Free Essays on Advantages of Online Learning

Advantages of online learning Small class size means one-on-one instructor guidance and personalized communication. The big difference is that there's no classroom to go to. There's no commute. You'll never have conflicts with family obligations, business travel or vacations. There's no chance of arriving late or missing a class because of illness. You don't even have to comb your hair if you don't want to! Ignore the clock. Come whenever it's convenient for you. Your course is conducted according to a schedule, but there are no "live" classes to attend. Instead, lectures, coursework, assignments, questions, discussion, all take place at your convenience - online. Plus, you'll receive personalized instructor feedback, and share insights and information with fellow online students. You choose the hour of day (or night) to attend class. You choose the place - at home, at work - wherever you have access to a computer, modem and an Internet Service Provider (ISP). Except for turning in assignments when they're due, your schedule is totally up to you. It is basically quality education without giving up quality time. Online courses are an exceptionally accessible, flexible resource whether your goal is professional advancement, personal enrichment or earning transferable degree credits. You'll get the same high-quality instruction and course content that you demand, but without the day-to-day obstacles that prevent so many of us from pursuing our opportunities. Universities should start offering most of their classes online. Teachers could have more free time and in turn become better teachers.... Free Essays on Advantages of Online Learning Free Essays on Advantages of Online Learning Advantages of online learning Small class size means one-on-one instructor guidance and personalized communication. The big difference is that there's no classroom to go to. There's no commute. You'll never have conflicts with family obligations, business travel or vacations. There's no chance of arriving late or missing a class because of illness. You don't even have to comb your hair if you don't want to! Ignore the clock. Come whenever it's convenient for you. Your course is conducted according to a schedule, but there are no "live" classes to attend. Instead, lectures, coursework, assignments, questions, discussion, all take place at your convenience - online. Plus, you'll receive personalized instructor feedback, and share insights and information with fellow online students. You choose the hour of day (or night) to attend class. You choose the place - at home, at work - wherever you have access to a computer, modem and an Internet Service Provider (ISP). Except for turning in assignments when they're due, your schedule is totally up to you. It is basically quality education without giving up quality time. Online courses are an exceptionally accessible, flexible resource whether your goal is professional advancement, personal enrichment or earning transferable degree credits. You'll get the same high-quality instruction and course content that you demand, but without the day-to-day obstacles that prevent so many of us from pursuing our opportunities. Universities should start offering most of their classes online. Teachers could have more free time and in turn become better teachers....

10 Grammar Mistakes You Should Avoid

10 Grammar Mistakes You Should Avoid 10 Grammar Mistakes You Should Avoid 10 Grammar Mistakes You Should Avoid By Maeve Maddox If you want to write clear, correct English, you certainly need to pay attention to the grammar rules. To help you with that, we collaborated with the folks from Grammarly and Write To Done to create a list with 30 common grammar mistakes you should avoid. Enjoy! Mistake 1: Using whom as a subject INCORRECT: Fire personnel radioed deputies to stop the driver, whom, according to reports, appeared to have been under the influence of intoxicants. CORRECT : Fire personnel radioed deputies to stop the driver, who, according to reports, appeared to have been under the influence of intoxicants. In this sentence, the pronoun is the subject of the verb appeared and therefore requires the subject form who. The object form of who is whom, which functions as the object of a verb or as the object of a preposition: That is the man whom I saw at the window. (object of the verb saw) Did he say to whom he sent the letter? (object of the preposition to) The misuse of whom as a subject frequently occurs when a phrase intervenes between the pronoun and its subject. Be especially careful with such expressions as â€Å"according to so-and-so,† â€Å"in my opinion,† â€Å"one suspects,† etc. Less frequently, but more embarrassingly, whom is sometimes substituted for who when little or nothing stands between it and its verb, as in this sentence taken from a news account: â€Å"An off-duty fireman whom lives in the area provided immediate assistance.† Mistake 2: Unnecessary would in a wish about the past INCORRECT: Ten Things I Wish I Would Have Known When I Was Twenty CORRECT : Ten Things I Wish I Had Known When I Was Twenty The opportunity for knowing the ten things existed in the past, but exists no longer. The tense required, therefore, is the past perfect (had + past participle). Mistake 3: Dangling modifier INCORRECT: At the age of four, Sam’s family moved from Florida, Missouri, to Hannibal. CORRECT : At the age of four, Sam moved with his family from Florida, Missouri, to Hannibal. Modifiers should be positioned as closely as possible to the element they modify. The modifying phrase â€Å"At the age of four† modifies â€Å"Sam,† not â€Å"Sam’s family.† Mistake 4: Subject-Verb disagreement with delayed subject INCORRECT: There goes Sally and Greg on their way to the movies. CORRECT : There go Sally and Greg on their way to the movies. Subjects and verbs must agree in number. When a sentence begins with here or there, the true subject of the sentence follows the verb. â€Å"Sally and Greg† is a plural subject, so the verb go must also be plural: â€Å"Sally and Greg go.† Mistake 5: Incorrect use of object pronouns INCORRECT: Me and my brothers all have college degrees in business. CORRECT : My brothers and I all have college degrees in business. Several English pronouns retain different forms that indicate their function in a sentence. Me is an object form. In the example, it is incorrectly used as the subject of the verb have. Other object forms often used incorrectly are him, her, us, them, and whom. Mistake 6: Incorrect use of subject pronouns INCORRECT: The owner was most kind to my wife and I as we toured the grounds. CORRECT : The owner was most kind to my wife and me as we toured the grounds. I is a subject pronoun form. It is correctly used as the subject of a verb. Its object form is me, which is used as the object of a verb or, as in this example, the object of a preposition (to). Not all English pronouns retain an object form. The pronouns that do have subject and object forms are he/him, she/her, we/us, they/them, and who/whom. Mistake 7: Inappropriate use of reflexive pronoun forms INCORRECT: Jack and myself built the company from scratch. CORRECT : Jack and I built the company from scratch. A pronoun that ends in -self or -selves is called a reflexive pronoun. This type of pronoun refers to a noun or personal pronoun that occurs elsewhere in the sentence. For example, â€Å"He cut himself shaving.† In this example, himself refers to the same person as the one meant by He. A typical error is to use a reflexive pronoun in place of a personal pronoun: INCORRECT: Thank you for everything you did for myself and my family. CORRECT : Thank you for everything you did for me and my family. Note: A more polite usage is to put me last in the phrase: Thank you for everything you did for my family and me. Mistake 8: Incorrect use of did instead of had in certain â€Å"if clauses† One use of the conjunction if is to introduce a clause that states an action that would have changed an outcome. For example, â€Å"If I hadn’t missed the train, I would be in London now.† A common error is to use did instead of had, as in this headline: INCORRECT: [Celebrity] thinks he would be dead now if he didn’t give up alcohol and drugs CORRECT : [Celebrity] thinks he would be dead now if he hadn’t given up alcohol and drugs The person mentioned in the headline actually said (correctly), â€Å"I honestly don’t think I’d be alive if I hadn’t stopped drinking.† The tense required is the past perfect (had + past participle). Mistake 9: Incorrect irregular verb forms Most English verbs form the past and past participle by adding -ed to the base form. For example: walk, walked, (has) walked believe, believed, (has) believed jump, jumped, (has) jumped However, a few high-frequency verbs have irregular past forms, for example: run, ran, (has) run go, went, (has) gone come, came, (has) come Errors with irregular verb forms are becoming common in the media and in articles written by university graduates. Such errors are perhaps evidence that elementary school teachers no longer drill their students on the irregular verb forms. Here are typical errors: INCORRECT: Mary loves to read, has ran for office and has an articulate way of telling it like it is.- Biographical note, KZNU. CORRECT : Mary loves to read, has run for office and has an articulate way of telling it like it is. INCORRECT: Deluna-Martinez is alleged to have went into one student’s account and dropped that student’s classes.- News item, KRCR CORRECT : Deluna-Martinez is alleged to have gone into one student’s account and dropped that student’s classes. INCORRECT: Deep Impact could have just so happened to hit one of these cometesimals, while the gas seen before impact might have came from a different region on the comet with different chemistry.- Scientific article, NASA site. CORRECT : Deep Impact could have just so happened to hit one of these cometesimals, while the gas seen before impact might have come from a different region on the comet with different chemistry. Note: A cometesimal is a â€Å"mini-comet.† Mistake 10: Omitting that when it is needed after say When there is no intervening conjunction, that may be omitted after the verb say: The witness said she overheard the defendant threaten to burn the man’s house down. However, if a conjunction such as after, although, because, before, in addition to, until, or while intervenes between the verb say and its object, that is needed to avoid ambiguity: INCORRECT: Santana said after he stopped recording, he watched for a few more minutes but never saw anyone perform CPR. CORRECT : Santana said that after he stopped recording, he watched for a few more minutes but never saw anyone perform CPR. Now visit Write To Done for 10 more grammar mistakes to avoid, and the Grammarly Blog for yet 10 more! 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 Grammar category, check our popular posts, or choose a related post below:When to Capitalize Animal and Plant NamesThe Many Forms of the Verb TO BE35 Synonyms for Rain and Snow

