Bank of America Essay

In a workplace where multiculturalism exists is a diverse and successful workplace. Diversity helps workers and customers to do business freely because majority of customers are comfortable to communicate with people from their own culture. Pacific City Bank a financial company, which is not a diverse bank, has employees from only one culture and this has made way for customers from the same culture to be comfortable to do business with them. From the higher level C.F.O to the vice president of the company everyone is from the same culture. It is positive fact for the customers from the same culture to feel comfortable to communicate and have safety when doing business, but there are many negative effects of not having diversity in a workplace. When your doing business in a multicultural country, it is not viable to stick to doing business only with one culture, as the potential of the company cannot be reached. Customers from other cultures would not be comfortable to do business, a s they cannot understand their language or might feel out of place to do business. Whereas Wells Fargo another financial company, which is majorly known for diverse workplace has more benefits compared to Pacific city bank. Customers are more comfortable to bank with Wells Fargo, as they feel comfortable with the choices of diverse people available to communicate with. Wells Fargo’s main goal is to make their customers comfortable while banking with them. By hiring diverse employees, their workers will understand basic methods on how to act in front of another employee or customer from different cultures. Wells Fargo respects other cultures and policies. The company’s council including the Chairman, C.E.O and other senior leaders meet quarterly to establish goals and set up directions when partnering with committee in the areas where there is diversity and market segment diversity. They ensure there is supporting infrastructure and inclusion- related behaviors as the â€Å"work of all† versus the â€Å"work of a few†.

Murder of Emmett Till Essay

Emmett Till was a fourteen year old boy who lived in Chicago. He was very outgoing and friendly with everyone he met. After his uncle, Moses (Moh-ss) Wright, came up to visit, he took Emmett and his cousin down to Money, Mississippi. Before he left, his mother informed him that life is very, very different for blacks in the South and the way he acted at home could not be the same as how he acted down there. He didn’t believe her warnings. As Emmett and his mother got to the train station Emmett ran for the train in haste as to not miss his ride. Mamie Till, his mother, yelled to him â€Å"Emmett, aren’t you gonna say good bye? What if I never see you again?† Emmett said, â€Å"Awhh mama.† Then he gave her a kiss on the cheek and handed her his watch so that she had part of him while he was away. She asked about his father’s ring and he said he was, â€Å"going to show it off to the boys† and was on his way without regard to his mother’s warnings. Money, Mississippi was just a stretch of road with a post office on one end and Bryant’s Grocery and Meat Market at the other. Bryant’s sold cool drinks to passing field workers and candy to the neighborhood children. So African Americans were often regulars. As Mamie had said, the south was like a whole other world compared to Chicago. In the south, when a white woman would walk down the sidewalk and a black man was walking towards her, he would have to get off the sidewalk and look at the ground because a black male can never look a white woman in the eyes. Blacks weren’t even allowed to enter through the front doors of white businesses. Moses Wright worked on a field picking cotton. He lived in a small shack on the plantation that he worked for. There were only three small rooms in the shack so everyone squeezed in to the available beds. Emmett had to sleep with his cousin in one room; Moses was in another and in the other room, Wheeler Parker, Emmett’s close cousin and the others. While there Emmet and his cousins would help Moses in the field. On August 24, the boys drove into town from the field and went in to Bryant’s Grocery to get candy and drinks. Emmett went in and purchased two cents worth of bubble gum and on the way out turned back to Carolyn Bryant, the wife of the owner of Bryant’s Grocery, and whistled to her. She was furious and ran out to chase the boys, so they got in the car and drove off to their uncle’s house. While driving home Emmett begged his cousins not to tell Moses of the events that occurred. After three days, the boys forgot about the whole scenario. On the fourth night, at about 2:30 am while everyone lay asleep in bed, Roy Bryant, Carolyn’s husband, and his brother J.W. Milam broke into the house. They went