Metamorphosis By Franz Kafka Essays (550 words) - Absurdist Fiction

Metamorphosis By Franz Kafka "When he lifted his head a little, he saw his vaulted brown belly, sectioned by arch-shaped ribs, to whose dome the cover, about to slide off completely, could barely cling. His many legs, pitifully thin compared with the size of the rest of him, were waving helplessly before his eyes." Gregor Samsa has gone through a metamorphosis. This change has turned Gregor into a "monstrous vermin". The anxieties, inner terrors, and cynicism, which fill Gregor's life, are expressed by Kafka throughout the novel, metamorphosis. Franz Kafka uses these feelings as an element of Expressionism to convey Gregor's attitudes towards his life and society. Examples depicting this element of Expressionism used in the novel are Gregor's feelings towards his job, the effect his job has on his family, and the cruelty that his family displays. The novel opens with Gregor in his monstrous state, late for work. He infers that his job as a traveling salesman is very consequential, yet he is growing tired and frustrated, "The upset of doing business is much worse than the actual business in the home office, and, besides, I've got the torture of traveling, worrying about changing trains, eating miserable food at all hours, constantly seeing new faces, no relationships that last or get more intimate. To the devil with it all!" Gregor has a great amount of fury towards his job, which eventually led to his anger towards society as a whole. The fact that his office manager showed up at Gregor's house plays an immense role in creating trepidation and anxieties in Gregor's mind. Gregor feels strangled by his job and is too weak to tolerate the pressure. In addition to the pressure created by his office manager and society, the Samsa's, especially Gregor's father, take advantage of him. Gregor earns the basic income to support his family. "But of course he actually could have paid off more of his father's debt to the boss with this extra money, and the clay on which he could have gotten rid of his job would have been much closer, but now things were undoubtedly better, the way his father had arranged them." The superficiality of the Samsa's has put Gregor in a difficult position, which is a component causing Gregor's metamorphosis. Gregor's family in general, had given him the attitude he has on life. They took advantage of him to the point where he was the means of the family's survival. After Gregor's metamorphosis, when he could no longer attend work, his family begins to treat him as the vermin he has become. They no longer consider him as a human being, or a member of their family. Gregor seemed to be waiting for his family to give up hope in him so he could end his life. "He thought back on his family with deep emotion and love. His conviction that he would have to disappear was, if possible, even firmer than his sister's." Following this quotation, Gregor Samsa commits suicide. He felt he was no longer needed, as a salesman, a son and brother, or a member of society. Were the anxieties, inner terrors, and cynicism of human life all factors expressing the metamorphosis of Gregor Samsa? Gregor died of a broken heart. His family and society had a major part in bringing Gregor to his final state. Kafka used Gregor's metamorphosis into a vermin as an allegory for Gregor's transformation in which he alienated himself from everything and most importantly, from himself.

Traveling to a Retreat

Traveling to a Retreat When I found the announcement for a weekend writing retreat in Scotland in the British online Writing Magazine, I began to think how I could take a writing course in real life, not only online- and also make my dream of visiting Scotland come true. With two months lead time, I sent in the online application to Helen Walters, an English short-story writer now established in a village in the highlands of Scotland.   The answer was positive!   The October workshop would include three nights and all meals with sessions from Friday to Sunday evening, for the equivalent of $345. Each participant sent in a short story under 2,000 words ahead of their arrival, which would be critiqued one-on-one When I wrote my Scottish friend Madge to see if I could visit her the week after the workshop, she invited me for five days following the retreat. Doubly motivated, given that I’d be financing my own trip entirely, I got an early-bird fare for a return flight from where I live (in the country of Georgia) for approximately $400, so my total basic expenses would amount to $745 for a week including the retreat and an authentic visit to Scotland! Helen’s home in the Highlands has been turned into a retreat on the Black Isle, and is shared with her husband, crime writer Mike Walters who was the skilled cook for our group. When I arrived and entered the cozy living room, the other participants were already relaxing, glass in hand. My accent quickly gave me away and one woman exclaimed, â€Å"You came all this way?† However, the workshop showed we had all come for most of the same reasons. My own goal was to learn about which markets are likely to buy the kind of short stories I like to write, but I discovered much more. Helen is an outgoing and encouraging teacher - we spent group sessions sharing how we get story ideas (great fun exercises!); turning ideas into stories; creating characters (just a few are needed in short stories); as well as rhythm, theme and the mood of the narrative. During the planned sessions we faced common challenges like finishing a story (it seems this is a frequent predicament), PoV, flashback and setting. We had plenty of time for writing alone too. Helen expertly pointed out which markets are more likely to take an interest in our work. For example women’s magazines tend to like upbeat and positive themes, while anthologies might be interested in the â€Å"darker† stories some of the participants preferred writing. My visit to Scotland brought many experiences, ideas and more- it helped me create a much more vibrant relationship with my writing. I realize I don’t have to remain glued to any PoV, setting or style. This experience opened Pandora’s box – I am re-writing a short story with more humor in the twist, and already have two more ideas.   For other writers I recommend looking up retreats offered at reasonable prices, in places you would like to visit. Your sharpened senses will begin to pick out new details for stories around you in the new settings- for me it was the elderly man in the shab https://www.solusorwritingretreat.co.uk/ email: helen@helenmwalters.co.uk