Stratigec management Essay Example | Topics and Well Written Essays - 2500 words

Stratigec management - Essay Example The first era is called as the ‘Entrepreneur era’ that starts from 1909 to 1939.In 1909 HFS built his first prototype with the help of Malvern boys college engineering workshop and W. Stephenson Peach, grandson of the inventor of the â€Å"Rocket†. (morgan-motor.co.uk) . Sir John Black helped in attaining patent for sliding pillar suspension. The designs made by HFS were lightweight and simple for reliability. In 1910 the Morgan Runabout was showcased at the Olympia motor show London. The three wheeler runabout was a car made with the aim of making low priced vehicle available to the masses. The Three wheelers benefited from the lowering of the road taxes by  £3 (bcu.ac.uk). The Morgan motor company gained reputation by 1928 as the most preferred sports car. Many more sports versions were launched because of their strong grounding and also greater speed. By 1936 the factory started producing 30,000 cars but by this time the concept of three wheeler cars became i rrelevant. As a solution to tackle this problem, HFS designed a car with four wheel and four cylinder models. The period between 1945- 1975 marks the second thirty years of Morgan history. This period was the â€Å"Gung Ho† sports car Era. As time passed on many more new cars were produced like the new version of four-seaters with a modern look and Morgan motors became the first car company to get celebrity endorsements. (morgan-motor.co.uk). This era saw the emergence of his son Peter Morgan Stanley as a creative and innovative leader. The next era started from 1975 to 2005 which was characterized by the world wide safety and emission standards for the motor industry. In this stage, the company realized their social responsibility and worked towards contributing and protecting the environment. The company improved the working conditions for the employee and also gave more attention to quality of the products. The Morgan aero eight was launched in this

Sweatshops Essay Example | Topics and Well Written Essays - 1000 words

Sweatshops - Essay Example While this might appear to make sense on paper, a deeper analysis proves otherwise. Those who make this assumption fail to understand that some of the sweatshop workers are skilled and educated. In addition, when workers are paid poorly, it only helps grow a society filled with illiterate and unskilled individuals. The cycle of poverty then continues. Should the poor continue to be poor just because they are poor? First, sweatshops expose the workers to indecent working and housing conditions and strip them off their human dignity. For instance, in the documentary titled Nike Sweatshops: Behind the Swoosh, Jim Keady highlights the pathetic life of Nike sweatshop workers in Indonesia. Workers are forced to share a small house with poor basic facilities. For instance, Jim and his partner were asked to live in a small 9 by 9 cement box, with no air conditioner and without furniture. The bathroom and toilet are shared, and the sewer lines are open. Under such conditions, workers are exposed to various diseases like cholera and typhoid. It becomes difficult for such workers to offer their families a descent life, and this also exposes their children to diseases and other dangers. As described by Jim, such living conditions strip one off his or her dignity. Furthermore, the working conditions in the sweatshops are not friendly. Most of the workers are subjected to all forms of abuses in the factori es, including sexual, verbal and physical abuses. Women, who are the majority of the sweatshop workers, are forced to take birth control and pregnancy tests so as to stop them from having children. They are denied the right to have families. This is also particularly the case for the vocal workers who attempt to fight for their rights or form independent labor unions. Overall, the working and living conditions of sweatshop workers are discouraging and violate basic human rights. Secondly, sweatshop workers are poorly paid. For instance, in the