into the first room to find Moses sleeping and woke him, shinning a flashlight in his eye and holding a rifle to his head and asked where Emmett was. Moses pleads for them to leave the boy alone but they did not listen and went into Emmett’s room and kidnapped him. Days went by with no word, so as does most blacks when someone goes missing, they started to check around the Tallahassee River, to try to find his body. Days later, a young man fishing in the Tallahatchie reported Emmett’s body floating in the nearby weeds. When Moses went to identify the body, the only way he could verify that it was Emmett, was by his father’s ring that was on his finger. Both men were arrested and set to be tried in the Tallahatchie County Court in September of 1955 for the murder of Emmett Till. The friends of Roy Bryant and J.W. Milam as well as other white families collected money to buy every lawyer they could for the two. When it came to the trial the defenses main strategy was that the body could not be identified as Emmett Till. They claimed that Roy Bryant and J.W. Milam let him go alive. Any Black people that came forward with information for the prosecution mysteriously disappeared so most remained neutral to avoid having the same fate. The two men were acquitted and set free, Mamie Till sent to higher courts and even President Eisenhower, who all refused to investigate further. After the trail Roy Bryant and J.W. Milam sold their story about what they did to Look Magazine. They made Emmett carry a 75-pound cotton-gin fan to the bank of the Tallahatchie River and ordered him to take off his clothes. They beat him nearly to death, gouged out his eye, shot him in the head, and then threw his body in; with the cotton-gin fan tie around his neck with barbed wire, his body sank into the river. After the story was published and the government did nothing about it, Mamie Till and All African Americans in America, realized the magnitude of their predicament. They knew that their rights as humans were at risk. Thus, the murder of Emmett Till became renowned as the spark that began the Civil Rights Movement.

About Myself Essay

My academic career was not at all a bed of roses and as I am about to remind all the history of it then I am feeling very much nostalgic. The first hurdle which I can remember was appeared when I was in standard 1. At that time my mother had faced a severe accident. She was in bed for a whole year. At that time I was a kid and I was completely dependent on her so I was in severe distress. I had to study with the help of my father but he was also unable to give much time for me as the other responsibilities were on him completely.Then he decided to send me to a tutor’s house for my study. But what I should tell about that lady!!! She never used to give any time to me to complete my homework moreover her daughter used to give all her own homework to me to do. Every day in school I used get punishment for not doing the homework but as they also were aware about my home’s condition so they never used to give me any hard punishment. Gradually after a year my mom recovered an d I got back my good marks in all subjects.From then I have decided to become a tutor and decided to be polite and lovable and ideal for my every student. From the beginning of my career I was very much ambitious. I have done my schooling from Holy Child Girls’ High School till my 10th Grade and after that I have done my +2 studies from Patha Bhavan, Kolkata. Throughout my school life I was a very good student according to my teachers. After finishing my school I have done Physics Honours from Calcutta University. And finally I did my Master of Computer Application from West Bengal University of Technology.Finally before 4 years from now I have started my career as a software developer and also before that I have started my career as an online Mathematics Tutor. Right now I am enjoying both my career very much and also right now I am the head of my department of software developer and also I have achieved 4 awards for my performance as a Best Online Mathematics Tutor througho ut a particular academic year. I know it is just a start of my ambition and I have long way to go. Right now as I am trying to become an Online Mathematics Tutor for Tutor.com so my very next ambition is to become the best tutor in this company by maintaining my good work so that I can get appreciation from my students and from my company end also, because appreciation always give some boast up to do some better work. Also as a head of the software developers my next ambition in that field is to become the manager of the team. I always used to set short term ambitions and after achieving one I used to set the next because this will lead to the proper satisfaction and happiness.