#FreelancerFriday #1 - Rebecca Faith, Editor

#FreelancerFriday #1 - Rebecca Faith, Editor #FreelancerFriday #1 - Rebecca Faith, Editor â€Å"In my experience successful authors are open to revision. It’s not easy to hear the eighty or ninety thousand words you’ve just poured your soul into are not up to par. But if you can leave a little bit of your ego behind and dive into the art, and find someone you trust to be there with you, I don’t think good authorship is beyond many people. It’s a form that invites participation for those who are willing to do the work.†Rebecca Faith is one of the members of Reedsy's advisory board, and also an outstanding editor.A quick anecdote that probably says more about Rebecca than any interview possibly could. The interview below is the first half-hour of our conversation. As I was thanking her, I mentioned that I didn’t want to take up any more of her time with questions about editing that would just be thinly-veiled attempts to find guidance with my own (pretty blocked) novel I’m working on. She pushed through my chronic shyness whe n it comes to talking about creative projects, and spent another half-hour, right there, listening patiently and dispensing insightful advice. Advice, by the way, that went way beyond any of the feedback I’d had from beta readers, best friends, anonymous message boards, and so on. It was neat to see someone almost spontaneously giving off editorial assistance. But you can meet her for yourself below.–REEDSYHow would you describe what an editor does for an author? It seem like the simple answer is â€Å"They edit,† but I wonder what you see that as consisting in. Some would see editing as just being fixing spelling mistakes.REBECCA FAITHSometimes it is. It really depends on the kind of editing we’re talking about. There’s a very nuts and bolts straightforwardness about proofreading and line editing. Those editors bring a level of professionalism and polish to written work, and you really can’t put a price tag on that. It’s very importa nt.But developmental editing or content editing has surged in prominence since self-publishing has become more popular. A good editor helps drawn an amateur into more professional ranks by offering a lot of insight about craft, character development, style, plot production, and so on. There’s a nice collaboration between good editors and authors that really teases out the creative process. The most succinct way that I could say this is a good editor helps an author inhabit their work more fully and helps them stretch beyond their perceived limits of skill.REEDSYI like that. You’ve identified the two very different parts of the editing process.REBECCA FAITHThere’s the technical side which is grammar, conventions, â€Å"How the hell do you use a semicolon?†; and there’s the subjective side: â€Å"Yes, you might have conceived your ideas and your characters in a particular way but I’m here to help you reach beyond the limits that you’ve imposed on your own imagination.† I don’t know that you can ever quantify that or articulate it without experiencing it first-hand, but that’s my best effort.REEDSYCould you talk about how talking to an author can be part of that process? It seems tricky to do a developmental edit working with the manuscript alone.REBECCA FAITHI think the face-to-face or phone-to-phone interaction is important. It’s more important for content editing or developmental editing because there’s a certain kind of idea exchange; where the characters or the content come alive. A good editor feels the reality of a book as strongly as the author does. If a particular passage feels awkward, or it’s not reading well, or there’s a continuity issue - meaning it’s not lining up with the rest of the book - a live chat gives us the opportunity to troubleshoot it. That’s very hard to do with just the page. I might say â€Å"This line of dialogue feels h ollow to me and I don’t now if you mean x, y, or z, but what’s being communicated to me is this.†The developmental work requires a live component, although I was resistant to that when I first started editing. It’s always quite nerve wracking to work with people and their art. It’s important to take the right tone and tack when you’re talking out things. Who am I say to say to an author â€Å"I don’t think your character would do this.† Thats a lot of ownership on my part. Face-to face work needs good editors who have a very cogent understanding of how to bring out an author’s best work while also pressing those limits that we talked about.REEDSYAre there limits on what an editor can do for an author?REBECCA FAITHAt some points I’ve had to say â€Å"Look the work is not good, the book is not good, and you should stop working on it. Let’s go back to some craft lessons, let’s talk about short stories, creative non-fiction, let’s learn how to write.† An editor can’t take an author who has no skills and no desire to revise, and make that person a better writer. So I suppose the limit of an editor is a closed mind. There’s not much you can do with someone whose work is atrocious but who doesn’t believe it, and who doesn’t trust in the curated opinion of an editor.An editor is like a chef. Good chefs have developed their palates: they’ve tasted everything, single ingredients, complex foods, they’ve honed their tongue like a fine-edged sword, and that sword can taste the difference between ‘tangy’ and 'sour.’ A good editor has honed their literary palate by reading everything: genres they love, genres they don’t; they’ve read craft books, they’ve read the Chicago manual, they read blogs about punctuation and they’ve developed a keen taste for what good writing is. Then, like a chef, they can transform that into any dish. A good chef can’t just cook one thing well, and a good editor can’t just edit one genre. Generally an editor is going to take that sophisticated palate and apply it across anything.The resistance is the diner who salts his food before he eats, who is not willing to taste and be led on a culinary journey. Authors who don’t want to open their eyes and their minds to their editor will never get better. The only limit of a truly excellent editor is an author who won’t release their mind to that help.REEDSYWhat’s the appeal of editing? I feel like most people told to sit in a room with unedited work would balk at that; do you like what you do?REBECCA FAITHI love what I do. I wanted to be an editor since other girls were dreaming of being ballerinas. I don’t think I had language for what I wanted to do; I just started hoarding red pens and hoping for the best. I love losing myself in line editing the same way others love losing themselves in doing the laundry. There are correct answers. There’s a certain comfort in that, it’s almost mathematical. Grammarians, people who truly love our language, can at once respect the rules of that language and acknowledge that language is a communicative tool; and so there’s also play within grammar. It’s not all cut and dry; there are moments where we break the rules.But my real pleasure as an editor is the developmental editing. Helping someone discover the work that lives in their soul is a privilege. Being in that space with an author who’s trying to give life to something that does not exist outside of their own mind is an incredible thing to witness, and I’m in awe every time.I’m working with a client now who came to me with a full completed draft. After the first three chapters I went to her and said â€Å"You know, this is really terrible. I think it’s not the story you want to tell; I th ink it’s just the story that occurred to you first.† We’ve been working together on a draft where you don’t even recognise where it came from. She’s working so hard and so well and so productively; she’s writing a book she won’t just be proud of but that people will love. Watching that happen, watching someone’s mind give life to things that are not there, that’s magic.So I suppose it takes a certain amount of creativity for someone to go into editing. You have to have a mind that sees potential where it’s hiding, but also a mind that makes space for someone else to roam around freely, and create. There’s a balance for good editors between offering structure, lending out my palate, and also sitting back and saying â€Å"What do you taste? What are you baking?† I’m a sous chef in the kitchen. It takes a certain kind of person to enjoy that behind the scenes work.REEDSYWhat makes a good developme ntal editor? It seems difficult to look at two people and tell who’s better. I’ve heard experience thrown around as a way of doing this.REBECCA FAITHI think experience is important. But there’s a balance between being the scaffolding, and then also the architect. A good developmental editor gives authors the structure they need to be free. If you’ve ever had to write an essay for a class, you’ll know writing for a prompt is much more directed than writing on 'a topic of your choice.’ That’s the death knell for a lot of people because it’s too much open space. A good developmental editor creates a structured place for an author to live in, creatively. They have no ego about their author’s work. As much as I invest in my authors work- and I feel the heartbeat of their characters and I care deeply about what happens to them - I have no desire to make that work my own. There’s a lack of covetousness with a good editor wherein you truly are working in service of another person’s artwork, and I think that’s a quality even experience can’t necessarily teach.REEDSYOnce you’ve engaged with a client and want to start an edit, what happens?REBECCA FAITHA lot of my clients have just an idea for a book. For those people we start with a one page synopsis, which is much much harder than you might imagine. For people who have a completed first draft I start reading and after 25 or 30 pages I edit and make margin notes. I send that work back to the author and then we talk. We talk about the work, we talk about the edits, about subjective and objective things; we do grammar lessons and we also talk about character motivation and how things are shaping up. Generally we’ll proceed along in that fashion until the end of the book. First drafts are generally extremely malleable and change very quickly. A lot of rewriting happens after a first draft so I’ll also guide write rs through rewriting, what’s interesting to me as a reader, questions they should be asking themselves about their characters, and we go through the work using it as a practicum for being a better writer and expanding the usefulness, utility and beauty of a manuscript.REEDSYSo what about when someone has just an idea?REBECCA FAITHThe line that I draw is that a substantive editing is based off a completed first draft, while in developmental editing we’re developing from an idea.In developmental editing, you come to me with an idea. We start by talking about it and I require a one-page synopsis. People spend months on a one-page synopsis. It makes plain where there’s not enough plot, which is often a problem - authors tend to have a pretty good handle on the beginning and end of a book, and the middle is a wasteland where forward momentum goes to die. The one page synopsis helps us hone in on conflict, character development, protagonists, antagonists; a lot can be accomplished within the confines of an 8.5" x 11" page. That usually requires a few hours of Skype conversation, a few drafts, a lot of brainstorming.From there we move into what I call chapter-snapshots. You get a short paragraph, maybe five or seven sentences, to articulate what happens in each chapter. Again, we’re trying to avoid the problem of authors getting off to a sprint when the race begins, then having an asthma attack laying down at the side of the road by chapter 12. That foundation-laying helps engage authors engage with and confront the problems of their work.After that we start writing. The snapshots are very productive, and usually make people feel pretty excited. The author has now done the work of creating some of that structure on their own, and it becomes much easier to then say â€Å"OK, I’m going to write chapter one† because you know where chapter one begins and ends/ Working within those structures I often find that people become much m ore creative. They might say â€Å"I started to write chapter one but it’s much more difficult than I expected because I had so many ideas while I was writing,† and then we revisit how those ideas integrate into the chapter snapshots and the synopsis.It’s very difficult to build on nothing, so once an author does the hard work of laying the foundation, the house goes up quicker than you might imagine.REEDSYSo there isn’t some place an author needs to be in before you can come in and help. You can be there at any stage of the project.REBECCA FAITHAnyone with even just the flame of desire to write a book can work with me. If someone comes to me and says â€Å"I want to write, but I don’t know what to write,† that’s OK. I start by asking that person what they like to read. I help them curate their own literary palate. I ask them what movies they like, what music they like; like, â€Å"What is your artistic profile?† Based on that I’ll make some recommendations about authors that are doing great work, and we’ll talk about books. We’ll talk about reading. I might give a couple of small writing assignments: free-write for me about someone in your office from the time they wake up to when they sit down at their desk.Writing is a thankless and difficult process. To anyone with the heart to do it I say bring it on. So many of us are limited in our ability to produce art. Not everybody has the skill or patience for an instrument, or we don’t have the balance and the grace for dance, and when we dip a paintbrush in paint we just end up with splatters on a canvas. But writing uses something that’s inborn. We all have this language. Because of the structure of writing, because of the structure of grammar and good story production, pages are just waiting to be filled. It does take some discipline, I’m not saying it’s easy - it’s the hardest work you can do in some ways, artistically. But it’s there if you have language. It’s a true laying bare of the soul, and anyone who’s willing to do that work is welcome to call me.REEDSYIf writing is a thankless and difficult process, is there a parallel for what you’d call the editing life?REBECCA FAITHEditing is not thankless! Editing is wonderful, in fact. I feel very close to my clients; by the end of our work many of them are friends. Editing is intimate process because, and this goes back to you asking about the qualities of a good editor, an editor mustn’t create shame; an editor has to actively quell embarrassment. The safe space that we create for our authors is a place where they can take risks and fall flat on their faces and not feel stupid about it. How many people have adult-to-adult conversations about sex, religion, ideology? These issues all come up in the course of creating three-dimensional characters. Authors and editors have to bring their whole his tories to the table and be comfortable with that. I’m very humbled by the collection of books I have at home where I’m mentioned in acknowledgements. I think editing is the long straw; I wouldn’t have it any other way. I find my work deeply gratifying.In my experience successful authors are open to revision. It’s not easy to hear the eighty or ninety thousand words you’ve just poured your soul into are not up to par. But if you can leave a little bit of your ego behind and dive into the art, and find someone you trust to be there with you, I don’t think good authorship is beyond many people. It’s a form that invites participation for those who are willing to do the work.REEDSYRevision is interesting, because it’s such an important part of writing, but it doesn’t apply to other uses of language; it would be insane to revise everything you say before you say it.REBECCA FAITHIt would, but think about the times you wish you could have taken it back! The thoughtfulness we can bring to writing is a double-edged sword; if you’ve ever read something overworked you know what I’m talking about. But putting work on a page is an opportunity for people to really lay bare a certain amount of soulfulness, look at it objectively and say â€Å"Who am I? What is this?† There’s so much value in that clarity. I think authorship is a process of self-discovery as much as it’s a process of discovering worlds that don’t exist yet.You invite an editor to accompany you and be a spirit guide. Editors who don’t take that privilege incredibly seriously should not be editors. It’s humbling to be entrusted with that privilege. I think people who want to write should write, and editors are out there who want to help.REEDSYWhen do you think the writing process ends? In traditional publishing it seems like it passes into the hands of the publisher. How would you talk about whe n a manuscript ends, for authors and for editors?REBECCA FAITHSome people say that work is never finished. I think that’s incorrect, and also very depressing.REEDSYLike, the idea that you don’t finish a novel, you put it away.REBECCA FAITHI think that’s just†¦ what an awful thing to say. I think work reaches a place where it’s take the form that we’ve imagined it to. We feel like the journey we’re talking about has ended. Our characters have completed their journey. The work has reached a level of polish that’s industry-standard and acceptable. There’s an objective level to that - is it free of errors, as error free as a work can be? We also have to look at our characters. Have they changed? Have they grown? Have they gotten from point A to point B? I think that’s our best view of what’s happening.REEDSYThanks Rebecca.