Hume and his contemporaries Essay Example for Free

Hume and his contemporaries Essay Live art performances, marked by an overture of spirituality, consciousness, physical introductions to pain, drawn further on to include specific rituals, symbolisms, varied states of emotions brought by self-inflicted hurt and eventually, culminating in a wild display of frenzy and shocking images, are less likely to please the uninitiated audience than it will provoke a sense of awe and wonderment among performance art critics. In a similar situation, Marina Abramovic’s attempts to upend the static discourses of physicality, mental states of mind and art that pervade current Western hegemony, understandably, can only be regarded in the extremes by people steeped firmly into formal traditions. Either her method of performance will elevate its spectators to a heightened degree of appreciation, therefore merit a thunderous welcome to a novel brand, sui generis, of art of our time at the end of each scene; or her gruesome didactics on the body’s threshold for pain, simply fails to pass muster. Her performance practice, a risk more than anything else, certainly inspire debates on whether or not to set moral, perhaps even social limits to art in order to determine, in precise and concrete terms, at which point creativity and imaginative art themes and performances become either delightful to the senses or noxious to the sensitivities of the general public. The idea of drawing the line along and between different shades of extremes, although already evinced clearly in the works of Marina Abramovic, seems to fit the consensus on the idea of censuring the bold and burlesque, stripping it off its material enunciation and expression to mitigate the horror and revulsion inherent in the exposition, or in the worst case, totally ignore it until the novel yet misunderstood facade fades from inattention. However, thanks mainly to Marina Abramovic’s unwavering desire to reach her audience, despite the sometimes hostile reception during her performances itself, in ways that continually push the envelope of spectator tolerance, did she carry her work from the esoteric art circles to mainstream. To wit, in one of her collaborative performances with Ulay, entitled Incision (1978), while purposively eliciting reaction, probably direct participation, from their audience, one of the spectators primed the climactic resonance of the work by jumping into the stage to kick Marina Abramovic as she was lying prostate right in the middle of the act. In her biographical work, she writes that although she expected the attack to happen any moment during the performance, she did not realize the immediacy and steeled resolution of that man who assailed her (Abramovic, 1998). Photographs of the show caught the man with a leg lifted, jumping into the air. â€Å"The next photograph shows Abramovic lying on the floor, and the man seems to be landing from a kicking action [†¦] the audiences interrogation manifested in a spontaneous physical attack (Tang, 2005). Ethical and moral questions, as well as aesthetic controversies have been discussed quite animatedly as early as the 18th century. Philosophers, like David Hume, have started to addressed the tough issues about morality, art and taste—the chief concerns that pervaded his era. Cynthia Freeland, introducing the notions of Taste and Beauty, in a book about defining the slippery strands of art, writes that Hume and his contemporaries â€Å"would not have approved of blasphemy, immorality, sex, or the use of body fluids as appropriate in art† (Freeland 2001). As a caveat to this general statement, it must be understood that even though 18th century consciousness all the way up to the present have not been too open in giving cognizance to art that smack of Marina Abramovic’s own brand of carnal art expressions, there are already extant cultural and social systems which places importance into shamanistic and ritualistic gestures. Among art critics and historians, some pursue a theory of art as ritual: â€Å"ordinary objects or acts acquire symbolic significance through incorporation into a shared belief system† (Freeland, 2001). In the same vein, Freeland further digs deep in history to provide evidence in varied cultural rituals that depict blood and physical pain. She avers that â€Å"when a Mayan king shed blood before the multitude in Palenque by piercing his own penis and drawing a thin reed through it three times, he exhibited his shamanistic ability to contact the land of the undead† (2001). Other modern artists try to recreate a similar sense of art as ritual, just as much as Marina Abramovic has had for the last three decades. Diamanda Galas, for instance, â€Å"fuses operatic wizardry, light shows and glistening blood in her Plague Mass† (2001), supposedly to exorcise pain in the era of Aids. Herman Nitsch, Viennese founder of the Orgies Mystery Theater, promises â€Å"catharsis through a combination of music, painting, wine-pressing, and ceremonial pouring of animal blood and entrails† (Nitsch, n. d. in Freeland, 2001). As it turns out, these very rituals are ingrained in Western traditions. Illuminating examples of which are the amount of blood depicted in European’s, and verily much of the cultures in the modern world today, two main belief discourses: that of the Judeo-Christian and the Greco-Roman. By taking a cursory review of religious and classical texts of Western traditions, we are able to immediately uncover a plenitude of blood representations and ritualistic sacrifices. In the Old Testament, Yahweh is seen to require â€Å"sacrifices as parts of His covenant with the Hebrews† (Freeland, 2001). Similarly, Agamemnon â€Å"faced a divine command to slit the throat of his own child [†¦] the blood of Jesus is so sacred that it is symbolically drunk to this day by believing Christians as promising redemption and eternal life† (2001). Such myths and religious stories are rather germane to Western art. We read of Homeric heroes wining the favors of their gods and goddesses by sacrificing animals. Likewise, the tragedies of Lucan and Seneca â€Å"piled up more body parts than Freddy Krueger in A Nightmare on Elm Sreet† (2001). Not surprisingly, likewise, Renaissance paintings are never without a hint of blood draped at the canvassed in hard red-acrylic paint whilst Shakespeare’s tragedies typically concluded with swordplay and stabbings. The preceding examples of ritualistic performances which involves blood and sacrifices, death and disease, murder and trials, are very instructive with regards to our penchant for the macabre and the dreadful. It is in these premises that Marina Abramovic draws much of her inspiration to create an art, pro forma, that bespeak of our capacity to endure scenes of gore and violence—if only on a less exacerbated state. Her performance, for the most part, certainly places importance on the symbolic values of ceremonies, gestures and artifacts. Albeit appearing random and spontaneous, her methods establish a logical connection between her consciousness while performing and her body’s means of coping with the strength of self-infliction. In the nascent days of her art, she has performed controversial after controversial explorations into the limitations of the mind and the body. Rhythm 10, in 1973, was the first in a series of abject surrender to the inevitability of suffering. Alone in the stage, she prepared a set of knives to be used as piercing objects in a risky game of Russian hand roulette. Without signs of hesitation, she proceeded to stab the spaces between her fingers in a rough yet determined fashion. Each time she made the mistake of cutting her flesh; she dropped the knife and took out another one to repeat the process all over again until she made use of all ten knives (Abramovic, 1998). The following year, in the performance entitled Rhythm 5, she sought to re-evoke the energy of extreme body pain by constructing a huge star soused with combustible petroleum liquid. At the onset, the structure as lit to flames, and while she was standing right outside the contraption, she religiously clipped her fingernails, cut her hair and them inside the burning star. The denouement of the program was when she danced around and then flew across the flames into the center of the burning star. Serious and life-threatening complications ensued when the smoke that engulfed her from inside asphyxiated her to the point that she no longer had control of her actions. The medical team and the audience, who were all there to watch, started to suspect that something was terribly amiss. Fortunately, the quick responses from the stand-by technicians saved her from an untimely death caused by severe smoke inhalation (Abramovic, 1998). In the same year and the years that followed, Marina Abramovic designed similar art experiments that were meant to test the limits of herself and her body, and later the audience and their tolerance for vicarious agony through her body. Rhythm 2 and Rhythm 0, were performed with the hopes of proving that the consciousness can go beyond the rubric of psychological triggers in mind. The sole aim of both was to uproot the inherited tendencies of the mind to reel from stark images and provocative gestures. She sought to cultivate in the audience a sense of indifference in order that one may reach a virtual catharsis what with all the sharp and strong representations between the body and suffering. For artists like Marina Abramovic, it is clear to them that what they are performing, and while in the act of performing, there is a higher purpose that they wish to achieve regardless of the methods by which these are made