Violent Video Games

Researchers, parents and educators are all discussing the controversy around violent video games and their influence on kids. The audience seems to be divided into two large groups: one is in favor of restricting or even banning violent video games as they make children (and, arguably, adults as well) more prone to aggressive behavior, like that seen on the screen. Opponents of this view claim that video games do not cause violent behavior in real life and are, in fact, a safe outlet to natural aggression and frustration.Representatives of the first group such as John Leo, in his article When Life Imitates Video† argue that watching countless deaths and identifying with killers would undoubtedly lead to people feeling more comfortable about violence and suffering in their everyday life. He even goes so far as to say that playing games that involve shooting people is akin to undergoing training to kill (in other words, it is like a â€Å"dress rehearsal† of potential murd ers). (Leo 1999).On the other hand, there are claims that violent media are beneficial Cones), because in the present world kids are at a higher risk of growing up passive and weak than violent and riotous, and when hey see examples of rebellion, domination and well, violence, they are able to channel their suppressed feelings and deal with issues that otherwise remain unresolved. In my opinion, violent video games cannot be directly responsible for real-life violence but on the contrary they can help release stress and anger in non-violent methods.John Leo agrees that most murders are not directly connected to violent games. However, he says that some murders are. In particular, Dylan Klebold and Eric Harris, the students who murdered 13 and wounded 21 more people in Columbine high school massacre, enjoyed playing video games such as Doom, and they acted out in real life what they have seen on the screen. Well, even in this particular case, it is not that simple. Obviously, a lot m ore than playing murderous games contributed to the actual killings in Colorado.The teenager murderers were frequently the victims of bullying (involving being covered in ketchup in school cafeteria and having fecal matter thrown at them). Once they were arrested based on wrongful accusations, and that was very traumatic for both of them. The mother of Dylan Klebold admitted that she prayed that her son would ommit suicide – this illustrates lack of support for the boy in the family. The other youth, Eric Harris, was taking an antidepressant, which he abruptly discontinued, and that is another possible reason for emotional instability and elevated aggression levels.All of the above does not indicate that Dylan Klebold and Eric Harris were completely innocent. They were not. Yet, there crimes were not caused directly by video games, as most likely their playing violent games were not a cause but an outcome of frustration which they had because of different factors. If there ar e essons to be learned from this massacre, it is necessary to realize that to prevent another incident like that from happening, it would be insufficient to Just ban violent video games.A lot of issues involving peer and teacher support, mental health, prevention of bullying, education, closer attention to what is going on in kids' lives need to be resolved to promote safety and make sure this type of episode is never repeated. Also, video games have been around for several decades, while Going back to the Colorado massacre, Dylan and Eric thought very highly of Adolf Hitler. Their obsession with anti-human philosophies has no connection to violent video games, but obviously it displays that the kids were not properly socialized.The games were not the only outlet of feelings of aggression, rejection and frustration that the boys carried around. And, speaking of Adolf Hitler; he obviously never played violent video games, simply because they were not around back then. That did not ma ke him a nice person, ready to resolve conflicts peacefully. And he is not alone, human history abounds in ruthless, cruel, ready to inflict pain and degrade other people. And, historically, these dictators have not played violent computer games either.Gerard Jones is more persuasive because he is talking about his personal experience and that of his son, and some other real kids. Unlike John Leo, who did not seem to do the background check on the Colorado massacre (or else, ignored the findings and picked out only the facts that support his theory), Gerard Jones' evidence looks more persuasive, as he indicates that violent video games (and comics, and other media products, for that matter) not only channel aggression, they help to manage such emotions as fear, greed, rage and power hunger.In modern society, those emotions are considered inappropriate. Children, however, have to deal with them – and imaginary selves, capable of handling and using those motivations, are very h elpful in this aspect. Statistics show that crime does not go up in the countries where people play a lot of video games. The crime rate depends on other things: prosperity, economics, psychological wellbeing, and so on, violent media content does not seem to be one of them. However, maybe virtual violence make people less sensitive and more engrossed with themselves, less emphatic to others?These matters are really hard to measure; however, in my opinion, our society is placing emphasis on equal opportunities, fair play, human rights and charity. Therefore, it is incorrect to say that people now are callous, insensitive and heartless. That is simply not true. The studies that show that there is a link between