving of technique to the point of virtuosity is not usually synonymous with the improvement of the artist ´s ability to communicate. Conversely, the opposite is more often true. The virtuoso often becomes a cold machine, too concerned with his technique, too complicated, too entangled in his own virtuosity, too conscious of the fact that the majority of the public is awaiting this virtuosity more than any duende he may impart (Pohen 1995: 58). This emotion is woven through the cante, baile, and toque, each embodying the rhythm and expressive force necessary to bring the words of the coplas to life.The cante is said to have been developed in isolation by Andalusians, and especially gitano Andalusians, ‘and which redeems humans from the prison of language and the darkening isolation of social life (Washabaugh 1996: 90). The flamenco cantaor recreates and embroiders the song form in a personal way, expressing to the audience what the words mean to him (Totton 2003: 84). The quejà ­o, melisma,the manipulation of the compà ¡s, and the quality of voice itself are ways to enforce the power of the cante. The cantaor also adds emotion by spontaneously weaving his voice around the words, envoking duende. The intensity of the cante means that many cantaores prefer to sing al golpe,accompanied only by knuckles on the table and the cries of encouragement from the jaleo. The baile also takes on the character of the coplas by concentrating on forceful rhythms. This contrasts from the graceful movements given importance by modern music academies, a feature of modern flamenco also criticised by purists. Prejudices run deep on the subject, and the Spanish language marks the difference: the classically trained dancer (whether or not also dancing flamenco) is a bailarà ­n; the flamenco dancer is a bailaor or bailaora (Totton 2003: 51). ‘Pure flamenco baile is expected to be individual, forceful, downward, and introvert. A similar prejudice has been established between classical guitarists and a true, flamenco tocaor. The difference can be seen in the very way the guitar is held to the emotional way the tocaor marks out the rhythm and compà ¡s through plucking, strumming, tremolo and banging the wood, and also the ability to improvise, adding his own falsetas. Toca de oà ­do, por intuicià ³n, improvisando continuamente, y aporta, como productos de cosecha propia, las falsetas (Ruiz 2007: 90). Though the toque element was introduced later on in the evolution of flamenco song forms, it is still seen to be an important element. La gran originalidad de la mà ºsica flamenco de guitarra se resume en el hecho que los elementos melà ³dicos, armà ³nicos y rà ­tmicos que la componen tienden a inferirse en provecho de un elemento expresivo superior que engloba y enriquece a los demà ¡s y que podrà ­a calificarse de dinamismo (Hilaire Ruiz 2007: 91) Uniting all elements of flamenco, lyrical, musical and emotional, is the strong sense of tradition and heritage manifested in the art form itself. In this manner, flamenco receives and keeps giving back its communities, allowing the flamenco legacy to live on. It is important to note that until recently, music and lyrics were never written down but transmitted orally. Compositions from the past have been handed down through the generations, and the extensive categorisation of palos reveal that there are many branches of flamenco, originating from numerous communities from different parts of Andalusia and further afield, all adding their musical flavour and history. These branches can be as contrasting as the discussed traditional tragic siguiriya and cante jondo to the cantes de ida y vuelta which were exported from Spain to the New World where they acquired new influences, later to be re-imported again to Andalusia by returning emigrants. These contribute to the rich diversity of so ng forms which have evolved from the original palo seco to varying rhythmic song forms which incorporate baile and toque, two main elements of flamenco that were integrated later on in the evolution of flamenco. Throughout the evolution of flamenco song forms, purists insist that the ablility to evoke duende distinguishes the ‘true flamencos from modern, experimental musicians, due to their ability to identify with the anguished themes of the cantes, re-living these emotional experiences. This chapter has discussed the role of flamenco in society through analysing the dual function of the art form. Firstly, it is evident that the genre transmits the history of a marginalised people through the coplas. Secondly, and entwined with the first, is the expressive, mainly painful, release of emotion associated with life experiences through the three channels of flamenco; cante, baile and toque. In this process, the evoking of duende is what sets flamenco apart from other musical forms, and is suggestive of the purists insistence of protecting a ‘traditional and ‘pure music. However, the many branches of musical style within flamenco also alerts one again to the fact that, though flamenco demands a purity of emotion, there is not one ‘pure song form and single history within the genre, but many stories with diverse themes and musical influences, inevitable in an art form of oral tradition. Chapter Four A New Era of Flamenco When evaluating the different phases of flamenco, flamencologists have tried to define the time line into conveniently identifiable eras. ‘The stages flamenco has passed through until the present day are identified by the venues where it was staged, as well as the artists who were most popular at any given moment (Martà ­nez 2003 :66). Biddle and Knights (2007) refer to these historical stages as ‘waves, while Steingress (2003) refers to them as  ´steps of hybridisation ´, both studies highlighting exhaustive influential causes of change undergone by flamenco. The phases which have contributed to the modern evolution of flamenco are important to highlight because of the way they have changed the face of flamenco, both musically and culturally, not only adapting its sound but its audience also, taking