Middle East Hisory Essay Example | Topics and Well Written Essays - 1250 words

Middle East Hisory - Essay Example The Mandate of Palestine of 1922 was borne out of the colonial designs of the British and French on the Middle East. Britain acquired Palestine, the Transjordan and Iraq, while France got Syria. It also embodied the promises these two European powers made to the Arabs and the Zionists, which eventually led to conflict. British encouragement of Zionist actions during the early years of the mandate led to increasing conflict between the Jewish immigrants and their Arab neighbors. As the Second World War loomed and the British recognized the importance of Arab support, they shifted their favors towards the Arabs at the expense of the Jewish communities who were now concentrated in fortified strongholds. As violence increased, the British decided to abandon Palestine, leaving the settlement of the Jewish question among the Zionists and Arabs. The French did not want to hand over power to the Muslims of Syria in a manner that they may be thought of giving up their traditional policy of pr otecting the Christians of the Levant. Urban populations and those of the educated Syrian elite were also demanding that Syria become independent and that Lebanon, Palestine, Transjordan, aside from the Druze and Alawite districts, become part of it. Rebels among the Druze and the nationalists led to open hostilities which did not subside until 1927. The 1952 Egyptian Revolution o... Although the king tried to institute land redistribution and other forms of reform, corruption became the main cause for the failure of his measures. Among the reasons that led to the revolution was the failed Palestine Campaign of 1948 which convinced the leaders that Farouk I was inefficient and corrupt. From 1917 to 1949, Israel occupied 78% of lands in Palestine, which was then administered by Great Britain under a League of Nations mandate. Israeli occupation led to the eviction of 750,000 Arab refugees to the Gaza Strip, Lebanon, Syria, Jordan, and other Arab countries. This led to Egypt's campaign against Israel in 1948 which ended in failure because of a corrupt and ineffectual government. General Neguib became commander-in-chief, president and prime minister after Farouk's abdication. Nasser was his Minister of the Interior. However, young officers in the army saw Neguib as too moderate. This resulted in his retirement and Nasser then succeeded him as prime minister in 1954. He became Egypt's president seven months later. Nasser was popular with young officers since many were recruited by him into the Free Officers movement during World War II. His republican views also attracted a large following. Increasing sympathy and concern over the plight of Palestinian Arabs who were forced to seek refuge in neighboring countries, and Nasser's espousal of Arab independence, also increased his popularity among the people and military. Most important in this period was his advocacy of liberating Palestine from Jewish occupation. His policy of Arab independence also challenged British authority, which gave him widespread support. Egypt had long endured British

What Is The Primary Teacher's Perspective of History in the National Essay

What Is The Primary Teacher's Perspective of History in the National Curriculum today in Keystage 1 - Essay Example Government policy (both conservative and Labour)has been bitterly criticised for providing a system which is either too elitist or insufficiently so, wasteful of human resources, which is insufficiently demanding of the nation’s children, or which simply fails to compete with the education systems of other industrialised countries. During their long period of government the Conservatives sought to eliminate some of this criticisms in accordance with their political philosophy. The results have been mixed and controversial. On coming into office Labour made education its priority for fundamental transformation. It said it wished to avoid the ideological warfare of previous administrations. The controversy surrounding education results partly from particular historical developments, briefly described below, but also from awareness that the broad mass of schools perform less well than their counterparts in other industrialised countries. New laws have been introduced to implement the Government’s education reforms, the most significant of which are the Educational reforms Act 1988, the Further and Higher Education Act 1992 and the Education Acts of 1993 and 1994. promote value for money through the local or devolved management of schools by delegating responsibility for budget and management decisions directly to school level for all primary, secondary and special schools; build on the success of city technology colleges in urban areas and establish a network of technology colleges to provide free secondary education with a strong bias towards science, technology and mathematics; improve teaching quality, notably through the introduction of teacher appraisal and by reforms in teacher training to focus on practical skills in the classroom, to ensure that the National Gallery is taught adequately; The National Curriculum was introduced in all state

How does Robert Louis Stevenson Create a sense of Mystery, Horror and Suspense Essay Example for Free

