Patch Adam

He also tried to use his humor to help heal the pain and suffering. Patch Adams tried to grant their wishes while they were on their death bed, He tried to make them forget about the negative things. He wants them to make the best of It while it lasts. There are a lot of bad customer services from the nurses and Patch Adams in the hospital. For example, one of the nurses refused to enter room 305 because the patient was mean. That shows neglecting a patient. Patch Adams also showed some bad customer service.Not acting professional in a work place. He goofed around a lot only to make his patients happy, and they were very grateful of his humor. Also the director who was walking the class around was shouting out the patient's diagnoses out loud, that wasn't good customer service. The front desk lady didn't want to attend a patient's mom until she filled out all of paper work. She should have attended her first because it was an emergency. Patch Adams did a lot of illegally things that took place in the hospital and in school.The director as showing the third year class around and was telling his students about the patient's diagnoses. That is the patients' confidential business and it should have not been discussed. Patch Adams also communicated with the patients and he was only in his first year of medical school. The nurses were also discussing the patient's diagnosis with Patch Adam who is a student. It is not to be discussed with a student. When Patch Adam went into the school and took his own file was illegal. If I had the chance to work for Patch Adams I will love to.He went a very long way to get where he Is at now. I admire him for all his hard work. He tried his best to brighten patient's lives even if he knew they did not have much to live. I am sure that his doctor clinic will be a lovely place to work. I think the movie was a very touching movie. Patch Adam fought for what he wanted. He didn't give up, nor let other people judgments get to him. I lear n a lot about customer service, and how to be professional and make patients smile. Patch Adam By lessened Patch Adams real name is Hunter Adams.A man who was in the same mental institution Patch Adams was in had given him the nickname. He named him Patch Adams because he patched up his cup because it was leaking. The understanding bed. He tried to make them forget about the negative things. He wants them to make the best of it while it lasts. There are a lot of bad customer services from the nurses he is at now. I admire him for all his hard work. He tried his best to brighten patient's Adam fought for what he wanted. He didn't give up, nor let other people Judgments

Johannes Brahms symphony no. 4

Johannes Brahms symphony no. 4, opus 98, is a masterpiece that stays in the annals of history of music and the history of symphony. Completed in the 19-th century, it had such glorious predecessors as Beethoven’s symphonies. Therefore, in the times of Brahms, the symphony was considered the proper of great Beethoven and anybody who had courage to compose in this genre would inevitably face the possibility to be compared with Beethoven.Johannes Brahms worried that he was not worthy of the musical tradition set by Haydn, Mozart, and Beethoven. One of the most unfortunate effects of his lack of confidence was expressed in an unwillingness to compose a symphony because he was afraid of being compared unfavourably to those masters, waiting until he was 43 years old to complete his First Symphony. However, once he had completed that initial symphony, he quickly adapted to the form, producing his remaining three symphonies in the space of only nine years.Each seemed to be more succes sful than its predecessors were; each introduced more depth and innovation from the most complex of the 19-th century composers. Just as Brahms's First and Second symphonies appeared in rapid succession as a contrasting pair, so did the Third and Fourth. The Third was finished in the summer of 1883 and the Fourth was begun the following summer. The first mention of the Fourth Symphony is in a letter dated 19 August 1884 from Brahms to his publisher, Fritz Simrock; the work was completed about a year later at Miirzzuschlag in Styria.In October 1885 Brahms and Ignaz Briill gave a two-piano reading of it for a small group of friends including the critic Eduard Hanslick, the surgeon Theodor Billroth, and the historian and Haydn scholar C. F. Pohl. Brahms conducted the first orchestral performance at Meiningen on 25 October 1885 . It is very interesting to observe Brahms's progress as a symphonist. He lived in the time of romanticism in music, when considerations of form gave place to su bjective expression. F.Liszt was then creating his symphonic poems and R. Wagner produced his amazing music dramas – all works strongly colored by literary and poetic ideas, and by a very personal attitude on the part of the composer. Brahms, in his First symphony, if not an outright romanticist, is yet â€Å"romantic† in his attitude, just as Beethoven in his Fifth symphony. Later we see Brahms's progression backward – from the â€Å"romantic† to the â€Å"classic† stress. The Fourth symphony is a pure classic masterpiece.However, the symphony is not only a work of design; it has a subjective undercurrent behind itself. It is perhaps significant that Brahms, ordinarily certain of himself and his work, had misgivings and questionings about this symphony. Some find the symphony an expression of pessimism. They say that it is bitter, that it drips melancholy like the yew