Mutiny in the Manufacturing Department Free Essay Example, 1000 words

In addition to that, Deontology would also put emphasis on another aspect of Alan’ duty, namely his responsibility to nurture a good specialist. Indeed, as it is stated in the case study, it is quite obvious that if Bob had been allowed to make that mistake, he would have understood the fallacies in his thinking and would have improved as a professional. That is why Alan should have left that happen as being a lead supervisor one of his responsibilities is to train ordinary supervisors. So, in case he decides to support Coot, he will deprive Bob of a valuable lesson and, possibly, not let him enhance his skills. Since this is contrary to his duty, this should not be permitted. It may be particularly beneficial to engage a different ethical theory in order to make the analysis more objective. Thus, from the point of view of Utilitarianism, the situation in question should be evaluated, taking into account the benefit that each of the parties receives. It is beyond any doubt th at missing a deadline, loosing a major customer can hardly be outweighed by the possibility of professional development of a single employee. We will write a custom essay sample on Mutiny in the Manufacturing Department or any topic specifically for you Only $17.96 $11.86/pageorder now Moreover, if a company completes the order on time, satisfies the customer by doing so, enhances it reputation, prove competence of a veteran employee, all this in the long run will outweigh the negative consequences of not letting an inexperienced supervisor make a mistake. What is more important is that a simple assessment of the situation will show that more individuals will benefit from the outcome when Alan supports Coot than otherwise. Indeed, in this case the individual parties that will benefit are Alan, since he will not have any negative situation on his record, Coot, since he will prove himself as a true veteran, other employee who were engaged in completion of the order, as they will not be punished for not meeting the deadline. The only person who will suffer from negative consequences is Bob since he will be deprived of a chance to make a mistake that would teach him experience. On the other hand, if Alan chooses to support Bob, the la tter will be the only person to benefit from it. As one can clearly see, Alan should choose the approach which is provided by Utilitarianism. The major reason for doing so lies in the following: in spite of the fact that work should also be a place where one grows personally, individual and professional development should not come at cost of other people suffering or financial losses. Indeed, making mistakes is a part of development; however, it is clear that sometimes the positive knowledge that is gained through a mistake can hardly overweigh the negative experience that is brought by a mistake.

Dropping Out Of School Is More Common Than People Think

Introduction Dropping out of school is more common than people think because about one third of high-school freshmen do not graduate on time (Sweeten, Bushway, Paternoster, 2009). It is important to understand that dropout rates are higher for racial minorities, where 22 percent of non-Hispanic white youths dropped out of school and as for Hispanics 47 percent dropped out and African Americans 44 percent (Sweeten et al., 2009). Just from dropping out of school most dropouts will averagely make about 16,500 dollars a year as for having a diploma will have better chance of starting off about 26,000 dollars a year (Sweeten et al., 2009). Besides these low pay rates it is extremely important to comprehend that dropping out of school has a†¦show more content†¦It is community’s job to help build awareness that getting a good education may possibly lead to a great job and lower crime rates. By just simply helping kids who are struggling academically can potentially help th em get through school and keep them out of trouble. Its can sometimes be seen as students who are behind academically may get less attention and they may feel that its just easier to give up (Sweeten et al., 2009). Literature Review In 1938, Robert K. Merton came up with strain theory (Schmalleger, 2014). Strain theory states that social structure within the community can cause people to commit a crime (Schmalleger, 2014). Strain can lead to crime because it can be used as a coping mechanism because people can set a tough unrealistic goal that they cannot meet (Schmalleger, 2014). Having goals like wealth, status, and personal happiness are great to have but there are things a person must posses to have these such as an education, hard working and financial savings (Schmalleger, 2014). With these goals and not having these traits can increase strain on a human and they can change as a person (Schmalleger, 2014). Just like dropping out of school can be connected to strain because being academically to far behind can pressure a student to just take the easy route. Having poor academic abilities can get in the way of earning a high school diploma because the impact of strain it has on a student th ey might just