possible. They have a firm understanding and appreciation for every act and gesture that they make. None of such are done without rhyme and reason. For artists like Marina Abramovic, everything that happens during any performance, in spite of the harsh opinions of critic that meet them right afterwards, makes a lot of sense. However, audiences who see and react to these artists do not enter, much less share the beliefs and values, or with prior knowledge of what will transpire, with that of the artist. When asked about the origins of her creativity and ideas for her art performance, Marina Abramovic happily recalls her childhood memories with her parents. As if to show indeed that her style was a result of previous life experiences that may be susceptible to a psychoanalytical reading, she narrates: â€Å"A long time ago I made a piece called Art Must Be Beautiful, Artist Must Be Beautiful. At that time, I thought that art should be disturbing rather than beautiful. [†¦]My life is full of such contradictions. [†¦] My father and mother are divorced. As an adult, I recently wanted to go back to help them because of the war. With the embargo, there is nothing in the stores. [†¦] I called my father to ask him what he needs, and he dictates a long list antibiotics, bandages, penicillin, toilet paper, coffee, sugar, powdered milk, all these basic things for survival. Then I call my mother and ask what she needs. She says, I need Chanel lipstick, Absolute Red, Number 345, and hair spray. I am between these two. † (Abramovic, 2005) Most modern art, in this case, within the context of theatre, videos and live performances, fail to provide ample background reinforcement against the dominant traditions and systems of belief. What invariably happens is that the audiences will remain ignorant to, consequently, unappreciative of the complexities and undertones of the supposedly artful, meaningful and profound gestures. The audience, instead of sharing that same degree of catharsis, sacrifice and initiation, will shy away. They themselves are alienated from the performance so much that they are brought far afield the community, forcing them to abandon the art because of pure shock and horror, largely as a result of their ineligibility to feel as the artists do (Freeland, 2001). Damien Hirst, the ‘Britpack’ artist who sparked controversy in the 1990s with his motley display of macabre high-tech exhibits of â€Å"dead sharks, sliced cows, or lambs in glasses of formaldehyde, [†¦] has parlayed his notoriety into success with his popular Pharmacy restaurant in London† (Freeland, 2001). By no means, therefore, are the works that revolve around symbolisms, spirituality, humanity and fatalism seldom reflects the nature of most of our ritualistic traditions. Symbols of pain and suffering that are central to many religions, cultural systems, political and social units, may come off to the lay person as undesirable and may even cause the same panic as had the man in Marina Abramovic’s performance. Art performance that utilizes imageries that hint at violence, torture and distress, when it is performed in the public who has no inkling of its context, meaning and history are in danger of misconstruing art for capricious display of filth and tripe. As with all in theatre, the performer must work against mutual projection between audience and performer, the identification in which [we] believe so readily in the other as the keeper of our treasure and our disease (Tang, 2004). Valie Export, a similarly omnipresent and provocative figure in the world of art performance, shares the same problems of audience interaction, although not as much as Marina Abramovic. Beside art performance, her repertoire includes film, text, painting and photography to name a few. These avenues of artistic expression gravitate towards her criticisms for feminism and gender. A staunch activist and a progressive performer, she has oftentimes been called a woman living an anachronistic life. This is due to her revolutionary ways to present her ideas that even her colleagues, who without proper notice of her intentions to perform, usually end up dismissing her as too fanciful and idealistic. Her works on ‘Asemie or the Inability of Expressing Oneself Through Facial Expressions’ (1973) and ‘Touch Cinema’ (1968) garnered both fame and distress. Chief of the reasons that contributed to an admixture of reception from the critics and audience is the fact that her ideas do not create strong meaningful associations that the people can readily identify with. Humor and parody may be part and parcel of her work as a performer, but these effects are not what she contemplated to be so. Indeed, while she wanted to catch the attention of her spectators, her ultimate goal is to instruct them of the subtle messages regarding feminism, modernism and ritual art. Export, along with the controversial artists at the turn of the 21st century, became (in-)famous in the recent decades because of her startling presentations of objects and her body (Mueller, 2004). Of her earlier works, ‘Aktionshose: Genitalpanik’ or ‘Action Pants: Genitals in Panic’ (1968), Export engaged the audience, piquing their imagination and belief, with a series of photographs, simultaneously permitting them to engage her as the tangible representations of the images presented in the collage. In an art theater in Munich, dressed to the nines, with the crotch cut out of her pants, Valie Export threaded each row person-to-person, showed her outfit thereby giving the film-viewing public with a palpably visual representation with a real female body. In doing so Export tackled the pornographic reduction of women in static representations just when ideas of feminism and gender were starting to develop during that time. Her message is commensurate to a direct, unapologetic, political affront to the abstract objectification of the female body as a fetish. She moved an aesthetic gesture beyond the representational context of the safe boundaries of art into an actual encounter with a public. Export effectively brought to the fore the various dimension of simple, albeit arresting, bodily gestures â€Å"both to produce and to represent action [. . . ] by stressing the moment and the process of its own production† (Stiles, n. d. ). Export repudiated the representational static sign and discharged an interventionist act by revealing her yonic-self to the public vis-a-vis the photos on the display. Art performance, in the recent decades since its entrance in the mainstream, has, and is continuing to encompass a wide field of human proclivities which spans across a whole, comprehensive range of emotions, symbols and design. Although traditional views on aesthetics and taste still influence much of the productions in the art, more and more innovative, socially-informed, stunningly beautiful works of art performance are being (re-)invented and (re-)discovered every time. It doesn’t matter whether these newly created art forms subscribe to tradition or to the taste of the general public. What matters most is the never-ending quest to plumb the full extent of our humanity as individuals and as a community. Art performance is yet to supplant, at least equal the popularity of video-films, cinema, photography and painting in terms of the instances that these are demanded by the public. But with the works of Marina Abramovic, Ulay, Damien Hirst, Valie Export et al and their boundless passion to break the mold and stun the public to enlightenment, art performance can be considered as a significant cornucopia of art studies and of artistic expression. A number of critics do give favorable comments to Marina Abramovic’s performances and ingenuity, Valie Export’s live photography sessions, Hirst’s â€Å"gleaming vitrines with suspended animals inside† (Freeland, 2001). However, it must be noted that even if the critics find them beautiful and artful still its startling content warrants full attention; nothing short of shallow and pedantic in all respects of praise and criticism. Freeland writes, perhaps disinterestedness has some small and specific role in approaching difficult art by enabling us to try harder to look at and understand something that seems very repugnant to the senses (2001). The work’s content and the artist performing are just as crucial as the theories that surround art performance. It is not so much as merely an arbitrary act done through the caprice of a strange art performer. It is instead, a manifestation of our natural tendencies, our history, our sense of taste and what is beautiful, our entire spirituality and lastly, our consciousness set against the body as a tool to perceive reality. Art performance as practiced by these artists is a celebration of the body and of our community. An excellent performance and performer do more than take the audience to elevated heights, but also give them a sense of being truly and undeniably alive. And such, makes all the difference. References Abramovic, M. (2005). Marina Abramovic: the biography of biographies. New York London: Charta Publishers. Abramovic, M. (1998). Artist body: performances 1969-1998. New York London: Charta Publishers. Freeland, C. (2001). But is it art? : blood and beauty. New York: Oxford University Press, Inc. Mueller, R. (1994). Valie Export: fragments of imagination. Bloomington and Indianapolis: Indiana University Press. Stiles, C. (n. d. ). Aktionshose: genitalpanik (action pants: genital in panic). Retrieved January 15 2008, The Galleries at Moore database. Tang, A. (2005). Gazing at horror: body performance in the wake of mass social trauma. (Masters of Arts program, Rhodes University 2005). .