tree, that its thoughts are of death. In fact, by that time Brahms had lost his mother who died of a heart attack. He devoted this symphony to the memory of his mother. But pessimism is not despair.At the time when Brahms wrote this symphony, his thoughts were turning towards his own end which was near, and death must have appeared as it should appear to all of us, as a tender friend and a supreme consoler. Brahms's symphonic work embraces all that is tragic and glorious in his music. There is tragedy even in the most wonderful of these movements, where we hear yearning for things gone beyond recall, but more especially in those where he strives to renew the traditions of the classics and proves splendidly that inherited forms may be filled with new matter .Nevertheless, one may safely predict that those portions of his work which show a master's discipline and noble intention as perhaps the most impressive marks of his character, will not be held in so great and lasting an affection as those where he is wholly himself, and where only his pure and great heart, so full of riches and yet so closely guarded, is heard to beat. He deliberately took a path that led him away from the land of romance to seek the land of Bach and Beethoven with all the ardor of his soul.But the spell of the blue flower was stronger. He fancied that he had eschewed the enchantment, but this was a delusion, for he remained a romantic all his life, a dreamy enthusiast, a deep feeling recluse, who clothed in new magical sounds the voices of rustling woodlands, the radiant eyes of virginal queens, the scattered tones of lost love-songs–all this, and his own life, blessed by sorrows and raptures. It is there that he is irresistible and unforgettable.Where he played the part of â€Å"heir† he had too little to squander, though he won and consolidated precious treasure enough. Only as the eternal youth, as one wrestling and longing and drinking from abundant wellsprings, as one of the beloved fairy-tale princes of music who ever and again awaken to deliver s leeping princesses, did he in truth find the land of Bach and of Beethoven. To many listeners, the Third Symphony might have seemed like the natural goal of Brahms's development as a symphonist because it combined the simple characters of folksong and romantic.It added an intense instrumental idiom and deep sense of coherence and overall structure, resolving its tensions at the close in a manner increasingly characteristic of the expression of his most profound songs. Yet any such impression would soon have been dispelled by the symphony, which followed shortly after in 1885, for here he recalls the wealth of ideas, which characterize the Second Symphony and the earnestness, and sense of structural culmination of the First Symphony. Yet here the drama is of a different kind.It is not the classic nineteenth-century struggle from minor to major, in Brahms's case full of romantic symbols in its final stages, but rather an abstract drama, which reaches its climax through the sheer intel lectual rigor and energy of its finale rather than through any conventional symbols. It ends securely in the key in which it began, E minor. And if the Third Symphony had gained something of the personal quality of its opening from the memories of Schubert and Schumann, this goes back to memories of Beethoven and Bach.For, not only does the finale take Bach as its starting point, but the first movement takes Beethoven. As has been noted, the first subject clearly draws on the slow movement of the ‘Hammerklavier' Sonata (bars 78-86) where an identical outline appears as a consequence of the evolving influence of the interval of the third. Yet it comes through an entirely Brahms’ mediation. The setting is very close to the somber opening in which he was soon to place the first of the Motets op.110, the same key and broad shape expressing the text ‘Ich aber bin elend' – ‘But Lord, I am wretched'. Yet the symphony's is a more animated, complex type of exp ression whose distinctive two-note phrasing actually finds its closest parallel in a piece in total stylistic contrast to the motet -the Waltz in D minor, op. 39 no. 9. From this very personal stylistic chemistry, Brahms builds a movement and a work whose lofty style is closest to the Tragic Overture, a greater example of the ‘sublime style' noted in the great choral works with orchestra.And from them it takes much of its orchestral character, especially the fullness of Brahms' scoring, and the telling use of the flute, especially at bar 128 of the finale – surely a Grecian symbol. While Brahms has long since parted company with the storm and stress of the First symphony, the accents of the Fourth are in the highest degree charged with the resignation and the profound understanding that his own earnest nature and the passage of the years had brought him, and the nobility that existed under his crusty exterior.In viewing the work as a whole, its background again provides a key to its special nature and sense of direction. Indeed, it may well reveal the reverse case to that of the First Symphony, for even if it seems clear that it was the resolution of the first movement's implications that provided the compositional problem of the earlier work, it appears likely that the finale was here the starting point and thus determinant of the work's structural nature. And even if other ideas existed at this earlier stage, the special nature of the finale provided the dominant focus for their working and shape.Much of the Fourth symphony is melancholy