violence on screen and violence in reality, say that there is a connection but not necessarily cause-and-effect dependency. In other words, people who tend to be violent would choose violent games, while the reverse statement does not hold true.It is true that the video games, movies, comics and stories all bear influence upon the society at large and each individual member of it. Indeed, watching indiscriminate violent content all the time does not contribute to a child growing up into a reasonable, intelligent or, for that matter, healthy adult. However, there is no sufficient reason to state that there is a direct connection between violent video games and real-life violence; they rather demonstrate are verse effect of calming down negative feelings. Works Cited Jones, Gerard. Violent Media is Good for Kids. June 27, 2000. Web. 24 Feb. 2013 Violent Video Games Researchers, parents and educators are all discussing the controversy around violent video games and their influence on kids. The audience seems to be divided into two large groups: one is in favor of restricting or even banning violent video games as they make children (and, arguably, adults as well) more prone to aggressive behavior, like that seen on the screen. Opponents of this view claim that video games do not cause violent behavior in real life and are, in fact, a safe outlet to natural aggression and frustration.Representatives of the first group such as John Leo, in his article When Life Imitates Video† argue that watching countless deaths and identifying with killers would undoubtedly lead to people feeling more comfortable about violence and suffering in their everyday life. He even goes so far as to say that playing games that involve shooting people is akin to undergoing training to kill (in other words, it is like a â€Å"dress rehearsal† of potential murd ers). (Leo 1999).On the other hand, there are claims that violent media are beneficial Cones), because in the present world kids are at a higher risk of growing up passive and weak than violent and riotous, and when hey see examples of rebellion, domination and well, violence, they are able to channel their suppressed feelings and deal with issues that otherwise remain unresolved. In my opinion, violent video games cannot be directly responsible for real-life violence but on the contrary they can help release stress and anger in non-violent methods.John Leo agrees that most murders are not directly connected to violent games. However, he says that some murders are. In particular, Dylan Klebold and Eric Harris, the students who murdered 13 and wounded 21 more people in Columbine high school massacre, enjoyed playing video games such as Doom, and they acted out in real life what they have seen on the screen. Well, even in this particular case, it is not that simple. Obviously, a lot m ore than playing murderous games contributed to the actual killings in Colorado.The teenager murderers were frequently the victims of bullying (involving being covered in ketchup in school cafeteria and having fecal matter thrown at them). Once they were arrested based on wrongful accusations, and that was very traumatic for both of them. The mother of Dylan Klebold admitted that she prayed that her son would ommit suicide – this illustrates lack of support for the boy in the family. The other youth, Eric Harris, was taking an antidepressant, which he abruptly discontinued, and that is another possible reason for emotional instability and elevated aggression levels.All of the above does not indicate that Dylan Klebold and Eric Harris were completely innocent. They were not. Yet, there crimes were not caused directly by video games, as most likely their playing violent games were not a cause but an outcome of frustration which they had because of different factors. If there ar e essons to be learned from this massacre, it is necessary to realize that to prevent another incident like that from happening, it would be insufficient to Just ban violent video games.A lot of issues involving peer and teacher support, mental health, prevention of bullying, education, closer attention to what is going on in kids' lives need to be resolved to promote safety and make sure this type of episode is never repeated. Also, video games have been around for several decades, while Going back to the Colorado massacre, Dylan and Eric thought very highly of Adolf Hitler. Their obsession with anti-human philosophies has no connection to violent video games, but obviously it displays that the kids were not properly socialized.The games were not the only outlet of feelings of aggression, rejection and frustration that the boys carried around. And, speaking of Adolf Hitler; he obviously never played violent video games, simply because they were not around back then. That did not ma ke him a nice person, ready to resolve conflicts peacefully. And he is not alone, human history abounds in ruthless, cruel, ready to inflict pain and degrade other people. And, historically, these dictators have not played violent computer games either.Gerard Jones is more persuasive because he is talking about his personal experience and that of his son, and some other real kids. Unlike John Leo, who did not seem to do the background check on the Colorado massacre (or else, ignored the findings and picked out only the facts that support his theory), Gerard Jones' evidence looks more persuasive, as he indicates that violent video games (and comics, and other media products, for that matter) not only channel aggression, they help to manage such emotions as fear, greed, rage and power hunger.In modern society, those emotions are considered