How does Robert Louis Stevenson Create a sense of Mystery, Horror and Suspense Essay In the novella The Strange Case of Dr Jekyll and Mr. Hyde Robert Louise Stevenson uses many techniques to create a sense of mystery, horror and suspense. In this essay I will be analyzing some of these techniques in further depth. I will be explaining what effect these techniques will have on the reader. The strange case of Dr Jekyll and Mr. Hyde was published in 1886 and is probably the best known of Stevensons novels. It concerns the fine divide between good and evil. In the book the reader finds out more about how and why Dr Jekyll created a potion that separates the good side from the evil side, of the person. Unfortunately he lost control of the situation, resulting in a number of unfortunate events. Mr. Utterson is widely regarded as a good man, there is much evidence in The Strange Case of Dr Jekyll and Mr. Hyde to back this statement up. One piece of evidence to show this is when the reader is told something eminently human beaconed from his eyes. This is a short and meaningful insight into the persona of Mr. Utterson. . We are also told that he had a approved tolerance for others. This is more evidence to show that he could empathise and care about people. This also makes the audience think that he will be tested. He is also said to be the last good influence in the lives of down going men, he is known to be a compassionate man, he looks to help people rather than judge them. This also makes the reader think that being a client of Mr Utterson, Dr Jekyll may be possible in store to be coming into some trouble. We are told much about Dr Jekylls House in the novel. Showed no windows, what does it mean to the reader, why would this mysterious character have no windows, what is he hiding, or what is hiding in there. This raises questions to the audience about the man, why would a man in a respected profession such as a doctor want to be living a life like this in a house with no windows. It says that the wall was discoloured and the it bore marks of prolonged and sordid negligence. This leads the audience to wonder, what would cause the walls to be discoloured and why does man take so little pride in his abode. The writer Robert Louse Stevenson uses words like the word sordid to create an image of evil and wickedness. IT is said to be blistered and disdained and have neither bell or knocker. The later of the two statements bears more negative connotations than the former. The fact that the house has no bell or knocker signifies to the reader that Dr Jekyll does not wish to be disturbed thus adding to the atmosphere of secrecy. Why would a man such like Dr Jekyll wish not to bothered what is he hiding in this house. The Final Statement regarding the dwelling of Dr Jekyll is typical of gothic writings of that era, it has mysterious connotations that intrigue the reader in saying some place at the end of the world. It also conjures up images of evil when Enfield says Black winter morning. On page 11 the reader is recounted the story of how Mr. Hyde trampled over the child. This is most probably the best example of the Robert Lewis Stevenson using specific techniques to create an innate sense of horror. He uses a common technique of the era, using descriptive, detailed language to intensify the sense of horror. For instance he says some place at the end of the world about three oclock of a black winter morning, he also goes on to say about how empty and lifeless the streets were. The reader is also made to feel fearful, wary and loathsome towards this beast whom is said to have felt no remorse for the heinous act he had just committed. The writer instills these feelings within us by saying thing like the man trampled calmly over the childs body this not only makes the reader horrified that someone could do such a thing, is also exceedingly curious as to who this man could be and why is he so remorseless for what he has done. Mr. Enfield makes several accounts of Mr. Hydes persona. The way in which Mr. Enfield reacts to the sight of Mr. Hyde makes the reader believe he must be a truly terrible man to provoke such a reaction from a well respected man such as Mr. Enfield. Mr. Enfield Says that Hyde gave me one look, so ugly that it brought the sweat on me like running, The reader will immediately relate someone being hideously ugly to them being morally objectionable. He also says I had taken a loathing to the man at first sight the reader questions what could it be that causes him to beacon this loathsome aura. It is said by Enfield that it was not only him to feel this way towards Hyde I saw that sawbones turn sick and white with the desire to kill him the reader wonders what could possible cause a man you whom had previously been described as emotionless to feel this way to a man he does not even know. The final account of Hyde is short but is nonetheless important it is when Hyde is described as being really like Satan. This is a grave accusation to make, saying that a man is like Satan the epitome of all that is evil. It is not false though Hyde is all that is evil within Dr. Jekyll. Mr. Enfield says that the man he saw was of the name Hyde. This name has a eerie ring to it, it carries a certain mystique. When people hear the name Hyde they immediately think of secrecy and what is the secrecy for. Later in the novel Utterson makes reference to Hydes name saying If he is Mr. Hyde then I shall be Mr. Seek. This immediately makes the reader think of the childhood game hide and seek. If this mans name is Hyde then why must he be found, what will he do? One technique that Stevenson uses to great effect is withholding information about the character Mr. Hyde. Mr. Enfield says no sir I had a delicacy, I feel very strongly about putting questions. This is Enfield saying that he did not inquire too deeply about Hyde. This creates mystery and suspense. Hyde is a mysterious character who the reader knows very little about but is intrigued by. Suspense is created by the fear of what this man is going to do. Enfield and Utterson also agree not to talk about this man again. This makes the reader incredibly suspicious of why it is that these two men do not wish to speak about this incident. Mr. Utterson states on page fifteen that already knows of Mr. Hyde saying The fact is, if I do not ask you the name of the other party, it is because I know it already. This shows to the reader that Mr. Utterson knows more than he is letting on. This makes the audience suspicious as to why a good man like Utterson would feel the need to keep this information to himself. Chapter two Dr. Jekylls will is very bizarre it says that in the case of Dr. Jekylls disappearance or unexplained absence for any period exceeding three calendar months, the said Edward Hyde should step into the said Henry Jekylls shoes without further delay. This engages the readers interest as to what the connection is between Dr. Jekyll and Mr. Hyde. Its irrationality is said to have offended Mr. Utterson both as a lawyer and a lover of the sane. It is strange because it does not say that he should be dead before he steps in. Mr. Utterson is left baffled by what has been written in Jekylls will and decides to go visit Dr. Lanyon. Lanyon tells Utterson that ten years ago he began to go wrong in the mind. This raises suspicions in the readers mind about Dr. Jekyll now that they see that one of his dearest friends now speaks of him in such a way. He sys that his unscientific balderdash was so delirious and immoral that is could have estranged Damon and Pythias who in Greek mythology are known for being inseparable friends. The reader must wonder what it is that Dr. Jekyll did to provoke such a claim from a close friend. Lanyon says to Utterson that he knows not of Hyde. This makes the audience suspicious of how it is possible for a man who claims to have been so close to Dr. Jekyll, but does not even know the man who he wishes to leave his entire estate to. We are told that Mr. Enfields imagination also was engaged, or rather enslaved; as he lay and tossed in the gross darkness of the night. Stevenson tells the reader that Utterson is imagining all of the terrible things that this Hyde character could have done. This automatically makes the reader imagine which builds up a sense of horror in the readers mind. We are told that Utterson did not know what Hyde looked like. Like Mr. Utterson the reader will imagine the worst of what Mr. Hyde looks like. He is described as a human Juggernaut the word Juggernaut instills images of an untamed beast that you must be cautious around. It was the face of a man who was without bowels of mercy This makes the reader tense about how terrible this man could be. Spirit of enduring hatred it could be because of the way Enfield reacted to this man that has caused Utterson to feel this way. When Utterson finally meets Hyde it is a very Dramatic tense scene full of typical language from gothic writings of that era e.g. it was a fine dry night, frost in the air, the streets as clean as a ball room this is typical extremely descriptive scene setting. From previous descriptions of Mr. Hyde the reader can only expect the worse for Mr. Utterson.

Jane Eyre: Imagery :: essays research papers

Jane Eyre: Imagery Jane Eyre tells the story of a woman progressing on the path towards acceptance. Throughout her journey, Jane comes across many obstacles. Male dominance proves to be the biggest obstacle at each stop of Jane's journey: Gateshead Hall, Lowood Institution, Thornfield Manor, Moor House, and Ferndean Manor. Through the progression of the story, Jane slowly learns how to understand and control her repression. I will be analyzing Janes stops at Thornfield Manor and Moor House for this is where she met the two most important men in her life. The easiest way to compare and contrast Rochester and St. John Rivers is by examining when and under what circumstances these two gentlemen come into contact with Jane. It is at Thornfield Manor that Jane first encounters Mr. Rochester. While living at Thornfield, Rochester demands undivided attention from the servants, Jane included. He needs to be in control of every aspect of his life, and he needs to feel superior to all of those around him. Jane de cides to accept his control and she concedes to him by calling him sir, even after they begin to have an intimate relationship. At one point, she even goes so far as to excuse herself for thinking. She says, "I was thinking, sir (you will excuse the idea; it was involuntary), I was thinking of Hercules and Samson with their charmers" (p.289). This statement possibly begins to suggests Janes unsatisfaction with Rochester's position of complete dominance in their relationship. To Jane, Rochester embodies the idea of love which she has so long been denied of. As I stated earlier, the whole movie is about Janes journey towards acceptance, by herself and by others. It is this journey which persuades her to move on when she finds Rochester's physical and material love unacceptable. Jane's next stop on her journey is Moor House. Here, she meets St. John Rivers, her cousin. Unlike Rochester, St. John is portrayed as the ultimate sacrificer, willing to do anything for others, no matter how undesirable the task might be. St. John also expects this sacrifice from Jane, and she must decide whether to accept his proposal. At this point in her journey, Jane understands that her search for herself can not be accomplished without real love. She denies St. John's marriage proposal by saying, "I have a woman's heart, but not where you are concerned; for you I only have a comrade's constancy; a fellow soldier's frankness, fidelity, fraternity. . .nothing more." (p.433). She knows real love can not be given to her by St. John and she