and lamentful, but it is relieved by the consolatory beatitude of the andante and the elevating stateliness of the conclusion. The austerity with which the composer has been reproached—in many instances unjustly—is here pronounced. The solidity of the structure may be admired, but the structure itself is granitic and unrelieved. The symphony has not the epic grandeur of the first, the geniality of the second, the wealth of varied beauty that distinguishes the third.Although the precise date is not known, Brahms had shown interest in the chaconne bass of the finale of Bach's Cantata No. 150 â€Å"Nach Dir, Herr Verlanget mich† some time before the symphony's appearance. The conductor Siegfried Ochs recalls him demonstrating to Hans von Bulow the structure of the Bach movement, to which von Bulow responded coolly, arguing that it needed more than voices. Brahms agreed, commenting: â€Å"What would you say to a symphonic movement written on this theme one day? But it is too lumpish, too straightforward. It would have to be chromatically altered in some way.† Just how the alteration was effected is clear from the work, where Brahms extends the model from its five-bar length to eight bars, substituting equal dotted minims for its minim-crotchet pattern and creating a climax in the chromatic alteration of A sharp. Now it appears as leading note to the dominant, B. But how the work as a whole stood in his mind at this earlier stage is not clear. Brahms was aware of the possibility that a variation finale can be assumed from the model of Beethoven, and the St Antoni Variations had already presented a basso ostinato variation finale.Yet the precise nature of a finale, which reflected both stimuli – that of a symphonic design in a harmonically restricted form – must have occupied him for long before a solution became clear. In considering the problems, Brahms drew on a considerable knowledge of the form of the chaconne and passacaglia, as has earlier been shown. In the actual period of the work's completion, he acknowledged special interest in the Organ Passacaglia in G minor by Georg Muffat, describing it to Elizabeth von Herzogenberg in 1883 as very fine and acknowledging possession of a copy.His work on the Couperin Edition for Chrysander also gave him an acquaintance with an example from the very different tradition of the French c lavecinists through the form of the Rondeau Passacaille. But the movement for which he had the deepest feeling was the Bach Chaconne for unaccompanied violin. He wrote to Clara Schumann, to whom the arrangement for the piano, left hand, was dedicated, in the following terms: For me the Chaconne is one of the most incredible pieces of music. Using a single system for a little instrument, the man writes a whole world of the deepest and most powerful expression.If I ask myself if I had written this piece – been able to conceive it – I know for certain the emotions excited would have driven me mad. If one does not have a great violinist at hand, the most exquisite of joys is surely simply to let the Chaconne ring in one's mind. But the piece certainly entices one to occupy oneself with it somehow. From this, he concludes that the only comparable experience is to play it with the parallel restrictions of left hand alone. It seems interesting that in referring to the other w ays of imagining the work recreated he mentions the orchestra.It is not difficult to see the manner and structure of this Chaconne, which he knew so intimately, mixing with his transformation of the Bach cantata bass to provide the foundations of a movement through which both vocal and instrumental limitations are transcended in his most powerful variation structure. Heinrich Reimann gives a short description of the symphony: â€Å"A theme of the second movement constantly returns in varied form, from which the chief theme, the staccato figure given to the wind, and the melodious song of the violoncellos are derived.The third movement, allegro giocoso, sports with old-fashioned harmonies, which should not be taken too seriously† . Seen against the background of Brahms's earlier variations, this movement is unique in its observation of a clear A B A – Coda form. The contrast is provided by changes in dynamics, frequently in mode, and partly in meter. The return of the o pening introduces variation both thematically and in the scope of harmonic movement within the tight restriction of the model, taken even further in the coda.All the previous variations are continuous, though the contrast of mode to major is established from the Variation on an Original Theme. The Bach Chaconne therefore assumes great interest in its adoption of a ternary outline through contrast of mode, in its variation of harmony at the reprise (though the theme is not recalled) and in its length – both movements building to thirty variations from an eight-bar model. The form of the Chaconne is also crucial to understanding Brahms's harmonic methods.Although elements of passacaglia are used in this movement – that is of a repeated ground bass ostinato – the chief spirit of the movement is that of harmonic retention, from which the composer can dramatically move for effect. The model is compounded of Bach's bass in modified form as upper part with a Brahmsâ₠¬â„¢ bass in which descending thirds are prominent. This provides the model for the first four variations and the background to the reprise, with its increasingly free harmonic working until Brahms breaks completely away from the previous patterns in the coda, loosening the original