Death in Prime Time

American Academy of Political and Social Science Death in Prime Time: Notes on the Symbolic Functions of Dying in the Mass Media Author(s): George Gerbner Reviewed work(s): Source: Annals of the American Academy of Political and Social Science, Vol. 447, The Social Meaning of Death (Jan. , 1980), pp. 64-70 Published by: Sage Publications, Inc. in association with the American Academy of Political and Social Science Stable URL: http://www. jstor. org/stable/1042304 . Accessed: 02/01/2012 20:34 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . ttp://www. jstor. org/page/info/about/policies/terms. jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email  protect ed] org. Sage Publications, Inc. and American Academy of Political and Social Science are collaborating with JSTOR to digitize, preserve and extend access to Annals of the American Academy of Political and Social Science. ttp://www. jstor. org ANNALS,AAPSS, 447, January 1980 Death in Prime Time: Notes on the Symbolic Functions of Dying in the Mass Media By GEORGEGERBNER ABSTRACT: The cultural (and media) significance of dying rests in the symbolic context in which representations of dying are embedded. An examination of that context of mostly violent suggests that portrayals of death and dying representations functions of social typing and control and tend, serve symbolic of on the whole, to conceal the reality and inevitability the event.George Gerbner is Professor of Communications and Dean of The Annenberg School of Communications, University of Pennsylvania. He is a principal investigator, along with Larry Gross and Nancy Signorielli, also of The Annenberg School, in the Cultura l Indicators research project studying television drama and viewer conceptions of social reality. He has been principal investigator on international and U. S. projectsfunded by the National Science Foundation, U. S.Office of Education, UNESCO, the International Sociological Association, the National Institute of Mental Health, The Surgeon General's Scientific advisory Committee on Television and Social Behavior, the American Medical Association, the HEW's Administration on Aging, and other agencies. He is editor of the Journal of Communication, and a volume on Mass Media Policies in Changing Cultures. 64 DEATH IN PRIME TIME 65 D YINGin the massmedia-both news and entertainment (a distinction increasingly hard to make) -has a symbolic function different from death in real life but investing life itself-with it-and particular meanings.We can begin to consider what these might be by reflecting on the nature of representation. A symbol system is an artifact par excellence. It is totall y invented to serve human purposes. It can serve these purposes only if those interpreting it know the code and can fit it into a symbolic context of their own. They must share the rules of the invention and the interpretative strategies by which it should be understood. Symbolic narrative, a story, has two basic elements of invention: fictive and selective. Selective invention is factual narrative such as news.Presumably true events (facts) are selected from an endless stream of events. A narrative is invented to convey some meaning about the selected facts as interpreted in a previously learned framework of knowledge. Fictive invention is fiction and drama; the â€Å"facts† are invented as well as the narrative. (Selection is of course involved in both. ) The function of fictive invention is to illuminate (literally to embody and dramatize) the invisible structure and dynamics of the significant connections of human life. It is to show how things work.Invention that can onl y select events but not create them must be more opaque; it can only show what things are but rarely why or how they work. The full development of the connections between events and human motivations and powers requires the freedom and legitimacy to invent the â€Å"facts† in a way that illuminates the otherwise hidden dynamics of existence. In this totally invented world of and fictivesymbols-selective without some purnothing happens pose and function (which need not be the same). Let us use as example the world of television which we have studied for some years. This discussion also applies to other media and cultural forms, with the difference that television is the generally non-selectively used universal storyteller of modern society. It is, therefore, more a symbolic environment than a traditional medium. People are not born into the world of television. They are selected or created for a purpose. The purpose is usefulness to the symbolic world (called news values or st ory values) that the producing institutions and their patrons find useful for their purposes.More numerous in both news and drama are those for whom that world has more uses-jobs, power, adventure, sex, youth, and all other opportunities in life. These values are distributed in the symbol system as most resources are distributed in the society whose dominant institutions produce most of the symbols: according to status and power. Dominant social groups tend to be overrepresented and overendowed not only absolutely but also in relation to their numbers in the real population. (For example, men outnumber women at least three to one in television and most media content. Minorities are defined by having 1. The long-range project was first described in my article on â€Å"Cultural Indicators: The Case of Violence in Television Drama† in the Annals, Vol. 388, March 1970. The most recent report, including a description of methodology, appears in George Gerbner, Larry Gross, Nancy Si gnorielli, Michael Morgan, and Marilyn Jackson-Beeck, â€Å"The Demonstration of Power: Violence Profile No. 10,† Journal of Communication, vol. 29 (Summer 1979). 