The Merchant Of Venice As A Romantic Comedy - Critical Analysis :: Free Merchant of Venice Essays

We can trace the origin of Comedy to Dionysis- the Greek God of Wine who was hilarious, satirical and irreverent in spirit. Ben Jonson in ‘Volpone’ (1605) that is considered to be the greatest comedy in English epitomized the classical spirit of comedy. Shakespeare was aware of the classical tradition by the chose to follow the Roman tradition of Petrarch and Boccacio. Shakespeare’s early comedies were classical in spirit but the later ones were more emotional, fanciful and humorous. ‘The Merchant of Venice’ falls between there two categories. It leads the list of mature comedies; has more Romantic characteristics than classical. It is also one of the earliest productions of the middle period. In this play Shakespeare seems to have obtained the highest use of his powers as a playwright, his faculties as a poet and philosopher seem to be approaching their grand maturity without losing the ardor and hopefulness of youth. There is loftiness of thought and expression. Romance was an old tradition and Romantic ideas were common during Shakespeare’s time. Romantic Comedy in the 16th C was meant for the Aristocracy and the comic relief in the plays was meant for the groundlings. There were many differences between the Romantic Comedies and classical comedies. In the classical tradition, the characters were presented with ruthless force and the plays were realistic, spiritual and critical. But in Romantic comedies that Shakespeare wrote there was plenty of with but there was also an appeal to the emotions rather than the intellect and they were also less critical in purpose. Like Meredith said, they are â€Å"thunders of laughter clearing the air and heart.† It is a comedy of emotions, which wins the audience’s sympathy with the woes and exhalations of the characters. The various characteristics of Romantic comedies are present in ‘The Merchant of Venice’. The leading themes of most of these plays were Love and Friendship. These comedies were an exposition of Love and its manifold modifications. And on one level ‘The Merchant of Venice’ is also a play about friendship and love. In the first scene itself Antonio displays the nature of love and friendship that he feels for Bassanio, â€Å"My purse, my person, my extremest means Lie all unlocked to your occasions.† The love of friendship seems to dictate most of Antonio’s actions. He signs the Flesh Bond and it can be seen as the ultimate gesture that he can make for the sake of friendship.