phrasing.The intervening harmony is built either on the ground (variations 4-11, 14-16), or on pedal variants, as in the central part, variations 12-13. Thus, as in earlier variation movements, there are two harmonic models with other freer types, though it is the first, with the theme in the upper part, which has the role of articulating the large structure. This represents, therefore, a considerably more complex form than its immediate predecessor, the ostinato variations of the St Antoni Variations.In fact, Brahms brings to fulfillment the inherent influence of the chaconne, noted as early as the variations of the B flat Sextet though with the added aspect of the passacaglia reflected in the Second Se renade and the St Antoni Variations, together with the outline of sonata form. It is the latter aspect that creates the variation of the reprise, since development cannot be used in the subdued central section. Clearly, such a distinctive structure could not have provided the symphonic climax without intimate relations with the other movements.The observation of the contrapuntal connection between the descending thirds of variation 30 and the first subject of the first movement is only one of many which could be made, for this work is perhaps more subtly and comprehensively integrated than any other. Not only are thirds omnipresent in the work's thematic material – as in the bass of the model – but many other links exist, including the anticipation of the ground in the first subject (bars 9-15). Most impressive, however, is the special harmonic language of the work, which is drawn from the harmony of the model.Both plagal and Phrygian progressions contribute further to the deeply archaic quality of much of the music. For example, the first subject is built on plagal progressions and the movement ends with a very impressive plagal cadence enhanced by pedal. The harmonic language of the second movement is even more special in its modal associations, as will be shown. All these features serve to support the more obvious surface function of variation. For the principle of successive variation, which dominates the finale also, soaks the work as a whole.The links are clearest in the first movement for two principal reasons: the structure of the movement as a whole and, directly related to it, the nature of the first subject. Brahms's tendency to recall the opening material after the recapitulation where no repeat is incorporated finds a particularly plain expression in this movement, which brings an approach associated with finales – those of the First and Third Symphonies and of the Piano Quintet into the context of a symphonic first movement.Y et the method is here different, for this is no conflated development/recapitulation structure, but rather a modification of the conventional scheme, since the recapitulation follows the third tonic statement of the idea at bar 246. The special form arises from the special nature of the main subject itself, a lyric paragraph whose essential sixteen bar structure is extended by internal variation to create a sectional impression – the sense of a model which demands repetition in a way quite unlike the main subjects of the other symphonies. Thus, the movement assumes a variation-aspect at two levels.Viewed most broadly, it falls into three sections, closely related by their presentation of the same passage. Although the third statement is made more elusive by the recall of its opening phrases in augmentation, linked by figuration in the strings, the overall effect is clear when the theme resumes at bar 246. As far as the sections themselves are concerned, they also appear stron gly variational through the immediate repetition of the first theme, that of the development offering an alternative to that of the exposition, bars 145-152 comparing with bars 1-7.Thus, Brahms draws on his earlier tendency to construct the transition by variation of the first subject (compare with the Second Symphony) into a much broader context. In the sections of passing variation, which have become so characteristic, although never with the clarity and deep thematicism of, for example, bars 80-6 or 95-8, the development draws so often on variation that it directly recalls the finale.Thus, after the varied repeat of the opening of the development, bars 169-84 present another section of clear variational identity, here through motive variation of the preceding bars treated in a stretto which quickly removes the sense of accentual identity, offering yet a further example of how Brahms learned from Beethoven the art of displacing the beat through the relentless repetition of a simpl e figure. This passage is complemented at bar 192 by a more direct variation of the opening subject, the section again alternating with the marcato figure of the transition, which serves to direct and articulate the music's progress.At bar 119, the finale is even more clearly foreshadowed, mediating between the variation and the work's first subject, which it clearly outlines, drawing particularly on the original flute parts to ensure connection. In turn, the following passage from bar 237 varies the following bars, focusing on a one-bar figure, whilst recalling the color-contrast of the variations, which lead to the reprise of the finale. It is inherent in such a structure that radical alterations of the recapitulation would have disturbed the variational relationship of the first three parts.Rather, as in the finale, it is the coda, which exhibits the development quality with the most rapid