66 THE ANNALS OF THE AMERICAN ACADEMY less than their proportionate share of values and resources.In the world of television news and drama, this means lower underrepresentation numbers, less usefulness, fewer opportunities, more victimization (or â€Å"criminalization†), more restricted scope of action, more stereotyped roles, diminished life chances, and general undervaluation ranging from relative neglect to symbolic annihilation. DEATH IN NEWS AND DRAMA Death in such a context is just another invented characterization, a negative resource, a sign of fatal flaw or ineptitude, a punishment for sins or mark of tragedy.It is always a reminder of the risks of life, cultivating most anxiety and dependence for those who are depicted as most at risk. In other words, death is one feature of the more general functi ons of social typing and control. Obituaries are the Social Register of the middle class. Even a â€Å"nobody† of modest status and power (i. e. a person of no symbolic existence in the common culture) becomes a â€Å"somebody† if the flicker of his or her (and it's mostly his) life can leave its final symbolic mark of existence in the obituary column.Death in the news is a tightly scripted scenario of violence and terror. Murders, accidents, â€Å"body counts† and catastrophies scatter a surfeit of impersonal corpses in ghoulish symbolic overkill across the pages of our family newspapers and television screens. By the time we grow up, we are so addicted to this necromania of our culture (and we are not alone), that its constant daily cultivation seems to add to a morbid sense of normalcy. Yet it is all well (if unwittingly) calculated to cultivate a sense of insecurity, anxiety, fear of the â€Å"mean world† out there, and ependence on some strong protec tor. It is the modern equivalent of the bloody circuses in the Roman empire's â€Å"bread and circuses† that were supposed to keep the populace quiescent. At the center of the symbolic structure of death is the world of stories invented to show how things and drama. The most work-fiction massive and universal flow of stories in modern society (and history) is of course television drama, most of it produced according to the industrial formulas developed to assemble large audiences and sell them to advertisers at the least cost.That is a world in which practically no one ever dies a natural death. Assembly-line drama generally denies the inevitable reality of death and affirms its stigmatic character. Violent death, on the other hand, befalls 5 percent of all prime time dramatic characters every week, with about twice as many killers (many of whom also get killed) stalking the world of prime time. The symbolic function of death in the world of television is thus embedded in its structure of violence, which is essentially a show of force, the ritualistic demonstration of power. THE STRUCTURE OF VIOLENCEAND POWERDominated as it is by males and masculine values, much of the world of prime time revolves around questions of power. Who can get away with what against whom? How secure are different social types when confronted with conflict and danger? What hierarchies of risk and vulnerability define social relations? In other words, how power works in society. The simplest and cheapest dramatic DEATH IN PRIME TIME 67 demonstration of power is an overt expression of physical force compelling action against one's will on pain of being hurt or killed, or actually hurting or killing.That is the definition of violence used in our studies of television drama. Violence rules the symbolic world of television. It occurs at an average 10-year rate of 5 violent incidents per hour in prime time and 18 per hour in weekend daytime children's programming-a triple dose. Violen ce as a demonstration of power can be measured by relating the percent of violents to the percent of victims within each social group. That ratio shows the chances of men and women, blacks and whites, young and old, to come out on top instead of on the bottom.Conversely, it shows the risks of each group to end up as victims instead of victors. Table 1 is a summary of these â€Å"risk ratios† based on annual samples of prime time and weekend daytime (children's) programs major dramatic characters, a total of 3,949, from 1969 through 1978. It shows for each of several demographic and dramatic groups the ratio of violents over victims (including killing) and of only killers over killed (or the other way around) within each group. It also shows the percent of characters in each group involved in any violence as either violents or victims (or both).For example, of the 415 children and adolescent characters studied, 60. 