Blue Ocean Strategy Paper Essay

There has been a lot of discussion and consideration when it comes to the red or blue ocean approach to marketing strategies for businesses both already established and newly founded. Red oceans refer to the known market space – all the industries in existence today. In red oceans, industry boundaries are clearly delineated and accepted, and the competitive rules of the game are known. Companies try to outperform their rivals to grab a greater share of existing demand, usually through marginal changes in offering level and price. As the market space gets crowded, prospects for profits and growth are reduced products become commodities, and cut-throat competition turns the red ocean bloody. On the other hand, the blue ocean approach uses a strategy to create new demand. Therefore, under the reconstructionist view, attention shifts from supply to demand, from a focus on competition to a focus on value innovation―that is, the creation of innovative value that will unlock new demand. With this new focus in mind, it is possible to systematically look across established boundaries of competition and reconstruct existing elements in different markets to create all new market space. (Kim, 2005) Blue Ocean Strategy & Importance Competing in overcrowded industries is no way to sustain high performance. The real opportunity is to create blue oceans of uncontested market space, making the competition irrelevant. A blue ocean strategic move can create brand equity that lasts for decades. A blue ocean is created in the region where a company’s actions favorably affect both its cost structure and its value proposition to buyers. Cost savings are made from eliminating and reducing the factors an industry competes on. Buyer value is lifted by raising and creating elements the industry has never offered. Over time, costs are reduced further as scale economies kick in, due to the high sales volumes that superior value, without the competition generates. Blue Ocean Move The blue ocean strategy is one of the latest business ideas in the world. Even though it was created recently, it immediately gained recognition among experts, and presidents and directors of many companies. Blue ocean strategy is a strategy that differs significantly from most business strategies. Blue ocean, denotes all the industries not in existence today—the unknown market space, where there is no current competition. In blue oceans, demand is created rather than fought over. There is opportunity for growth that is both profitable and rapid. Blue ocean is an analogy to describe the wider, deeper potential of market space that is not yet explored. EBay would be a good example of blue ocean strategy. EBay was the first of its kind to initiate a service of online auctions reaching an enormous target market that had never been targeted before in this manner by offering an online auctioning service to customers from the convenience of their homes. Alternative Red Ocean Move Red oceans are all the industries in existence today—the known market space. In the red oceans, industry boundaries are defined and accepted, and the competitive rules of the game are known. Here companies try to outperform their rivals to grab a greater share of product or service demand. Red ocean strategy is designed to gain the greatest possible number of customers and to sell as many of their products. Companies that select this strategy do not create a new service without competition, they advertise their products in every way possible. The fight between competing companies is constant. Some of these companies are trying to create exclusive product lines to increase the range of their brand but never consider stepping outside of their comfort zone and bringing a new strategy to the table by creating a service that has not yet been marketed in order to increase profit without the worries of competition. An example of a company that uses the red ocean strategy would be Nik e. Nike jumped into the market ready to compete amongst already existing competitors not on a mission to create a service that was without competition. Once Nike was in the market and above its competition, it could now venture into other ocean strategies to continue to be innovative, creative, and provide a service to their current market as well as look for services to uncharted markets. Red Ocean  Pros: If you are a successful company like Nike, you are already at the top of the chain and your services are still continuously sought after; so providing a new service that doesn’t currently exists doesn’t necessary mean profit and sustainability. Nike wasn’t the first athletic shoe provider. There was competition that existed before Nike became known. Nike was able to enter a market using the red ocean strategy approach and add creativity and innovation to an athletic industry that was already established and climb to the top without the blue ocean approach. Red Ocean Cons: As the market space gets crowded, prospects for profits and growth are reduced. Products become commodities or niche, and cutthroat competition turns the red ocean bloody. Hence, the term red oceans. The red ocean, players want to produce products and provide services cheaper and better than the competition but that doesn’t always mean the product they offer are in-fact better than products of their competitors. Conclusion A company must master its traditional markets using conventional strategic planning tools. It will always be a competitive advantage to successfully incorporate the red ocean approach and beating the competition. Red oceans will always matter and will always be a fact of business life. Businesses that tend to only focus on the red ocean approach must accept the key constraining factors – limited terrain and the need to beat an enemy in order to succeed – and to deny the distinctive strength of the business world: the capacity to create a new service and gain a new market space that is uncontested. In order to sustain high performance, companies must create their own blue oceans, and make the competition irrelevant! Even though the blue ocean strategy is uncharted territory, and no measurements or feedback exists, it can be considered a risky approach that’s why many businesses today, get in business using one approach and sustain business or rebrand their business with the implementation of both strategic approaches. (Kim, 2005) References Blue Ocean Strategy. (2014). Retrieved from http://www.blueoceanstrategy.comKim, W. C. (2005). BLUE OCEAN STRATEGY. Retrieved from https://ecampus.phoenix.edu/secure/aapd/cwe/citation_generator/web_01_01.asp