modulations and intense treatment of ideas. Yet variation remains the chief model. The powe rful statement of the first subject at bar 394 is remarkable in its transformation. The theme appears in canon between the outer parts, actually retaining its identity for far longer than the ear might suggest (14 bars in all) before a bridge to an intense treatment of the transition idea of bar 414.This remarkable intensity is achieved through a use of stretto, in which Brahms seems to press to extremes the possible relationship between the harmonies permissible in his style and the logic of the contrapuntal movement, a quality that he shared to a remarkable degree with Mozart. In a period, which includes some of Brahms's most powerful first-movement codas, this is surely the most impressive in its nature and its structural function. Of the impressive central movements with which Brahms completes his overall scheme, the second relates most clearly to the principles outlined.Indeed, its leisurely first section from bar 5 parallels that of the first in its relation to earlier works. An eight-bar theme of the simplest phrasing returns after a nine-bar digression to complete an exposition in simple A B A form. The following transition proceeds again by simple variation to establish, through ideas, which relate to the parallel part of the first movement. The dominant of B for the second subject, after which there is a further variation of the first theme with descending wind figures reflects the first subject of the work and strings employ pizzicato.Bar 74 initiates an imitative development very much in the spirit of that of the finale of op. 18, after which the second subject completes the conflated scheme: 1 – tr 2 – 1 – dev – 2 – coda. Yet its straightforwardness comes into a completely different perspective when set in its harmonic context. It can be seen as perhaps the boldest and most far-reaching of Brahms's experiments with modal effects. For, the opening partly suggests a tonic C despite the preceding cadence, one interp rets the unison opening as rooted in the lower mediant of E minor.Yet at the end of the phrase, Brahms turns the closing E into the tonic of a modified sonata movement, which makes a conventional contrast (though now unusual for Brahms) with the dominant, B, for its second subject. Such an opening must have a consequence in a Brahms’ movement and the key of C returns in the closing bars as an alternate harmonization of the opening theme in succession to the chromatic harmonization of the theme in E. Thus, Brahms juxtaposes the keys of E and C through a common theme.The ‘framing' effect of the C tonality and its final resolution is evident. Whilst this passage can be seen as simply one of effect, the suggestion of a Phrygian tonality, it may also be seen in more far-reaching terms. For, unlike the other authentic modes, the dominant of the Phrygian is not on B, but on C, since it cannot form a perfect fifth from B to F sharp. Thus, though Brahms may well begin with a mer e ‘effect', the harmonic implications are readily grasped and he, though very briefly, actually contrives to close with a Phrygian aspect.The Austrian theorist Heinrich Schenker once stated that the capacity to write in the modes lay even beyond a genius like Beethoven, that the Lydian movement of op. 132 simply used modern tonality to suggest a mode through the omission of any B flat and other means. Is it not possible that Brahms's deep interest in the issue led him to go a little further in the attempt to unite modern tonality and the principles of modality in one movement? After such tonal stress, the key of the third movement appears inevitable.Yet in its manner, the movement stands in strong contrast to the parallel movements of the later works. As is often pointed out, Brahms avoids the scherzo-substitutes of his maturity for a scherzo of an individual nature -not a 6/8, but a driving 2/4 movement. Yet its character is surely not without precedent. Just as Brahms had dr awn on the ‘Hammerklavier' Sonata as the starting point for a reinterpretation of a powerful idea, so the deep historical background to this work leads him to draw on the second movement of the late Piano Sonata in A flat op.110 whose thematic outline complements its metrical character in providing his basis. Yet in no other sense does the form relate to tradition, for Brahms constructs a continuous movement, sustained by variation in which the Trio contrast is limited to a very brief passage from bar 178 to bar 198, which simply transforms the character of the opening, to play a part in the broader scheme. And now we are going to make a profound emotional analysis of the symphony.Let us take take the opening. The violins play a melody that starts as a series of two-note sighs, each sigh consisting either of a descending third (for example, B to G) or of the same interval inverted into an ascending sixth (for example, E to C, but going up to the next-highest C rather than down ). Woodwinds echo these figures, but as chords, with the two notes played simultaneously.It is hard for us to think of a lovelier, more inviting opening to a symphony – of course, its familiarity help. Something preparatory, even if it were only two measures of unison B, would help listeners find their way in. This opening is immediately followed by a second statement of the melody, this time in broken octaves and in dialogue between first and second violins, with elaborate decorative material in violas and cellos. This was thought exceedingly difficult to unravel.