Altruism Essay

The statement â€Å"People never intentionally act to benefit others except only to obtain some good for themselves† is often described as Altruism or an Altruistic act. This statement is not entirely true. It is possible for someone to intentionally act to benefit others, but this is something that does not happen very often. There are multiple theories as to why people do and do not perform altruistic acts. If someone is a member of your family you are more likely to help a person in need, if you feel sympathetic towards someone you are likely to help a person in need or if it is a social norm you are likely to help them. If in a certain situation helping someone is not a social norm then you are less likely to help this person. Even if someone wanted to perform an altruistic act it is very difficult to do so in our society because we reward people who we perceive to be good, or to have done good things. If you perform an Altruistic act towards a member of your family would be acting within Hamilton’s kin selection theory (1960s). The kin selection theory which states that you are much more likely to perform an altruistic act if the person you are helping is a member of your family. An example of this is recently in Melbourne there was a wall collapse. Three people died as a result of this incident; a woman in her thirties and an eighteen and nineteen-year-old siblings, the older brother and his sister. The older woman died upon impact, as did the brother, but only after he shielded his sister from the collapsing wall. His sister also died later in hospital. (ABC News, 1st April 2013) This is an example of the kin selection theory. Instead of doing what benefited himself, he tried to save his sister, despite it having dire consequences. This would be considered an act of altruism as it did not benefit him, and in this case even had negative consequences, especially as his sister later died in hospital. Another reason people perform altruistic acts is out of sympathy. Sympathy is a natural feeling of concern for a person. Even if you can’t relate to the person you feel bad for them, or concerned for them. An example of someone feeling sympathetic is Julio Diaz, who when a mugger came up to him one night with a knife he handed over his wallet without complaint. When the mugger went to walk away he stopped him and offered him his coat as well, saying he didn’t want the mugger to get cold. He then continued to offer to buy the mugger dinner. (Huffington Post, 17th November 2011). Diaz obviously felt sympathy towards the mugger, or he wouldn’t have given over his wallet, jacket and paid for his dinner. Diaz ended up getting his wallet back from the boy who handed it over after they had eaten. Diaz felt sympathy towards the boy due to the fact that the boy had almost nothing, where as Diaz had enough money to comfortably live. Sympathy makes people feel like they have a moral obligation to help someone in need – the person they feel sympathetic towards. – Sometimes people help others because it is considered a social norm. An example of this is saying please and thank you. This is considered normal in most societies and it is often frowned upon if you don’t use these. A social norm is something people often take for granted and a lot of people are shocked when someone doesn’t follow what they consider to be normal. Another example of a social norm in our society is to wear clothes in public. If you were walking down the street and you say someone walking towards you naked you would not think this was normal. You would wonder why they were naked and often avoid walking to close to, making eye contact with, or speaking to this person. If you were in some traditional aboriginal culture you would wear nothing but animal skin, or even walk around naked. This is/was considered a social norm within that society. There are some internationally recognized social norms, like not engaging in cannibalism, and dressing modestly. While not all societies, past or present, follow these social norms most of the world does. There are also norms within society, religion and individual families. A social norm in our society is mate-ship, not letting down your friends, family, or community. There are plenty of social norms in religion, such as in Christianity it is not exactable to love someone of the same sex. This is an example of a social norm that is slowly changing over time, as do most social norms. It was a social norm in Britain in the 1800’s that you attended church, where as in 2002 only 18. 6% of people in the United Kingdom attended church regularly. (Tearfund report, 2007) This is an example of how social norms change over time, and what we consider to be social norms at the moment may not be considered normal in 40,50,60,70 or more years. These things cannot be considered an altruistic act because you would benefit poorly from not doing these things, so it is good for you to say please and thank you, bringing it back to the first example. There are also plenty of things people do not do to help others because it is considered outside of the social norms. If you saw a drunk person on the street you probably wouldn’t help them because society has shaped us to think that these people brought the state they are in on themselves, therefore it is not our problem to help them once they are in this situation. Social norms can be beneficial, but they can also detrimental. Another instance where helping someone is not considered an altruistic act is if the act is mutually beneficial. This can cover a range of things, from the benefit to you being a smile from someone, to a bravery award. If you see a child drowning and you swim out and save them and when you get back their mother says thank you and buys you an ice cream then you are benefiting, the ice cream being the benefit. If while trying to save this child you drown you do not benefit in anyway, and this even has a negative affect on you. This would be an act of altruism because there is no mutual benefit. A benefit for you may be something as small as a good feeling inside, or a smile, but these are benefits of saving the child, there for there is mutual benefit. You walk away with a good feeling and maybe an ice cream and the child walks away with his life. A real life example of this is Don Richie, who lived just across the road from one of Australia’s most notorious suicide locations. It is estimated that Richie saved more than 160 lives in his lifetime. He received the title of Australia’s local hero in 2011(ABC Radio, 14th May 2012). This is something he got out of stopping these people commit suicide. Despite the fact that he had no knowledge he was going to receive this award when he started saving people, because he received this award it is not an act of altruism. Some would argue that even if he hadn’t received this award these would still not be acts of altruism, as he felt good about saving these people, and it made him a happier person. This is his benefit, making it mutually beneficial and not an act of altruism. People do act to benefit others, without obtaining good for themselves, but this is a rare situation. Whether the person wanted to obtain some good for themselves or not they almost always do, as acts of kindness are rewarded in most societies. While people can intentionally act to benefit others without obtaining good for themselves this almost never happens, simply because of the way our society is shaped.

Employer Associations & Modern Awards Essay

There have been substantial changes to modern awards over the years that employer associations have historically and are currently advocating. In this regard, issues such as penalty rates and flexibility stemming from employer association submissions have been researched and examined by (Sheldon & Thornthwaite 2013) portraying evidence that employer associations relatively prefer cost cutting and enhanced managerial prerogative as oppose to productivity. Entailed within this essay the key concepts such as penalty rates, managerial prerogative, flexibility and productivity will be discussed with particular focus the modern award reviews combined with an overview of Sheldon and Thornthwaite’s argument in summary and concurrence. According to (Boxall & Purcell, 2011) management goals are predominantly associated with cost efficiency, controllable flexibility, legitimacy and managerial power. It is these goals that evidently become the concern of relevant employer associations, as such they take on the role of combining, allocating and utilising resources in order to achieve organisational objectives. There have however been significant changes over the years regarding employer association involvement particularly seen over the course of the 1980’s. Employer associations aim to influence and negotiate with the Government of the day as well as tribunals in an effort to ensure that the mutual concerns of organisations are being met. (Sheldon & Thornthwaite, 2013) discuss key system issues with regard to employer associations mainly focusing on restricting union’s right of entry, penalty rates and other provisions incorporating aspects of substantive and procedural rules. Modern Award reviews primarily began in 2012, it is during this time that leading associations took the opportunity to not only push for more workable provisions but also to campaign for more substantial changes within various awards. Employer associations accounted for a large number of submissions to the tribunal on a broad range of issued in particular penalty rates, public holidays and flexibility. In the technical sense, penalty rates are a form of tangible benefit within the financial context which generally refers to those payments made to workers outside normal working hours. Regulator motivations for including penalty rates in modern awards as stated by (Sloane, 2014) are twofold: firstly, to compensate workers for work performed during what was historically known as ‘unsociable hours’ and secondly, to dissuade employers from operating within those hours. However,  as advocated by (Sheldon & Thornthwaite, 2013) the modern award reviews have ‘provided a forum for employers and their associations to escalate their campaign to the significance of penalty rates in industries operating during the traditionally ‘unsociable hours’, which is evidence that employer associations prefer to enhance managerial prerogative over productivity which is predominantly concerned with the cost of resources. The push for the examination of provisions regarding penalty rates has mostly been seen to affect the tourism and retail industries. Flexibility is made up of numerous components however, within in the context of the workplace involves thinking creatively about how working lives can be better structured to match individual and business needs (Job Access, 2012). Following the review of penalty rate provisions, amendments to the flexibility clause were sought after with particular attention paid to the manufacturing industry. Greater flexibility was requested in the taking and cashing out of annual leave in a further attempt to enhance cost cutting initiatives through control measures which ultimately leads to the underlying concept of elevated managerial prerogative. Managerial prerogative may be defined as management’s unqualified authority to exercise its discretion in certain areas under the belief that they have exclusive rights to make decisions and therefore resist any interference with that control (Storey, 1983). Sheldon & Thornthwaite make reference to managerial prerogative in the defensive context through aggressive industrial action which has historically been used as a means of strengthening managerial prerogative. The 2011 Qantas lockout serves as one of the most significant demonstrations of managerial prerogative through the organisations decision to engage in a lockout. As part of a wider push to entrench managerial prerogative employers were also seen to be engaging in aggressive bargaining strategies in order to escalate disputes with the intention of gaining access to arbitration which has an adverse affect on productivity. (Stewart, 2005) promotes the fact that there needs to be greater emphasis on productivity which forges greater efficiency and high trust work systems founded on flexible and fair employment. Productivity is the economic factor stemming from the adequate use of resources; productivity is essentially the measure of achievement through the amount of output that is achieved as result of the input predominantly referring to land, labour and capital as the key resources. Between penalty rates and productivity there is no association they are separated by the contexts of which they are defined. (AI Group, 2012) identify key problem areas within the Fair Work Act Review and state that it is ‘hampering productivity growth, workplace flexibility and competitiveness’ thus meaning that penalty rates do not influence productivity levels. (Sheldon & Thornthwaite, 2013) do make it apparent that employer association’s main concerns do in fact favour cost cutting and managerial prerogative rather than focusing on the importance of productivity enhancement. (Sheldon & Thornthwaite, 2013) further explored critiques from employer associations whose predominant concern was based on the fact that managerial prerogative was reduced through the increasing weakness of employer’ freedom to contract. (DEEWR, 2012) Released a report referring to more productive and equitable workplaces which disappointed employer associations thus further confirming productivity enhancement to be of no concern. It is clearly demonstrated that employer associations’ main concerns were that of cost cutting and managerial prerogative it is however, the amalgamation of all the relevant key concepts discussed that essentially equip organisations with a competitive advantage. The core concepts behind the submissions made by employer associations clearly obscure the importance of larger issues which further represents that employer associations prioritise the ease of managements working lives over that of the worker. Bibliography Australian Industry (AI) Group (2012), Applications to Vary a Modern Award – 2012 Review, Stephen Smith, Director – National Workplace Relations. Boxall, P and Purcell, J (2011), The Goals of Human Resource Management, Strategy and Human Resource Management, 3rd Edition, Palgrave Macmillan, New York, pp. 1-36. Department of Employment, Education and Workplace Relations (DEEWR) (2012), Towards More Productive and Equitable Workplaces: An Evaluation of the Fair Work Legislation, Australian Government. Job Access, Flexibility in the Workplace, Australian Government, Accessed 1st May 2014 Sheldon, P and Thornthwaite, L. (2013), Employer and Employer Association Matters in 2012, Journal of Industrial Relations, Vol. 55: No. 3, pp. 386-402. Sloane, J (2014), Pay Penalty Rates, but not Through Awards System, The Australian. Stewart, A (2005), A Simple Plan for Workplace Regulation, Industrial Law News, Issue 7. Storey, J (1983). Managerial Prerogative and the Question of Control, Routledge & Kegan Paul Publishing, London.