5 percent (65. 0 percent males and 49. 1 percent females) were involved in violence. Of the males, victims outnumbered violents by 1. 69 but killers outnumbered killed by 3. 00. In other words, for every 10 child and adolescent violents there were about 17 victims, but for every 10 killed there were 30 killers in that group of characters. Overall, 63 percent of all characters were involved in some violence. For every 10 violents there were 12 victims, but for every 10 killed there were 19 killers.However, as we have just seen, involvement in violence and its outcome-as with values and resources-is not randomly distributed. Some features of the distribution of violence as a demonstration of power can be illustrated by selecting a few risk ratios from the Table, showing how these victimization rates define a hierarchy of risks within which the depiction of dying (and killing) is embedded. A hierarchy of risks Combining prime time and daytime characters, we find that victimization rates define a social hierarchy of risks and vulnerabilities.For e very 10 characters who commit violence within each of the following groups the average number of victims for white men is †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. nonwhite men is †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. lower class women is †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ young women is †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. nonwhite women is †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. old women is †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 12 13 17 18 18 33 If and when involved in violence, women and minorities, and especially young and old as well as minority women characters, are the most vulnerable. Now let us look at dying (and its dramatic counterpart, killing) in that context.We can compute a lethal pecking order by relating the number of killers to the number of killed within each group. Unlike violence in general, killing eliminates a character and must be used more sparingly, either as curtain-raiser or as the â€Å"final solution. † Therefore, in most role categories, there are more killers than killed. â€Å"Good† m en, the TABLE 1 RISK RATIOS': MAJOR CHARACTERS IN ALL PROGRAMS (1969-197 ALL CHARACTERS INVOLVED IN VIOLENCE VIOLENTVICTIM RATIO KILLERKILLED RATIO MALE CHARACTERS INVOLVED IN VIOLENCE VIOLENTVICTIM RATIO K N NAll Characters Social Age Children-Adolescents Young Adults Settled Adults Elderly Marital Status Not Married Married Class Clearly Upper Mixed Clearly Lower Race White Other Character Type â€Å"Good† Mixed â€Å"Bad† Nationality U. S. Other 3949 415 813 2212 106 1873 987 269 3549 131 3087 360 2304 1093 550 3100 264 63. 3 60. 5 64. 5 59. 8 47. 2 65. 6 45. 5 59. 5 63. 4 69. 5 60. 1 55. 0 58. 4 61. 4 88. 0 58. 1 73. 5 -1. 20 -1. 60 -1. 36 -1. 12 -1. 15 -1. 23 -1. 27 -1. 38 -1. 19 -1. 25 -1. 19 -1. 33 -1. 29 -1. 22 1. 00 -1. 20 -1. 31 +1. 90 +3. 00 +2. 00 +2. 07 -1. 75 +1. 90 +1. 67 +1. 50 +2. 07 -1. 11 +1. 97 +1. 69 +2. 93 +1. 3 +1. 84 +2. 06 +1. 31 2938 297 539 1698 80 1374 626 182 2650 106 2235 280 1659 807 471 2263 203 68. 4 65. 0 69. 6 65. 7 50. 0 69. 7 52. 9 67. 6 68. 3 73. 6 65. 1 61. 1 63. 7 65. 8 89. 4 63. 2 80. 8 -1. 18 -1. 69 -1. 23 -1. 12 +1. 07 -1. 18 -1. 27 -1. 26 -1. 17 -1. 20 -1. 16 -1. 27 -1. 24 -1. 21 -1. 01 -1. 16 -1. 29 + + + + + + + + – + + + + + + + 1Risk Ratios are obtained by dividing the more numerous of these two roles by the less numerous within eac violents or killersthan victims or killed and a minus sign indicates that there are more victims or killed than violent victimsor killersor violents or killed.A +0. 00 ratio means that there were some violents or killersbut no victims or k killed but no violents or killers. DEATH IN PRIME TIME 69 male heroes of prime time drama, are at the top of the killing order. For every 10 â€Å"good† men killed, there are 38 â€Å"good† men killers. Next are young men and American men; for every 10 young males killed, there are 22 young male and American male killers. The killed-killer ratio of all white males is only slightly lower: 21 killers for every 10 whi te males killed.In other words, if and when involved in some fatal violence on prime time television, â€Å"good,† young, American and white males are the most likely to be the killers instead of the killed. They kill in a good cause to begin with or are the most powerful, or both. Women do not fare so well. Their most favorable ratio is 20 killers for every 10 killed, and that goes to foreign women. The second highest female kill ratio goes to â€Å"bad† women: they kill 17 characters for every 10 â€Å"bad† women killed. Next are middleaged women who kill 16 for every 10 killed.Thus women who tend to kill, kill much less than