Issues in Corporate Governance

CH AP TER 1 – I S S U ES I N COR POR ATE G OVER N AN CE ADVANCED FINANCIAL MANAGEMENT †¢ †¢ †¢ Investment decisions Financing decisions Dividend decisions Financial objectives Primary objective – maximise shareholder wealth Secondary objectives – meeting ‘other’ predetermined targets Stakeholders †¢ †¢ †¢ †¢ †¢ †¢ Shareholders Management and employees Customers Suppliers Lenders Government w w w . s tu d yi n te ra cti ve . o rg 1 CH AP TER 1 – I S S U ES I N COR POR ATE G OVER N AN CE Stakeholders Suppliers Measures Price Payment Security Liquidity Taxable profit Inflation Employment Investment Lenders Government w w w . tu d yi n te ra cti ve . o rg 2 CH AP TER 1 – I S S U ES I N COR POR ATE G OVER N AN CE w w w . s tu d yi n te ra cti ve . o rg 3 CH AP TER 1 – I S S U ES I N COR POR ATE G OVER N AN CE Corporate Governance Are the board effective? Are they making good decisions? Can we obtain assurance that they are? Are the board effective? Combined Code Board of Directors Chair CEO Execs Non-execs w w w . s tu d yi n te ra cti ve . o rg 4 CH AP TER 1 – I S S U ES I N COR POR ATE G OVER N AN CE Are they making good decisions? Higgs Report Cadbury Report Greenbury Code Key guidance Smith Turnbull Can we obtain assurance that they are?Disclosure FSA Listing Rules FSA Disclosure and Transparency rules Combined Code w w w . s tu d yi n te ra cti ve . o rg 5 CH AP TER 1 – I S S U ES I N COR POR ATE G OVER N AN CE More formalised Independent audit committee Quarterly reporting USA Sarbanes Oxley Independent directors PCOAB Critical accounting policies Germany EU company law Two-tier board of directors Board of directors Supervisory board Management board w w w . s tu d yi n te ra cti ve . o rg 6 CH AP TER 1 – I S S U ES I N COR POR ATE G OVER N AN CE Japan â€Å"Consensual management† Policy boards Functional boards Monocratic boards w w . s tu d yi n te ra cti ve . o rg 7 CH AP TER 1 – I S S U ES I N COR POR ATE G OVER N AN CE SUSTAINABILITY AND ENVIRONMENTAL RISK †¢ Sustainability – balancing growth with environmental and social concerns â€Å"At BP, we are working hard to restore trust in our ability to operate safely and responsibly wherever we do business. Our approach to sustainability covers issues relating to governance and risk management, safety, the environment, the energy future and our local and global socio-economic impact. We aim to report on these issues in a way that answers key questions raised by our stakeholders. Carbon Trading 1. Governments hand out free tradable rights to emit carbon dioxide to big industrial polluters 2. Companies buy additional pollution credits from projects that claim to emit less greenhouse gas than they would have without the investment Environment Agency 1. Protects air, land and water used by society in England and Wales 2. Offers guidance to busine sses on environmental issues †¢ †¢ †¢ †¢ †¢ Environmental Permitting Flood Pollution and emissions Waste Water Environmental Audits †¢ †¢ †¢ Energy saving Waste reduction Business processes w w w . s tu d yi n te ra cti ve . o rg 8

Oligopoly nature of grocery stores in UK Essay Example | Topics and Well Written Essays - 750 words

Oligopoly nature of grocery stores in UK - Essay Example Grocery stores are influenced by several factors for example the existence of LGRs, distribution channels and different planning strategies. Large regional distribution systems are needed for efficiency. However, the small companies do not enjoy sufficient distribution channels as opposed to the big companies. This is due to the fact that large companies normally sophisticated distribution systems to improve their products availability, reduce wastage and collect direct from suppliers. Many of the large companies usually negotiate favorable terms with suppliers for instance the case of Tesco and Asda. Planning strategies usually restricts out of town centre developments of grocery stores therefore restricting development of new larger stores. These also act as barrier to the entry of new firms increasing the costs of developing new stores which again discourages potential new investors. Factors positively influencing grocery stores The success of grocery stores depends on several factors for example market trends in the industry. There are some market trends for example decreasing numbers of specialist stores, increasing share of sales from large stores and few large firms taking an increasing market share. There has been a steep decline in the number of specialist stores.... Apparently, it is clear that sales from convenient stores are growing more quickly than grocery stores however, they only account for a small share of the sales (Sellers, 93). Grocery stores record the highest number of sales and increasingly, a huge percentage of the market is dominated by sales. Grocery stores usually offset the advantages of large stores because of easy consumer access to them for top up shopping. Grocery stores have links with wholesalers who give them the benefits of large buying power as well as access to