How to Write a Letter of Continued Interest

How to Write a Letter of Continued Interest The college admissions process can be cruel, especially to those students who find themselves in limbo because theyve been deferred or waitlisted. This frustrating status tells you that the school thought you were a strong enough applicant to admit, but you werent among the first round of top-choice candidates. As a result, youre left waiting to find out what your future might hold. On the plus side, you havent been rejected, and you can often take action to improve your chances of getting off the waitlist and eventually being admitted. What to Include in a Letter of Continued Interest Assuming the college explicitly states that you shouldnt write, your first step when you find that youve been deferred or waitlisted should be to write a letter of continued interest. The tips below can help guide you as you craft your letter. Address your letter to the admissions officer assigned to you, or the Director of Admissions. In most cases, youll be writing to the person who sent you the waitlist or deferral letter. An opening such as To Whom it May Concern is impersonal and will make your message seem generic and cold.Restate your interest in attending the college, and give a couple of specific reasons  why  you want to attend. Is there a program that excites you? Did you visit the campus and feel the college was a good match? Does the college line up with your professional and personal goals in a specific way?If the college is your first choice school, dont be shy about telling this to the admissions committee. When colleges give offers of admission, they want students to accept those offers. A strong yield  makes the school look good and helps the admissions staff meet their enrollment goals efficiently.Let the college know if you  have new and significant information to add to your application. Since you originally applied, did you get new and better SAT/ACT scores? Did you win any meaningful awards or honors? Has your GPA gone up? Dont include trivial information, but dont hesitate to highlight new accomplishments. Thank the admissions folks for taking the time to review your application materials.Make sure you include current contact information so that the college can reach you. Waitlist activity can occur in the summer, so make sure the college can contact you even if you are traveling.   To see what an effective letter might look like, here are a couple of sample  letters of continued interest. Notice that they are not long. You dont want to impose too much on the time of the admissions staff. What to Not Include in a Letter of Continued Interest There are various things you shouldnt include a letter of continued interest. This include: Anger or Frustration: You may feel both of these things, but keep your letter positive. Show that you are mature enough to handle disappointment with a level head.Presumption: If you write as if you are assuming youll get off the waitlist, you are likely to come off as arrogant.Desperation: You wont be improving your chances if you tell the college that you have no other options, or that youll die if you dont get in. Highlight your continued interest, not your unenviable position on the waitlist. General Guidelines for a Letter of Continued Interest Make sure the college accepts letters of continued interest. If your waitlist or deferral letter states that you should send no further materials, you should respect the colleges wish and show that you know how to follow directions.Send the letter as soon as you learn that you have been deferred or waitlisted. Your promptness helps show your eagerness to attend (demonstrated interest is essential!), and some schools start admitting students from their waitlists soon after creating lists.Keep the letter to a single page. It shouldnt ever take more space than that to state your continued interest, and you should be respectful of the busy schedules of the admissions staff.A physical letter isnt always the best option. Read the admissions website to see if the college tends to ask for materials electronically or physically. An old-school paper letter looks nice and is easy to slip into an applicants physical file, but if a college is handling all application materials electronically, som eone will have the inconvenience of scanning your paper letter to include it in your file. Attend to grammar, style, and presentation. If your letter of continued interest looks like it was dashed off in two minutes and written by a third-grader, youll be hurting your chances, not helping them. A Final Word Will your letter of continued interest improve your chances of getting in? It might. At the same time, you should be realistic. In most cases, the odds of getting off a waitlist are not in your favor. But when a college does turn to the waitlist, or when the school looks at the general applicant pool in the case of deferral, demonstrated interest matters. Your letter of continued interest is no magic admission bullet, but it certainly can play a positive role in the process.