inappropriate. Children, however, have to deal with them – and imaginary selves, capable of handling and using those motivations, are very h elpful in this aspect. Statistics show that crime does not go up in the countries where people play a lot of video games. The crime rate depends on other things: prosperity, economics, psychological wellbeing, and so on, violent media content does not seem to be one of them. However, maybe virtual violence make people less sensitive and more engrossed with themselves, less emphatic to others?These matters are really hard to measure; however, in my opinion, our society is placing emphasis on equal opportunities, fair play, human rights and charity. Therefore, it is incorrect to say that people now are callous, insensitive and heartless. That is simply not true. The studies that show that there is a link between violence on screen and violence in reality, say that there is a connection but not necessarily cause-and-effect dependency. In other words, people who tend to be violent would choose violent games, while the reverse statement does not hold true.It is true that the video games, movies, comics and stories all bear influence upon the society at large and each individual member of it. Indeed, watching indiscriminate violent content all the time does not contribute to a child growing up into a reasonable, intelligent or, for that matter, healthy adult. However, there is no sufficient reason to state that there is a direct connection between violent video games and real-life violence; they rather demonstrate are verse effect of calming down negative feelings. Works Cited Jones, Gerard. Violent Media is Good for Kids. June 27, 2000. Web. 24 Feb. 2013

Zara Market Share

Three generations of Data Management in Decision Support 1. Early 1970s – required a repository of data : sourced from operational system + other data (e. g. external data) – Data was customized for the specific DSS – Application-centric approach : data support a single or a few related applications used to help make the business case for the warahouse – Sprague provided the Data-Dialog-Models (DDM) paradigm 2. Late 1980s Telecommunications, retailing and financial services industries built warehouses to store vast amounts of customer and sales-related data –These industries remain leaders in terms of the size of the warehouses and how the warehouses are used – Data-centric approach : support a variety of applications 3. In 2000 – the movement to real-time data warehousing – changes in the way that warehouse data is used – different : Previous : data aims to understand what had already happened and to predict what would h appen in the future * limit to influence real-time decisions and current operations * Now : real-time data (current decisions and critical business process) such as customer-facing and supply chain applications can be significantly enhanced Real or Right Time ? –Incorrect concept applied to warehousing : real-time = instantaneous – Reason : much of warehouse data cannot be captured and entered into the warehouse in seconds or minutes. * expensive difficult to make real-time * may not be a business need for real-time data – Example : Some source systems, e. g. a legacy COBOL program, is undated once a month Continental Airlines – a leader in real-time business intelligence – won The Data Warehousing Institute’s prestigious Best Practices and Leadership Awards – Real-time data warehouse : provide the data that is required to implement real-time BI – Firms can use BI to affect current decision making and business processes by usin e real-time – Importance : especially for customer-facing applications, e. g. hose found in call centers and check-in processes, help firms become more customer-centric –Terms describe firms use real-time BI : â€Å"real-time enterprise† , â€Å"zero latency organization† – Purpose of real-time BI : * increase revenues and decrease costs => improve profitability – e. g. Continental Airlines * taken a $30M investment in hardware, software and personnel to generate over $500M in revenue, resulting in a ROI of over 1,000% – Firms must overcome both organizational and technical challenges for real-time BI successful – Organizational must be executive : * sponsorship and support * initial and on-going financial support governance processes put in place * BI and data warehousing personnel with the requisite personnel – Technical : * acquire and implement new hardware and software * establish processes and procedures for sup porting and managing real-time data feeds from source systems * data must be quickly transformed and loaded into the warehouse * data must be analyzed and made available to operational systems and personnel – briefly discuss an application that illustrates Continental’s use of real-time BI – focus on the technical issues associated with Continental’s implementation of real-time BI

Investor Ratio Analysis