Fashion Branding Free Essays

Dry. Hang Fashion brands in the Market place The Market place of MAC was solely built on the networking and the relationships the previous owners Frank Token, and Frank Angelo had with people in the fashion industry. The owners were tired of seeing makeup products that couldn’t sustain the abuse of studio lights so they decided to make a quality makeup company. We will write a custom essay sample on Fashion Branding or any similar topic only for you Order Now Frank Token was the idea behind the original project making formulas with his brother-in- law Victor Casual who was also a chemist (Evelyn, 2009). Frank Angelo came along to kind of help with the entrepreneurship aspect of the company, and they hit it off after that. Since both of the franks were already in the makeup, and hair industry they knew a lot of people that they could network their new makeup products too. Like I also mentioned before they were the first cosmetic line to offer a wide range of color lipsticks, most companies were mainly focused on skincare and facial products. MAC cosmetics were originally made for people in the high fashion industry, and were later pushed towards any and everybody in the fashion and keep industry (Evelyn, 2009). In 1986 MAC was styling fashion looks one being the concept of bald brides in Toronto fashion shows (Upgraded). In 1988 Henry Bended in New York was the first department store picking MAC’s cosmetics , followed by a 1994 campaign of â€Å"Who is the M. A. C girl† starring Our Paul nearly raising $1 million for their M. A. C AIDS fund. All this leads to MAC’s participation in their first New York fashion week with fashion designer Amateurs (Upgraded). MAC was also featured in one of the biggest fashion magazines Vogue in 1994 for the first time. That first New York fashion week runway then lead to MAC sponsoring over 850 shows, spread across 47 New York fashion week by 2012. By 2007 MAC’s AIDS fund raised over 236 million dollars with the help of celebrities such as Mary J. Bilge, Ill Kim, Nick Mina], Lady Gaga, and Rick Martin. We love the idea of being able to champion and solidify a strong point of view for the next generation,† says an Est ©e Lauder executive. â€Å"We’re a makeup-artist brand, and we’re inspired by the runway?it’s very organic. † said Esteem’ Lauder executive (Upgraded). One of MAC’s biggest introduction of endorsements were led by the likes of Pamela Anderson, Boy George, Debbie Harry, and other big stars in the ass’s this led to the company’s growth in the industry and marketplace (Evelyn,2009). How to cite Fashion Branding, Essays