Media Influences on Social Norms and Health

Media’s Authority on Illness: Messages the Public learn In today’s culture, the media influences many aspects of daily life. For the purpose of this research the media will encompass television, newspaper, magazines, and internet and the messages learned from these outlets relating to illness. In addition, investigating how people in power authoritative the messages portrayed on the media outlets and the agenda behind the messages. The people or organizations that influence the media have a big impact on the way we learn or feel about illness.Human beings can come to accept most anything that is repeated on the news, published in magazines, and said by people of influence. People in power will include, for the purpose of this argument, those with credentials, self-help â€Å"experts†, and funding agencies for specific illnesses. The media and people in power control what the public learns about illness. Moreover, publicizing illness when there is a finical gain o r what socio-economic group suffers from the disorder or illness. According to Brumberg (2000), anorexia nervosa was a relatively unheard of disease until the 1980s.Today it is so commonplace that women will see a friend who has lost weight or looks skinny and refer to her as â€Å"looking anorexic. † If this disease was only labeled as anorexia around thirty years ago how did it explode into mainstream culture so quickly? There are a number of different arguments to pose: elite women from Ivy League universities took interest in the topic, the three most popular women’s’ magazines published many stories about the disease, and people of social status died from this disease (Brumberg 2000).Different diverse newspapers became intrigued and jumped on the anorexia bandwagon, even including pictures of gauntly women on the covers claiming outrageously high numbers of women that now have this disease (Brumberg, 2000). It is also important to note that nearly all of th e anorexia sufferers were white and came from rich families (Brumberg 2000). These girls coming from wealthy families obviously had the money to pay for treatment and doctors. It is possible that their families ran in circles with doctors, scientists, and people that have social status to make powerful decisions.These decisions generated media attention leading to the general public being flooded with movies, documentaries, and news broadcasts (Brumberg 2000). If these affected by this new disease of anorexia were poor and underprivileged arguably the public would not have learned about anorexia and it might possibly not exist today. Like anorexia, the disease of fibromyalgia did not exist as a labeled disorder until the mid seventies (Barker 1999). Remarkably now six million Americans are diagnosed a syndrome which did not exist thirty years ago.Self-help literature and the internet is one of the biggest facilitators in generating information to the public as well as funded organiz ations (Barker 1999). According to Barker (1999) fibromyalgia is characterized by many different symptoms and it can present itself differently for every case. Interesting enough during interviews Barker performed with twenty-five women only one woman had not read self-help books, but she relied on information from her support group leader to learn about her syndrome (Barker 1999).Debatably, these women may have never learned they had a syndrome, lived their lives without media messages, and possibly saving money, time, and heartache dealing with this new diagnosis. By looking at the new diseases of fibromyalgia and anorexia it is clear that the media and people of influence taught the general public about these illnesses and facilitated there widespread exposure, but how does the media choose what messages to deliver and what messages to keep away from the general public.Clearly, anorexia was a disease of wealthy, attractive girls which could make a good story, generating money for the news outlets, doctors, and pharmaceutical companies. In addition, fibromyalgia could generate the same type of financial gain for doctors and medical companies, but are these the only motivators for the media and powerful people. According to Armstrong, Carpenter, and Hojnacki (2004) who constructed a study about whose deaths matter in America with attention to the mass media and the same motivators were congruent with the results they found.Consistent with powerful people controlling messages in the media, Armstrong et. al (2004) discovered that celebrities and members of Congress become involved with different diseases promoting attention and consequently leading to these promoted diseases appearing on national media outlets. For example, when Karen Carpenter died of anorexia it brought many celebrities together to publicize anorexia teaching the public the importance of treatment for anorexia (Brumberg 2000).The media claims that the diseases they cover are those that affect the general population but ironically the people that dictate what these general population diseases are, consist of the influential people and those with credentials (Armstrong et. al 2004). During Armstrong et. al (2004) study they also discovered that the media is more likely to cover diseases that affect white people than black people, even if a disease is killing many more blacks than whites. Mass media focuses more on the color of someone’s skin and social status than the mortality rate of a certain disease or illness.This absurdity can also be seen not only with what the media covers, but with what they choose not to cover. From the 1960s to 1980s black men in Harlem had a lower rate of survival than men in Bangladesh (McCord and Freeman 1990) and this was not publicized or put on any major media outlet. If white men had a lower survival rate it would have been all over the major news headlines because of their socio-economic status and control towards the media. The unequal coverage of media attention because of issues of power, race, and money in turn condition the general public’s perception about illness.Even people that are educated and intelligent many times cannot control being manipulated by the media to go along with messages they are delivering. What’s more is if the doctors, celebrities, and powerful funding companies are not endorsing an illness, therefore the media does not cover it, the general public will not ever hear about it. Surely, if anorexia suffers would have been black women with low socio-economic status the top women’s magazines in the country would not have published stories, news broadcasts would have been non-existent, and quite possibly anorexia would only be known to few and not a mainstream disease.Diseases that affect minority groups draw far less media attention and Armstrong et. al (2004) theorizes that it stems from predominantly white broadcasters and media executives. Furthermore, specul ating that media workers would rather focus on illness that affects their particular social class and group (Armstrong et. al 2004). This theory continues to support the argument that the people in power are working through the media to control the messages the public learn about illness and disease.Organized advocates, research scientists, and politically active organizations also have a high investment in messages the media relays to the public. Advocates call great attention to their cause threw drawing on media attention and aligning themselves with politicians that support their cause in accordance with the policy goals of the politician (Armstrong et. al 2004). It is a win for all involved; the politicians get the media coverage they want for their agenda, again sending messages about illness in a political format.People in power and the media have an enormous function in controlling what messages the public learns about illness. There are many different reasons they want to c ontrol the messages humans take in through various types of media outlets. Facilitating their own social group, money, and political gain are just a few addressed in this argument. The mass media, controlled by powerful people decide what illness they want the public to learn about and often times it has more to do with race and status than how many people are actually suffering or even dying from a disease. ReferencesMcCord, C. & Freeman, H. P. (1990). â€Å"Excess Mortality in Harlem. † New England Journal of Medicine, 322:25 p. 173-177. Brumberg, J. J. (2000). â€Å"Anorexia Nervosa in Context. † Fasting Girls pp. 10-21, 33-42 264-267. Armstrong, E. , Carpenter, D. & Hojnacki, M. E. (2006). â€Å"Whose Deaths Matter? Mortality, Advocacy, and Attention to Disease in the Mass Media. † Journal of Health Politics and Law 31:4, pp. 729-772. Barker, K. (2002). â€Å"Self-Help Literature and the Making of an Illness Identity: The Case of Fibromyalgia Syndrome (FMS) . † Social Problem 49:3, pp. 279-300.

Affirmative Action in the United States essays

Affirmative Action in the United States essays The writer Mary Anne Warren is focusing on describing the current practices in many organizations today in regards to the implementing a goal vs. a quota system for the purposes of affirmative action. She defines a quota as "Those who use the term "quotas" pejoratively tend to assume that the numerical standards will be set so high or enforced so rigidly that strong reverse discrimination-that is, the deliberate hiring of demonstrably less well qualified candidates-will be necessary to implement them." (Warren, 370). Warren then describes goal as "The term "goal", on the other hand, suggests that this will not be the case, and that good faith efforts to comply with the standards by means short of strong reverse discrimination will be acceptable." (Warren, 370). The critical thing that must be understood when exploring the subject is that the writer is describing how affirmative action is being applied in American organizations today in other words the current reality. However, she fails to speak to us about how the law designs this program to function. This is the critical component that American organizations must be educated to understand. Affirmative action as defined by law is most definitively not based on a quota system. In fact, what is not widely known is that this program can be equally used by all individuals provided that an inequality exists in the group that they belong to as not being reflected in the work force. So what is affirmative action? What is it designed to do? It is not designed to provide an opportunity to an unqualified candidate. It is designed as "a way of compensating individuals or groups for past injustices or for present disadvantages stemming form past injustices" (Warren, 373). It is further designed "as a means about bringing about further future goods-for example, raising the status of downtrodden groups." (Warren, 373). The keyword in these quotes is the word "group". ...