Investor Ratios There are various ratios that are designed to help investors who hold shares in a company to assess the returns on their investment. These are: Dividend per Share The dividend per share ratio relates the dividends pertaining to an accounting period to the amount of shares in issue during the period. The ratio is given as follows: Dividend per share = Dividends pertaining to a period Number of shares in issue The ratio provides an indication of the cash return a shareholder receives from holding shares in a company.Although it is a useful measure, it must be remembered that the dividend received will usually only represent a partial measure of the return to an investor. Dividends are usually only a portion of the earnings generated by the firm and available to shareholders. A business may decide to plough back some of its earnings back into the business in order to achieve future growth. These ploughed back profits belong to the shareholders and should in principle inc rease the value of the shares. Thus w h e n assessing the total return to an investor we must look at both the dividends received and any movement in the share price.The dividend per share for Alexis Ltd is given as follows: Page 1 of 5 Dividends per share can vary considerably between companies. A number of factors will influence the amount that a company is willing or able to issue in the form of dividends to shareholders. These factors include: †¢ †¢ †¢ †¢ The profit available for distribution to investors The future expenditure commitments of the company The expectations of shareholders concerning the level of dividend payment The cash available for dividend distributionComparing the dividends per share between companies is not always useful as there may be differences between the nominal value of the shares issued. It may be more useful to monitor the trend in dividends per share over a period of time. Dividend Yield Ratio This ratio relates the cash return from a share to its current market value and is given as follows: Dividend Yield Ratio = Dividend per Share Market Value of a Share * 100 1 The ratio for Alexis pic is given as follows: Page 2 of 5 In essence this ratio measures the real rate of return on a share.Investors can compare the returns from a company's shares to the returns that could be earned by investing either in another company or by investing in another form of investment. Dividend Cover Dividend cover (for ordinary shares) looks at how many time a firm's profits (after interest, lax and preference dividends) cover the ordinary dividends. Dividend Cover = Profit after interest, tax and Pref Share Dividends Ordinary Share Dividends For Alexis plc this ratio is calculated as follows: Interpretation: Alexis plc profits covers ordinary dividends 3. 96times.Dividend cover is calculated using the profit after interest and tax figure because banks, government and preference shareholders have a preferential claim on the pro fits of the firm. This ratio is of particular interest to ordinary shareholders. Earnings per share The earnings per share relate’s the earnings generated by the company during a period and available to shareholders to the number or snares in issue. For ordinary shareholders the amount available will be net profit after interest, tax and preference dividends because banks, the government and preference shareholders have a preferential claim on the profits of the firm.Page 3 of 5 Earnings per share = Earnings available to ordinary shareholders Number of ordinary- shares in issue For Alexis plc this ratio is calculated as follows: The EPS is regarded by many investment analysts as a fundamental measure of share performance. Tracking the EPS over time can help assess the investment potential of the company's shares. Care must be taken when comparing EPS from different firms as capital structures differ from one firm to the next. Price Earnings (P/E) R a t i o The price earnings ratio relates the market value of a share to the earnings per share.It is calculated a s follows: P/E Ratio = Market value per share Earnings per Share The P/E Ratio for Alexis is calculated as follows: Page 4 of 5 The ratio reveals that the capital value of the share is 9. 4 times higher than its current level of earnings. The ratio is essence is a measure of market confidence in the future of the company. A high P/E ratio means that relative to profits the price of the share is quite high. Why would this be the case? The higher the P/E ratio the greater the confidence in the future earning power of the company i. e. lthough current earnings are low investors expect them to increase in the future and therefore investors are prepared to pay a high price for the share in relation to the current earnings of the share. A low P/E ratio means that the share price is quite low compared to earnings – this implies a pessimistic view of the future. Nobody will be willing to pay a high price for a share in a company that has unexciting trading prospects. Because the P/E ratio gives a guide as to market confidence in a share it can therefore be helpful when comparing different companies although P/E ratios per sector will vary. Page 5 of 5

Against the Machiavellian Principles of Politics Essay

According to Machiavelli, the affairs of the state reside in the power of the prince. It is the prince which determines, directs, and unifies the components of the state. The prince therefore should act to preserve, strengthen, and protect his position from danger, whether external or internal, without due moral consideration. In short, with the preservation of the state in mind, the prince should act with political diligence to promote it, regardless of the means. According to Machiavelli, â€Å"he who considers what ought to be done rather what is done will rather find himself in a state of ruin than preservation† (Machiavelli, 29). Political action free from any moral consideration is based from three assumptions: 1) Human nature is corrupt and selfish. It is impossible for the prince to satisfy all the needs of the people without injuring the welfare of others. The people is always eager to overthrow their government, to mock the instruments of the state, and to criticize the actions of the prince, whenever their interests (whether political or economic) are affected. According to Machiavelli, â€Å"Because this is to be asserted in general of men, that they are ungrateful, fickle, false, cowardly, covetous, and