other facilities and advice. Grocery stores have managed to survive also because of diversification for example distributing newspapers and operating other small businesses beside them like alcohol outlet. Consumers who meet up in a warm social place enjoy satisfaction hence loyalty. Groceries also enjoy low cost of operating businesses. In addition to this, they also receive assistance from family members. The groceries also sell their products at cheap price s. This is because they enjoy a buying power of large continental European groups. They enjoy low labor costs in their operations as well as low cot of buildings in which they operate their businesses. The owners of groceries are also able to adapt well under difficult economic circumstances. Subsequently, one major factor that boosts the groceries is the fact that main competitors tend to move up the market depending on the success of the firm. Reasons for Asda increasing their market shares Asda operates as a large store with wide range of products and relatively low prices. As a large store, it has some particular advantages for example marketing and efficiency Schaffer & August & Earle,

Choose a current trend and explain your opinion about it. The trend Essay

Choose a current trend and explain your opinion about it. The trend can be of any category, and your opinion should be clearly - Essay Example The accessibility of online dating sites are masking more sensitive issues in the society, and thus, restrictions in the member's age, purpose of signing in, and advertisements posted through a reviewed dating site rules and possibly, government intervention. Audience of Internet Dating Dating sites could provoke more sensitive issues prevailing in the society. As more people are provided with easier access to the internet, the more chances there is that discrimination would happen, may it be racial or physical. Furthermore, sexual partners from the internet, with an emphasis to those who engage to casual sex, may be an accepted societal notion and thus will have more effects towards other sectors particularly reproductive health. It is much to the interest of the dating site users which this paper explores since it deliberates on impact of such activity in a broader sense. International Marriages Through Online Dating and Its Underlying Social Implications It must be exciting to thi nk that dating sites are expanding the user’s thoughts about racial identity. In the varied selection of potential mates, Caucasians, Black Americans, Asians and all others are not classified. In other words, the internet seems to have more room of racial acceptance than racial discrimination. However, what Warchaur found out could be intriguingly opposite to this notion. According to Turkle, â€Å"interracial marriages make racial identity more subjective and multiple; the anonymous, multi-channeled communication facilitated by the Internet deepens this trend toward multiple subjective identity† (qtd. in Warchaur). In other words, the anonymity of the dating sites members would reject possible personal differences and their attitudes would be completely relying on their race. Although the internet can be a good venue for true globalization to prosper, the dating site users are not spared from subjective generalization of their race. A member may have filled out their profile honestly, but this does not mean that members as such comprise 100% of the site. The truth is, there are members who lie, and this thought is so common that no matter how well-written the profile information is, the racial background still counts (e.g. Black Americans are stereotyped as violent). Because of existing racial stereotypes and the inaccessibility of face to face encounter, dating sites are prone to discrimination. Attractiveness is also a major issue internet dating rather than focusing on abstract qualities of a person. In a research conducted by Hitsch, Hortacsu, and Ariely with internet dating site users in the United States, the attractive mate prospects get the most number of replies and views than their less physically attractive counterparts. Electronic mail responses are more frequent to physically attractive members (16). As expected, physically attractive men and women are very selective in their potential partners in the dating sites. While 40% of aver age men gets responses from average women, the contrast is true for attractive men and women. It has been found out that least attractive members are â€Å"2-4 times more likely to send a first-contact e-mail to a man than the most attractive women† (17). Racial issues, sexual abuse, and self-esteem are at stake in the growing trend of e-dating. If the restrictions should be out of hand, then the users are in danger of suffering these consequences. The leniency of the government when it comes to internet control could have been the main culprit of this

Define the Joint Commission stand on the use of Electronic Health Essay