Understanding Sender Parameter in Delphi Event Handlers

Understanding Sender Parameter in Delphi Event Handlers Event handlers and the Sender procedure TForm1.Button1Click(Sender: TObject) ; begin    ... end; Button1Click OnClick event The parameter Sender references the control that was used to call the method. If you click on the Button1 control, causing the Button1Click method to be called, a reference or pointer to the Button1 object is passed to Button1Click in the parameter called Sender. Lets Share Some Code For example, suppose we want to have a button and a menu item do the same thing. It would be silly to have to write the same event handler twice. To share an event handler in Delphi, do the following: Write the event handler for the first object (e.g. button on the SpeedBar) Select the new object or objects - yes, more than two can share (e.g. MenuItem1) Go to the Event page on the Object Inspector. Click the down arrow next to the event to open a list of previously written event handlers. (Delphi will give you a list of all the compatible event handlers that exist on the form) Select the event from the drop-down list. (e.g. Button1Click) OnClick procedure TForm1.Button1Click(Sender: TObject) ; begin    {code for both a button and a menu item}    ...    {some specific code:}    if Sender Button1 then   Ã‚   ShowMessage(Button1 clicked!)    else if Sender MenuItem1 then   Ã‚   ShowMessage(MenuItem1 clicked!)    else   Ã‚   ShowMessage( clicked!) ; end; Note: the second else in the if-then-else statement handles the situation when neither the Button1 nor the MenuItem1 have caused the event. But, who else might call the handler, you could ask. Try this (youll need a second button: Button2) : procedure TForm1.Button2Click(Sender: TObject) ; begin   Ã‚   Button1Click(Button2) ;   Ã‚   {this will result in: clicked!} end; IS and AS if Sender is TButton then   Ã‚   DoSomething else   Ã‚   DoSomethingElse; Edit box procedure TForm1.Edit1Exit(Sender: TObject) ; begin    Button1Click(Edit1) ; end; {... else} begin    if Sender is TButton then   Ã‚  Ã‚   ShowMessage(Some other button triggered this event!)    else if Sender is TEdit then   Ã‚  Ã‚   with Sender as TEdit do   Ã‚  Ã‚  Ã‚   begin   Ã‚  Ã‚  Ã‚  Ã‚   Text : Edit1Exit has happened;   Ã‚  Ã‚  Ã‚  Ã‚   Width : Width * 2;   Ã‚  Ã‚  Ã‚  Ã‚   Height : Height * 2;   Ã‚  Ã‚  Ã‚   end {begin with} end; Conclusion As we can see, the Sender parameter can be very useful when used properly. Suppose we have a bunch of Edit boxes and Labels that share the same event handler. If we want to find out who triggered the event and act, well have to deal with Object variables. But, lets leave this for some other occasion.

HIPAA Research Paper Example | Topics and Well Written Essays - 1750 words

HIPAA - Research Paper Example In such a situation Congress realized the requirement of security and privacy standards for the healthcare industry in order to avoid any misuse or abuse of electronic technology (History of HIPAA, n.d). Hence HIPAA was introduced to promote health insurance coverage for both individuals and groups, ensure better security and privacy, promote the use of medical savings account, make long-term services more accessible, and to frame standards for better administration and safer use of electronic technology in the healthcare industry such as the implementation of the national provider identifier (Overview of HIPAA, 2008). The HIPAA was signed by President Clinton on July 21, 1996 in lieu of several security, privacy and abuse in the healthcare industry. HIPAA guaranteed health insurance to all Americans and ensured simplification of administrative process in healthcare in order to increase the effective delivery of healthcare to all people. Additionally the security and privacy of healt h information was also protected under the act (Security and Privacy, 2001). The use of electronic technology in healthcare had vastly expanded during the 1990s. ... These privacy and security rules apply to three groups of covered entities (CE): health care provider, health plan and healthcare clearinghouse. The healthcare provider group includes health care service providers and suppliers who use the electronic form for transactions and other health care information such as doctors, clinics, psychologists, dentists, chiropractors, nursing homes and pharmacies. The health plan group includes individuals or groups that provide and pay for health care plans such as health insurance companies, HMOs, company health plans, Medicare, Medicaid, military and other health programs offered by the government. The healthcare clearinghouses include both public and private entities that receive non-standard health information and convert them into a standard content or vice versa (Privacy and Security, n.d; Security and Privacy, 2001). The HIPAA standards will also indirectly apply to business associates or partners of a covered entity such as software provid ers and other third party vendors (Privacy and Security, n.d). The standards devised by the HIPAA for the transactions carried out in the electronic form need to the adhered to by the CEs (Security and Privacy, 2001). The HIPAA standards include transactions and code sets, privacy and security and national provider identifier. The entities that comply with the HIPAA standards are required to use the same health care transactions, code sets and identifiers. The HIPAA standards for electronic data interexchange (EDI) is applicable to claims and claim status, encounter information, payments and remittance, inquiries, referral certification and authorization, enrollment or disenrollment in a health care plan, premium payments,

Practical Implication of Balance Scorecard on Essay

Practical Implication of Balance Scorecard on - Essay Example In their studies, they described the balanced scorecard as a management system for strategic planning that enables both profit and non-profit-organisations to state clearly their visions and underlying strategies and then transform them into actions. Smith (2005) in his studies described the balanced scorecard as a performance management tool that is used by organisations to align their activities along with their strategy and vision, secondly, to improve external and internal communication of the organisations and thirdly to monitor performance against the sets goals/ objectives. The report will use the Apple Inc as the case study and it is of essence to note that Apple Inc is largely an information and technology company that mainly specializes in designing, manufacturing, and selling of computer hardware and software, and consumer electronics such as personal computers, phones and television pads, among others. The company presently, has its headquarters at the state of California in the United States of America but it has a wide branch network of over 300 stores located in 14 countries across the world. According to OGrady (2008), Steve Jobs, Steve Wozniak, and Ronald Wayne originally formed the company in 1976 and by 1980; the company marked a major milestone by being listed at the stock exchange. Mr. Arthur Levinson as the chairperson currently heads Apple Inc while Mr. Tim Cook is the chief executive officer of the company. The critical analysis of the critical implications of the balanced scorecard in Apple Inc will help to explain how the management system contributed to the company’s current success and how it intendeds to further propel the company into greater success. The charts below demonstrate how each of these products and others performs or sells in the market in terms of the revenue they generate, and the revenue generated by the company from different regions or markets where it has