as long as you succeed they are yours entirely; they will offer you their blood, property, life and children, as is said above, when the need is far distant; but when it approaches they turn against you† (Machiavelli, 29); 2) Morality and religion only limit the actions of the prince. In fact, when fortune fades away, the prince may become unable to defend himself from disconcerting threats. It is therefore important, according to Machiavelli, for the prince to â€Å"guard himself as from a rock; and he should endeavour to show in his actions greatness, courage, gravity, and fortitude; and in his private dealings with his subjects let him show that his judgments are irrevocable, and maintain himself in such reputation that no one can hope either to deceive him or to get round him† (Machiavelli, 32). The prince should endeavour to show himself as the bearer of righteousness, fidelity, and religion, without endangering his own power. This impression is only used to preserve the power of the state. Only in this way can religion and morality be twisted for the benefit of the prince; 3) The success of a prince is never solely dependent on law, morality, or religion. Sometimes, political success is achieved by political deception, alteration of political favors, and in general by arms. It is therefore necessary for the prince to use these instruments to preserve the instruments of the state. It is this condition that the position of a prince who took the state by arms is much more endangered than that of a prince appointed by the people or the Church. To preserve his power, the prince must take moral considerations and religion as only instruments of that purpose. General Critique In order to provide a more comprehensive criticism against Machiavellian politics, there is a need to draw important propositions from different thinkers and theories. Some of the selected philosophers and social theorists are as follows: St. Thomas Aquinas, Immanuel Kant, Rousseau, and Montesquieu. According to Aquinas, morality and religion are necessary instruments for the governance of the state. In his book â€Å"De Regnum† (On Kinship), Aquinas argued that it is always necessary for the ruler to take the precedents of moral and religious obligations as a means to please Divine justice (Curtis, 431). For Aquinas, the foundation of the state is divine in orientation. It is founded by the grace of the Divine Being (who willed the creation of the state after man’s fall). A prince who disregards the religion and morality disregards the Creator. Aquinas here does not disregard the necessity of preserving the power of the state. What Aquinas emphasized is the excesses of unscrupulous rule – a condition which would be punished by God. For Aquinas, a good prince ‘will always be favored by God’ (and preserve his base of power). Rousseau argued that morality is borne out of the so-called ‘social contract. ’ The people gathered to appoint a ruler who would promote their interests. The ruler has the following obligations: 1) to protect the people from threats, 2) to maintain peace and order, 3) to promote solidarity and good governance, and 4) to relinquish power whenever the people chooses a new ruler. A ruler who fails to accomplish these tasks would lose his position. The state, however, would remain intact because the instrument of power resides not in the prince but in the people. According to Rousseau, a prince who put all the instruments of power in his hands is more likely to fall than a prince who measure his authority based on public will. Montesquieu offered a more critical and comprehensive understanding of the position of the prince. According to him, an unruly rebellion of the people is tantamount to political disobedience – a violation of the law of the land. This instance applies only if two conditions are met. First, the ruler does not show any violation of the law. And second, the people unlawfully breaks the social contract and sought to depose a good government. In short, according to Montesquieu, there is no need for a ruler to follow the Machiavellian principles because the law is the manifestation of social and moral obligation, the codec of ethics (Curtis, 613). Here, one may infer that the actions of the ruler should be based solely on this criterion. A ruler who follows the law would never fall in disgrace. Using Kant’s universal moral standards (in his book â€Å"Prolegomena†), one can create a set of moral standards which would be used in judging the actions of a ruler. First, one should determine whether the consequence and intensity of political actions. If a political decision disfranchises a significant portion of the population, such decision is illegitimate (not morally neutral). Second, one may determine the means by which decisions are carried out. Here, legality is an important factor. Third, one may determine whether the actions of the state are in congruent with accepted international standards of morality. Here, an external standard is added in order to ensure the moral efficacy of the state in all levels. The proper enforcement of these external standards is either left to the disposition of international agencies or to the efficacy of treaties. In short, internal political standards of morality are enforced by the state (the people serve as the watch guard of the state). Machiavellian concepts of political deception and moral neutrality have no standing in this type of political set-up. Works Cited Curtis, Michael. The Great Political Theories. New York: Avon Books, 1981. Machiavelli, Niccolo. The Prince. Trans. by W. K. Marriott. New York: Macmillan Publishing Company, 1995.