Define the Joint Commission stand on the use of Electronic Health Records and requirements for use - Essay Example The Joint Commission is responsible for verifying that the health organizations are using the electronic systems correctly in their activities of providing quality patient care (Joint Commission Resources, 2001). The 2008 alert from the sentinel event of the Joint Commission of the United States stipulates that as the technologies are being increasingly adopted by various organizations concerned with health issues. The commission suggests that their users should be careful of the security risks along with the prevention of the adverse effects that the systems can bring forth. These adverse effects can occur due to errors in commission or errors in omissions (Green & Bowie, 2010). They additionally suggest that these adverse effects usually stem from human or technological errors and should be greatly avoided. For example, in the year 2006 the Joint Commission found out that Pharmacopeia databases had over a hundred and fifty thousand errors on the medications issued and a quarter of them consisted of computer technology errors (Joint Commission Resources, 2001). The commission additionally suggests that the health organizations making use of the electronic records on health should use certif ied systems in meaningful manners (Abdelhak, 2007). This should be for the purposes of exchanging information that will lead to improvements in the quality of health care provided. They have clearly stated that the systems should also be utilized in the submission of clinical quality and other measures within the health organization (Green & Bowie, 2010). The commission carries out its accreditation activities on healthcare organizations through surveys on their sites every three years. Accreditation is awarded on the basis that an organization is complying with the requirements of HIPAA (Health Insurance Portability and Accountability) Act of 1996. These requirements include issues like information management, the management of

Sociological Systems Theory Essay Example | Topics and Well Written Essays - 1750 words

Sociological Systems Theory - Essay Example A relationship is defined, as the interactive existence of more than one occurrence, in which there is a relative linkage marked by logic, concept, structure, or time. In this mode a relationship between occurrences is more than a proposition. For example, management and organization scientists generally define propositions on stating relationships between two or more concepts. An illustration would be the linkage between the efforts carried on R&D and the satisfaction of users of the new product, which was thus developed. When a relationship is defined beyond the propositional boundaries, it would be similar to the chain architecture of propositions, which compose an entire theory. This flow and changeability of variables are characteristics of a process mode, in which occurrences are linked by virtue of conceptual criteria. For instance, a theory of innovation would be explained in the form of a process, where research flows into development, into testing, engineering, and marketing. Processes are to a large extent structural manifestations of theories where propositions may be ordered to form a coherent theory. Underlying the managerial and organizational approaches to problem solving criteria are four methods: (1) parsimony; (2) simplicity; (3) closeness and realism; and (4) balance and equilibrium. Let us examine each criterion inclusive of its limitations and weaknesses. Methodologies Parsimony: With parsimony, the issue is to achieve economy in describing the phenomenon for the purpose of studying, modeling, and data collection. Burton and Obel have suggested, "Parsimonious explanations are a factor in determining the validity of computational models". (Burton R, and B. Obel, 1995) Parsimony becomes a problem when it contributes to capricious modeling in the quest for economy. Variables that may be factors in alternative explanations should be measured and are left outside the research design for reasons beyond the logical linkage. In the transition from theory to modeling, then to experimental design, the quest for parsimony is additive, hence sequentially and deleteriously compress the universe being investigated. (Geisler, 1999) Issues of construct validity are to be considered in non-adherence to parsimony. That is, in defense of economy and elegance it may be said that by clearly defining the phenomenon, the validity of the design increases, but at what price Largely at the expense of a more productive and comprehensive approximation to a more viable representation of the phenomenon, the result is akin to the problem of accuracy versus useful information. Parsimonious qualification of research into the managerial and organizational activities may lead to a slice of the phenomenon that is highly researchable, accurate, and elegant yet of little use as representative of the broader phenomenon. Simplicity The second methodology is the quest for simplicity. As in the case of parsimony, threats to validity are anchored in both the research desi