Principles of Plain English

Principles of Plain English Principles of Plain English Principles of Plain English By Mark Nichol Perspicuous written communication is fundamental in every aspect of human interaction or should I say, â€Å"Clear writing is important whenever people interact†? If I support the triumph of plain English over byzantine jargon and sesquipedalianism, I should. But rather than explain what plain English is, I’ll state what it isn’t: It isn’t all about short sentences. It isn’t all about single-syllable words. It isn’t elimination of elaboration at the expense of erudition. (I mean, it isn’t dumbing down.) Here are five areas in which plain English is, fortunately, making inroads: Business Remember when you saw a delivery truck or a repair van and could tell which products or services it carried or facilitated? That’s still often the case, especially with known brands, but how many times have you read text printed on such a vehicle and scratched your head, wondering, â€Å"What business is that business in?† Freight companies used to do â€Å"trucking,† then they provided â€Å"delivery solutions†; now, they’re all about â€Å"logistics.† But they’re still in the business of moving things from point A to point B. Many vehicles, however, especially those in the fleets of high-tech companies, either don’t offer any information other than the company name and a phone number (and perhaps a URL), or the van is labeled with meaningless phrases about â€Å"solutions† and â€Å"logistics.† Don’t these companies want potential customers and clients to know what they offer? Stationary corporate communications, including Web site copy, press releases, and mission statements, frequently fail to enlighten the target audience as well. Some companies, though, make an effort to deliver their messages with simple, straightforward language. Government Federal, state, and local government agencies have long been notorious for obfuscating official documents: In their efforts to project an air of authority (in more than one sense of the word), many government employees have produced reams of often impenetrable prose. Fortunately, the federal Plain Writing Act and two subsequent executive orders require government-issued publications to be written in simple, easy-to-understand English. Law It’s a cynical sentiment that the notorious density of legal documents is calculated to perpetuate the need for lawyers, but it’s hard to avoid feeling that way when confronted with an oxymoronically named brief or a contract that’s anything but contracted. Some attorneys will argue that legal writing requires precision and specificity of language, but that is a poor defense of gratuitously complex language employed when the supposed intent is to make the subject matter as transparent as possible. Many lawyers, however, now opt to write in simple sentences and avoid legal jargon. Law Enforcement You’ve seen it time and time again: The chief of police, or a spokesperson, drones on about how an investigation was carried out or how a crisis is being handled. Attempting to appear official and in control of the situation, the speaker overwhelms listeners with jarring jargon and multisyllabic meanderings. Police reports, similarly, often stiffly, obscurely relate simple sequences of events in a style that complicates rather than communicates. Now, fortunately, law enforcement agencies are turning to resources like the handbook Plain English for Cops to help personnel write simple, clear accounts. Academia and Scholarship Many academics, including those who write for popular audiences, write clearly and well, but just as many more seem to try to outdo their colleagues in trying to write journal articles and other scholarly documents in a style as bafflingly complicated and convoluted as possible and in doing so, are poor role models for younger professors, graduate assistants, and other students who read their research. As with other authority figures, researchers in the natural sciences and the social sciences alike often seem to below that dense prose enhances their expertise. Rationales for Rational Writing Bryan Garner, the dean of clear writing (and author of the authoritative yet coherent guidebook Garner’s Modern American Usage), offers these four motivations for writers to favor simple writing: 1. Writers of complex prose risk confusing themselves as well as others. 2. Reading complex prose is more time-consuming than reading plain English. 3. Writing plain English is hard work, and thus, if writers feel that they must labor to succeed in their efforts, clear writing is a well-earned achievement. 4. Clarity is the primary goal of writing. Again, these arguments should not discourage eloquence, and I admit that I sometimes indulge in overwrought writing (usually, for I hope is humorous effect). But join me in trying these tips: 1. Ask yourself whether curt, clear Anglo-Saxon vocabulary might be more suitable than Latinate language in any given passage. 2. Don’t avoid subordinate clauses or parenthetical phrases, but keep them to a minimum, and keep each one succinct. 3. Monitor your musings for redundancy and other enemies of conciseness. 4. Consider your audience when determining the degree of formality you will adopt in a given piece of writing. 5. Be cautious about incorporating jargon. Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Writing Basics category, check our popular posts, or choose a related post below:Writing Prompts 101Story Writing 101Phrasal Verbs and Phrasal Nouns

Administration and Executive support Essay Example | Topics and Well Written Essays - 1000 words

Administration and Executive support - Essay Example On the other hand, other than key skills administrative assistants must have certain key qualities that will make them effective and efficient. Some of the key qualities include the ability to prioritize as well remain calm within the organization. In addition, an administrative assistant must have the quality of working under pressure whilst remaining focused. The reason behind such qualities is the fact that MA (administrative assistant) role is usually directly under the manager who may transfer their stress to the assistant or even pressurize them when operations are not going on as planned (Frisch, 2002). (b) Demonstrate with the use of a visual aid (individual Action plan), the different methods for developing your MA skills to help you to develop in your role in supporting formal meetings, projects and personal scheduling Document production, filing, and dispatch training will provide an opportunity to the administrative assistant to learn how to produce documents, file the same, as well as dispatch the documents to various departments or individuals within the organization Through secretariat courses, administrative individuals will be able to develop knowledge and skills that are involved in not only liaising but also performing various functions of a secretary, which directly correlates to the manager or role performed such as acting as personal assistant In the event that accounting and finance department are unable to handle petty cash within the manager’s office, the administrative assistant should be given the mandate to handle such cash. However, handling such cash requires accounting skills obtainable through accounting and finance courses (a) Define the term stakeholder and produce a table to identify and classify at least ten different stakeholder groups (both internal and external) for this organization. For each stakeholder identified, explain their power and influence. A stakeholder is defined as any person, group,