The Wrestler by Dudley Talcott

Originally created in 1929 by Connecticut-born sculptor Dudley Talcott, The Wrestler is a testament to the power of the modern age. Nearly a century after its creation, its imposing presence is potent enough to earn itself the position as the symbol for the Florida International University Wolfsonian Art Museum. At nearly seven feet tall, the aluminum sculpture is oddly comforting. Its blend of a few key human features and a featureless facade gives it a quality of quiet strength, softening its powerful bulk. It seems only fitting that such an ominous figure of peaceful might would be displayed at the Olympic games in Los Angeles three years after its creation. This piece of art is one of subtle meaning, leaving it open to a variety of apt interpretations. Dudley Vail Talcott was born in 1899 into an artistic and encouraging family. He was supported in his artistic endeavors instead of being pushed to adopt a more commercial career. Talcott studied briefly at Yale University but never earned a degree. He opted instead to travel, attending open classes at Academie de la Grande Chaumiere in Paris before traveling to Norway. Alcott spent his time in Norway exploring Norwegian fjords by canoe and working on a North Sea fishing boat. He later published two books documenting his experiences replete with his own drawings and photographs. By 1927, Talcott was exhibiting his work in New York and Chicago. He quickly gained repute as America’s premier sculpture, creating works in his own distinct style but still showing signs of more traditional approaches. By this point, Talcott was being commissioned for large-scale installations such as fountains while working on smaller pieces of a more personal nature. The Wrestler, one of his earlier works, already showed distinct signs of Talcott's style. The 1920s saw American artists being presented with competing mediums in which to express visual modernity. Modern applied arts of French influence were the modes of choice for architects and interior designers. Many sculptors chose to create works based on pre-classical Greek figures; this refers to the rendition of the human form in expressionless poses and facial features. Being born on the heels of the industrial revolution, Talcott was caught up with the rest of the country in the wave of awe and wonderment that came with experiencing such a radical change in the cultural and economic landscape. The advent of the automobile and the plane physically changed the American landscape. Jazz, considered to be one of the truly American art forms, was born shortly followed by the invention of the radio. Home refrigeration as well as penicillin, a cure-all antibiotic, was changing the way of life on the home front. Modernism, an artistic philosophy founded on the breaking of traditions and the abandonment of convention, was increasingly becoming less of a philosophy and more of a reality. Modernist art is characterized by sleek, minimalist design. It forgoes extravagance and ostentatious splendor for subtle elegance. A bloom in popularity of science fiction, introduced by films such as Metropolis, had introduced robots into popular culture and fueled an already rampant wonder of new technology. Talcott fused all these modernist ideas into The Wrestler. His faceless visage and geometric musculature are reminiscent of an automaton, yet the inclusion of ears, nipples, and male genitalia humanize what might have been an otherwise cold form. This humanization of his sculpture is evocative of nude Greek figures in the pre-classical eras. The use of aluminum as a medium allows Talcott to express a sense of futurism through material alone. Though it is the most abundant metal in the Earth’s crust, it did not become commercially available until the early nineteenth century. It was initially isolated in 1845 but until the early 1900s was only used for small applications, most notably jewelry. Once techniques were developed to produce aluminum in industrial quantities, it becomes something of a wonder material for engineers. Its durability, relatively low density, and resistance to corrosion made aluminum ideal for architectural and aviation applications. Its resistance to corrosion and ductility in particular made it apt for public sculptures and architectural ornaments. Frank Lloyd Wright, acclaimed architect and modernist, is credited by some sources as being the first to use aluminum as a decorative medium in architecture in his design of the walkway of the Polk County Science Building of the Florida Southern College. The esplanade features tapered aluminum columns that give the appearance of mechanical function. Each column is divided into three sections that give the illusion that they can retract and extend. This esplanade reflects modernist appreciation for the aesthetic appeal of the machine. Combined with its robotic form that is only vaguely human, The Wrestler is a tribute to the power of progress. Talcott entered The Wrestler in the Sculpture division in the arts portion of the 1932 Summer Olympics in Los Angeles. Arts competitions based on sports-themed works were a part of the Olympic games from 1912 to 1948. This portion of the Games was discontinued due to concerns about amateurism and professionalism. The competition had divisions for music, literature, painting, architecture, and sculpture. In context of the Olympic games, The Wrestler can take on meaning in addition to the modernist ideals it embodies. It can be argued that in removing some of the distinguishing features of the form, this statue transcends humanity. In spirit with the Olympics, it is free from some of the unavoidable evils of the human experience such as political, religious, and racial prejudice. The choice of athletic event depicted also adds another layer of meaning. Wrestling is classically a sport of control, as