it from the primitive privacy of the juerga to the very public showcasing platform. This chapter will examine the stages marked by three main venues that changed the ima ge of flamenco: the cafà ©s cantantes (1860-1920), the theatre which hosted à ³pera flamenca (1920-1950), and the tablaos and peà ±as (1950-1975). Through describing their effect on flamenco, the chapter will also study the way in which these periods have provoked a debate which accuses this period of evolution of either the ‘degeneration or ‘making of the art form. The study will account for the perspective that, whilst many look to the past to define flamenco, the genre has encountered many different components equally indispensable to the process of its creation. The cafà ©s cantantes laid the groundwork for what has been termed the ‘Golden Age of flamenco. ‘Having only existed as a way of life, little by little flamenco gained popularity, and by the middle of the last century, sharp businessmen realised that flamenco could be exploited profitably in commercial exercises (Pohren 1995: 146). Flamenco was introduced as a public attraction and customers flocked to witness the novel presentations of the flamencos who complied to life as a paid artist and higher standard of living. One of the things that the cafà © cantantes achieved for flamenco was to broaden the range of non-gitano performers who were willing to make crowd-pleasing innovations and modulations, as neither the payos nor their audiences had quite the same distaste for broad popular appeal (Drummond 2006: 168). Those who performed in the cafà ©s naturally followed the tastes and whims of the customers and it is argued that thistrivialised flamenco, ‘since patrons requests favoured ‘festive rather than ‘deep flamenco performances (Hernà ¡ndez 2008: 15). Furthermore it is contested that this enforced a staged professionalisation inspiring competition amongst performers, not a feature of flamencos emotive purity and unconcern for virtuosity. ‘The guitar, in particular gained eminence in cafà © performances and, from being an instrument to accompany song and dance, it became a show in itself, and solo guitar performances soon became popular favourites (Hernà ¡ndez 2008: 15). In addition, ‘artists from the different provinces of Andalusia contributed to an enhancement of flamenco by elaborating their regionally distinctive substyles (Washabaugh 1996: 33). An important artist to emerge from this era was Silverio Franconetti, a non-gitano who opened his own succes sful cafà © cantante, and is amongst a group of flamenco  ´legends ´ to emerge from this era. His legendary fame for contribution to the flamenco scene, even recognised amongst gitanos themselves, however, is ironically criticised. This accounts for the parody of the  ´Golden Age ´. On one hand, condescension for the beginnings of crass commercialism, and on the other, an excitement for the new wave of creative and technical competence. Nevertheless, in the light of the modernisation that was to come, many  ´pure ´ artists were still able to enjoy the profit of this time, being able to make a decent living from what they loved most. Desperate to preserve tradition in the threat of modern change, Spanish Intellectuals Manuel de Falla and Federico Garcà ­a Lorca attempted to revitalise the  ´true ´ and  ´pure ´ spirit of Andalusian flamenco by promoting the Concurso de Cante Jondo in 1922. They rejected the name  ´flamenco ´, embracing the term  ´cante jond o ´ in order to stimulate interest in uncommercial styles of flamenco which were in decline. However, the initiative could not prevent the second wave of modernisation which replaced the cafà ©s cantantes with

The American Dream in The Great Gatsby :: essays research papers

The American Dream There is no set definition to be found anywhere of the true meaning of The American Dream. Any hope, dream, or goal which was pursued by anyone in the history of America is on an American Dream.In modern times the accepted dream seems to be 2.5 children, a house with a white picket fence, and a perfect spouse. However, as it is shown through out literature from the early days of America to contemporary times the American Dream is not always so simple a concept. America was originally founded on the dream of freedom.People have freedom to pursue what they want.That is the ideal behind the American Dream. Early stories in American literature are about peoples pursuit of the freedom to worship as they pleased. Another version of the American Dream is the hope that immmigrants had of building a better life for their children than they had, as shown in the book My Antonia. Another is the search for acceptance, which is shown in the book Black Boy. Another is simply the hope to survive, as shown in the book Lord of the Flies. Whatever the dream, the most interesting thing that can be read or written about it is the drive of people to attain it.This is best shown in The Great Gatsby. The Pursuit of the American Dream in The Great Gatsby The Great Gatsby,a novel by F,Scott Fitzgerald,is about the American Dream,and the downfall of the people who try to reach it.The American Dream means something different to different people,but in The Great Gatsby,for Jay Gatsby,the subject of the book,the dream is that through acquiring wealth and power,one can also gain happiness.To reach his idea of what happiness is,Gatsby must go back in time and relive an old dream.To do this,he believes,he must first have wealth and power. Jay Gatsby is a man who does not wish to live in the present because it offers him nothing.He spends the majority of his adult life trying to recapture his past and,eventually,dies in his pursuit of it.The reason he wishes to relive the past is because long ago he had a love affair with the rich Daisy Buchanan,who he fell deeply in love with.However,he knew that they could never get married due to the difference in their economic and social statuses.He wants to marry her,but because of this problem he leaves her to gain wealth and social status in order to reach her standards.