Changes in Music free essay sample

Opera was no longer a luxury afforded only by the aristocracy, it was now open to the general public, who went to hear the beautiful arias in particular. The previous musical style had been quite simple. The arias in Cassinis Eel Uneven Masque are characteristic of the style that was present at the beginning of the seventeenth century. Canine himself named them Cantonese a us did aria, which suggests a relationship between the poetry and the music. The poems are all strophic and they are set for solo voice along with a continuo accompaniment.They have quite a lot of ornamentation. The strophic aria was common during the first half of the seventeenth century. The majority of them were In a recitative style but some of them made use of regular rhythmic patterns. Most arias from Venice before 1660 are in either triple time or a mixture of triple and duple, and they had four or more verses. The vast majority of them had a continuo accompaniment, along with instrumental riotousness between verses. These arias in which instruments would appear between verses or accompanied the voice were known as aria concentrate.They first appeared in the 1 asss and grew in popularity a little as the century went n, although they did not come into prominence until the time of the opera series. They tended to be accompanied by the strings and the continuo, sometimes with an added trumpet. In Italy especially, the aria became the supreme expression of musical style and development. During the first three quarters of the century, Venetian opera became the catalyst for the development of Baroque musical styles and by the end of the century, opera had become the most important form of musical expression all over Europe, including places such as Germany.It was usual practice to have approximately twenty-four arias in an opera during the first half of the seventeenth century, but due to the pu blic demand for arias, it was now common to have up to sixty arias in any given opera. Composers and librettists thus needed to respond to the demand for arias and recitatives. They rose to this challenge by writing their verses in such a way that made them more suitable for arias, and whenever the dialogue or the scene provided an opportunity, composers would write aria-Like lyrical expansions. 4 Strophic arias, in which a number of verses were sung to the same music, However, times were changing.Previous to this, the focus of the aria had been on the Norms, and the music was composed to add dramatic effect to the lyrics. But now composers were becoming much more inventive with their own music. Their concern for the form of the music was beginning to outweigh their concern for the drama. They began to care less and less about the poetry and they were discovering purely musical ways to dramatist and define the aria. They became much more aware of Nor painting and of composing the music so that the theme would be evident. Thus the themes became much more substantial and original.This became noticeable particularly around the sasss. The previous triple time which had been favored, Nas now being replaced with common time. More and more frequently, the continuo Mould begin a theme, which would be repeated by the vocalist and then the two Mould engage in a simple form of counterpoint. However, sometimes it was the voice that began, and it would begin with a dominating fugue which the entire aria was then based on. This was known as motto aria and was common in the sasss and the sasss. Composers were beginning to feel that the strophic aria was too long.They felt that it was sufficient to repeat particular lines of the poem a number of times, instead of having long verses. They now turned towards a different form of aria, Inch consisted of one strophe with an integrated musical repeat. The first and second half of the poem would have separate pieces of music, but then the first half Nas repeated again. This produced an ABA form, which came to be known as the dad capo aria. This form of aria became by far the most frequently used and by 1680 had gained a position of dominance, particularly in Venice, which was still the centre of peer.It was the culmination of a long search for strong musical character and was perfect for musical drama, as although they tended to be quite short, each section Nas exactly the right length to sufficiently portray the emotion of the piece. The majority of arias during this time period were based on rhythms from the march, segue, serenade or minuets, although there were also others that were based on station bass patterns and instrumental retelling. Towards the end of the century, the running bass accompaniment was also used, which consisted of eighth notes laded in a flowing movement.When one is studying the development of the aria and the recitative from this period, there is one opera that cannot be overlooked. It is, of course, Poppa by Monteverdi. This opera marked a definitive step In the establishment of modern opera6. Monteverdi shows strong evidence of being influenced by contemporary dramatic style. There is practically no sign of the chorus. Arias and recitatives, along Ninth madrigal style duets, make up the majority of the opera. He demonstrated through the music a strong sense of passion and drama.He refused to confine myself to the typical rules and conventions of composers at the time. Instead, he focused himself fully on each dramatic spectacle and wrote the music accordingly. He employed the recitative as the main source of drama and emotion, with the aria simply sustaining the power that had already been portrayed through the recitative. The word recitative literally means to recite and is essentially a form of sung dialogue. A rough form of recitative was around as early as 1626, but it only became clearly defined during the seventeenth century.The general style of the recitative has en compared to Greek music, psalmists chant and the singing of poetry to standard formulas, as stated by Claude V. Papilla. However, it is like none of these, as it focuses strongly on the meaning of the poetry which it is attempting to convey. Before the year 1650, the recitative was employed to portray the moment of the most passion and emotion. However, throughout the course of the seventeenth century, the aria became more dominant and the recitative was used as a kind of prologue to set the scene.It was based on choral harmony and controlled dissonance, and it allowed the natural rhythmic inflections and accentuations of speech. Its magic was in the fact that it was at times free form and at times controlled by harmony and measured rhythm. It was Peer who came up with the idea to try freeing the voice from the accompaniment both rhythmically and harmonically, yet still retain a sense of musicality and coherence. He desperately wished to discover a compromise between the sustained, measured fluidness of song and the quick, natural inflections of speech. He employed word painting to portray particular emotions and feelings.For example, if he wished to convey despair, he reached for a higher pitch, while if he Noshed to portray death or depression, he made use of the lower register. In comparison to this, Cassinis version of the recitative was much sweeter in tone and they were often separated by arias. Monteverdi recitative closer to the style of Perils, as he focused on the natural speech inflections of the poems. The main pauses took place at irregular intervals of time, although he maintained a more continuous line and rhythm than Perl. He also chose many dissonant tones in order to better convey he emotion of the words.This harmonically diverse, melodically expressive8 recitative gave way to a number of different conventions by the end of the seventeenth century. This carefully notated rhythmic form of recitative was replaced by a quicker form, which consisted mainly of quavers, with added semiquavers and crotchets occasionally. Recitatives were nearly always sung by a solo singer. There Nerve a few odd occasions, especially towards the end of the seventeenth century, in Inch recitatives in two parts could be found, but these were extremely rare and not at all common practice.There were noticeable differences between the styles of recitative in Italy, France, Germany and England. The French form of recitative was based around loose, free rhythmic patterns, as it was modeled on the spoken theatre of the time. The Italian recitative was strongly accentuated at punctuation marks and had a less flowing melodic style than the French form. The German recitative was largely based on the historian, which involved chanting biblical text. Finally, in England, the recitative was closer to the arioso than it was to any of the other styles of recitative that were merging from the other countries.Changes of mood and feeling through the striking harmony and rhythm. There were two particular types of recitative emerging, the recitative simple, later known as the recitative cosec and the recitative obbligato, later known as the recitative accompanist. The former was accompanied by a basso continuo and attempted to portray the piece as speech like as possible. The latter made use of other features, such as an orchestra to help dramatist particular moments and punctuate phrases. Ere orchestra tended to sustain chords or play scales and short melodic fugues.In France, Lully was perfecting his own style of recitative. This also had two particular forms. The first was the rcitation simple, which involved shifting the meter between duple and triple time. The other form of recitative was the rcitation measure, which Nas a little bit more song like and had a measured, deliberate accompaniment. As Claude V. Papilla states, consonant, rapid, speech like recitative delivered the exposition necessary to the presentation of the next attractions, be it lyrical aria, chorus, or dance. The recitative became the method in which to convey the dialogue. E dryness of the recitative lent prominence to the arias. A good example of a typical opera from this time period was Glancing Felicia by Carlo Francesco Pollard. It consisted of a clearly separated recitative and aria, each of these following the established conventions. The dialogue is in plain recitative Introit Melissa or other such variations. We can witness the start of the aria through the shift to rhymed, steadily rhythmic verse, and the arias are almost always found at the end of scenes. In conclusion, I believe that the seventeenth century was a time of great change n music, particularly in opera.