opposed to outright dominance. This sense of control refers to more than just control over one’s opponent; it also refers to control oneself. An effective wrestler is equal parts brute and master strategist. A match can be said to resemble a game of chess played with the limbs. Many eastern cultures and the predecessors of our own western culture, the Greeks, valued wrestling as a means of transcendence and self-discovery. The Greek philosopher Plato, a wrestler himself, saw the sport as a means to keep the balance between intellect and brawn while simultaneously experiencing a microcosm of human existence. American anthropologist Clifford James Geertz noted in his study of Indian culture that they view wrestling as â€Å"a story they tell themselves about themselves†¦. When in the competitive pit, a wrestler stands alone as the distilled essence of his way of life. He stands alone with his own background, his own unique history of success and failure, his own strength and skill, and his own style and technique. † Indians collectively believed being a wrestler was as much a description as a title. They revere not only the competitor as a champion but as one who has â€Å"lived up to the ideals of a rigorous life,† implying that wrestling goes beyond the barrier of recreation and ventures into creed. It can be said it is viewed as a religion without a formal doctrine, something existent in all cultures in some form or another. Dr. Jospeh S. Alter, sociocultural anthropologist and professor of medical anthropology at the University of Pittsburgh, stated in a similar study focusing on the symbolic meaning of the body in the practice of North Indian wrestling, â€Å"When in the competitive pit, a wrestler stands alone as the distilled essence of his way of life. He stands alone with his own background, his own unique history of success and failure, his own strength and skill, and his own style and technique. We find the paradoxical nature of life mirrored in wrestling: despite requiring the presence of an opponent and being a custom that spans across every culture, wrestling is a solitary practice. In light of this new meaning, The Wrestler can be seen as representing humankind’s control over its future through the balance of intellectual progress and unbridled force. Furthe rmore, The Wrestler is an icon of the solidarity of the modernist movement. Without centuries of precedence and influence to rely on, a subculture of artists devoted to testing preconceptions had charged themselves with creating things that until then had never been. One could argue that modernists influenced the establishment of existential philosophy for the very reason that they were the first to strip themselves of their preconceived notions and were completely free to create as they saw fit. The Wrestler can serve as an allegorical figure for the modernist movement as a whole. Modernists stand alone in the proverbial ring, alone with their opponent (convention and classical conformity) with nothing but their own skill, style, and technique. A similar ideal is embodied by the sculpture that took the silver that year. Wrestling, by Hungarian sculptor Miltiades Manno, depicts two wrestlers in the heat of combat. While The Wrestler is more of a stoic figure of progress and strength, Wrestling is extremely detailed. Each facial feature is carved into an expression of exertion and each muscle is anatomically accurate. This sculpture is an example of a neo-classical Greek figure. Historically, these figures are more expressive and much more anatomically correct due to a better understanding of the human body; the increasing realism of the sculptures coincide with medical advancements of the era. In contrast to Talcott’s piece, Manno’s statue is a more literal depiction of the sport it is based on. A portrayal that is more analogous in meaning to that of The Wrestler is the portrayal of Jacob’s wrestling match with God. In this rendering, the match is an allegory for the triumph of man (in this case) over a higher power. He is left permanently handicapped from the match implying that, though it is possible to prevail, there are severe consequences in wresting command from those above us; we are to allow ourselves to be controlled as opposed to taking control of our lives ourselves. The sentiment behind The Wrestler is that humankind is in control of itself. Though similar in the use of wrestling as a metaphor for control, the two depictions differ in their ultimate meaning. Another work of Talcott’s, his monument to renaissance astronomer Copernicus, is also closely related in significance to The Wrestler. The monument features a modernist representation of the heliocentric model, the sun symbolized by three interlocking discs and the Earth’s orbit symbolized by a sixteen-foot ring. At its time, Copernicus’ heliocentric model was innovative. It was a widely held belief that the Earth was the center of this solar system. It seems fitting that a modernist would be the one to commemorate Copernicus’ revolutionary concept. As with all things, ways of seeing The Wrestler have changed with time. Aluminum is no longer a new and futuristic material. Robots and advanced technology are now commonplace. Most people do not even leave their houses without a cell phone, a device that would have been more science fiction than nonfiction to people of the 1920s. Without the novelty of a new material and style, this statue is still a poignant testament to the enduring character of the human spirit. The Wrestler stands proud and resolute; his broad shoulders and intimidating musculature are symbolic of the force of willpower. It is this willpower that fueled the scientific and cultural progress that was so idolized by early nineteenth century modernists and subsequent artistic movement such as post-modernism. In regards to my personal reaction to this piece, to say that I was moved by this piece is a severe understatement. As a wrestler myself I have always found competition to be a exercise in both physical and mental faculties far surpassing the development of body and mind separately. In fact, I’m a firm believer that the most valuable gains from a life spent wrestling have nothing to do with athleticism. Once my body loses its ability to handle the demands of this sport, I will not miss it. When that day comes my mind will still retain its ability to strategize at the capacity I have trained it to do so. I will still have the iron will to turn my goals and aspirations into inevitabilities. I will still be able to grapple with the foes of peace and tranquility in my life and overcome them with ease. I will still be a wrestler. This is a sentiment shared by anyone that has ever defined him or herself through this sport. The fact that this piece uses wrestling to convey such a complex and layered message stirred up these emotions in me; I have been on a hiatus from actively competing due to several orthopedic injuries so these feelings have lay dormant until recently. Tascott’s use of wrestling to convey his point struck a chord in me, allowing me to relate to the concepts presented in his despite my birth being over sixty years after these ideas were relevant. I think it is his appeal to basic constituents of the human condition, though, that arrests the attention of what would be an otherwise oblivious passerby. I believe this is the reason it was selected to be the symbol of the Wolfsonian museum. It is intimidating yet approachable; it is simple yet alluring, cold yet inviting. To borrow a line form Winston Churchill, The Wrestler is â€Å"a riddle wrapped in a mystery inside an enigma. †

Financial Statement Essay Example | Topics and Well Written Essays - 3000 words

Financial Statement - Essay Example Since it should be goal of he company to benefit its shareholders, it is called bottom-line measure of performance. Accordingly it is 22.5 % as calculated below Return on equity= Net profit after tax/ Total equity =m 467/ 2074 = 22.5 % for 2005-06 = " 392/1397 = 28.06 % for 2004-05 The decline in ROE in 2005-06 is due to abnormal increase in other reserves shown under equity... This is also known as Return on capital employed (ROCE) and also calculated on pretax profit. Liquidity/Solvency Liquidity means the speed and ease with which an asset can be converted into cash. Liquidity has two dimensions. Ease of conversion versus loss of value. Any asset can be converted into cash if its price is cut sufficiently. A highly liquid asset is therefore one that can be sold without significant loss of value. An illiquid asset is one that cannot be quickly converted into cash without a substantial price reduction. Assets are listed on the Balance Sheet in order of liquidity meaning that the least liquid assets are listed first. Current assets are Cash and those assets convertible into cash over the next 12 months. Bills Receivable for instance represents amounts collectible from the customers for sales already made to them. These are therefore expected to be realised in the near future. Inventory that is stock-in-trade is the least liquid of the current assets. Current Ratio is one of the best known and most widely used ratios to ascertain company's solvency/liquidity. It is defined as Current Ratio = Current Assets / Current Liabilities CurrentAssets m 3,666/Current Liabilities m 3,432 = Current Ratio1.07 for 2005-06" " 2,752/ "...Assets are listed on the Balance Sheet in order of liquidity meaning that the least liquid assets are listed first. Current assets are Cash and those assets convertible into cash over the next 12 months. Bills Receivable for instance represents amounts collectible from the customers for sales already made to them. These are therefore expected to be realised in the near future. Inventory that is stock-in-trade is the least liquid of the current assets. The current ratio of 1.07 indicates that company is efficient enough to use all its current assets without keeping them surplus and idle. It has also shown remarkable improvement from the last year's negative current ratio of 0.84. Quick ratio is calculated ignoring the value of inventory included in current assets for its obvious shortcomings of the least liquid of all current assets besides possible overvaluation and inclusion of damaged, obsolete and lost stocks. It can also include over purchased and slow moving items. These will impede liquidity. Quick Ratio or Acid -Test ratio is so named to indicate the current assets sans inventory's quicker liquidity. BA has no stock in trade as mentioned above except for "expendable spares and other inventories" valued m 83 since it is a service industry.

Book review preliminary sheet(history) Essay Example | Topics and Well Written Essays - 250 words

Book review preliminary sheet(history) - Essay Example One of the issues that I may pursue in my discussion is how the media and the popular culture including sport and other stately pleasures have been used to construct the Canadian identity in order to develop a better understanding of the meaning of being a Canadian. In addition, I will also dry to look into what the popular symbols of Canadian identity have in common. In this regard, each of the five chapters will serve as a case study in itself. Finally, another possible area of focus in the book will be to discuss the different ways through which the State mixes into the everyday lives of the citizens. According to Patricia Cormack and Cosgrave, the absence of Tim Horton’s coffee from daily routines might make individuals not only unusual- but a popular brand in the country and also an overwhelmingly susceptible. Don Cherry’s muscular patriotism appears not to abide by CBC’s restlessness attempts to reduce all cultures to a list or a