men, have relatively more lethal power when they are foreign, evil, or past the romantic-lead age, than when they are â€Å"good,† American, young, and white, as is the case with men. Their killing is more likely to be shown as unjust, irrational, and â€Å"alien† than is killing by men. At the very bottom of the lethal peck ing order are old women who get involved in violence only to get killed and â€Å"good† women who get killed 16 times for every 10 killers. Old and â€Å"good† women get into violence mostly as sympathetic (or only pathetic) victims, rousing male heroes to righteous (if lethal) indignation.Next in line are lower class men, lower class women, and old men. For every ten killers in each group there are, respectively, 11, 10, and 10 killed. Unlike those of greater ability to survive conflict or catastrophy,older and lower class characters pay with their lives for every life they take. Provocation and retribution In general, then, as can be seen on the Table, the pecking order of both mayhem and killing is dominated by men-American white, middle class, and in the prime of life. At the top of the general order of victimizers are â€Å"bad† women, old men, and â€Å"bad† men, in that order.The presence of evil at the top of the power hierarchy suggests the drama tic role of villains provoking heroes to violent action. Heading the ranking of killers over killed are â€Å"good† and other majority-type males. We can begin to discern not only the provocative role of the â€Å"bad† but also the retributive function of the â€Å"good† and the strong. Lowest on the dramatic scale are women, lower class, and old people. Of the 20 most victimized groups (both total violence and killing), all but three are women. Old women are at the bottom of the heap of both the battered and the killed. Good†women are among the charactersmost likely to be both general and fatal victims of violence ratherthan the perpetrators. â€Å"Good† men have power as indicated by their heading up the killer-killed list; â€Å"good† women, on the other hand, end up near the bottom of the power hierarchy. When it comes to violence, â€Å"good† are the strong men and the weak women of the world of television. Dying on television is a violent retribution for weakness, sin, or other flaw in character or status. It is part of the social typing and control functions of centralized cultural production.Our research has found that heavy viewers (compared to light 70 THE ANNALS OF THE AMERICAN ACADEMY viewers in the same social groups) derive from their television experience a heightened sense of danger, insecurity, and mistrust, or what we call the â€Å"mean world† syndrome. It can be conjectured that the symbolic functions of dying are part of that syndrome, contributing not only to a structure of power but also to the irrational dread of dying and thus to diminished vitality and self-direction in life.

The Gambia Visit Essay Example | Topics and Well Written Essays - 750 words

The Gambia Visit - Essay Example He pointed out that the 1970 constitution divided the government into independent legislative. The constitution finds a safe bode in 1996, including a strong presidential government and protection of human rights. Regarding future political prospects, he was very optimistic. We got more than expected during this visit. Monday 2nd May: A lecture delivered by Dr. Emmanuel focused on Gambian law enhancement. He touched upon the sensitive issue of transatlantic diplomacy injuring the interests at home. Quoting a renowned work in this area, â€Å"states have traditionally from time to time reviewed the operation and effectiveness of their foreign ministries and diplomatic services. More often than not such inquiries have been occasioned by wide economic moves in the public sector or institutional rivalry.† His speech included issues harboring international peace and their implication, and foreign forces which are major players in devising the state’s internal policies. Recalling a piece of verbose from Dr. Emmanuel, â€Å"there is more to it than meets the eye†, brings to the forefront many of the devils at work. Nevertheless, the British ambassador in Tehran, Sir Anthony Parsons, does not support this. â€Å"The Embassy†, he notes â€Å"was primarily organized as an agency for the promotion of British exports and for the general commercial, financial and economic interests of the Britain†.... â€Å"The last incumbent also from Africa challenged the might of the empire, but Kofi Annan is known for his reconciliatory approach, than confrontatist posture. Like any other African congregation this one also brought out different diplomats in their colourful traditional attires. The accompanying music made every foot tap† (Gupta, 2005: page 123); A ground had been set for a positive and peaceful image of the country. â€Å"After 1871, political and cultural leaders recognized the instrumental and local music in cultural diplomacy† (Jessica C.E. Gienow-Hecht, 2009: page 36). This shows the impact art and craft has had on the nation’s subconscious mind of the diplomatic visage. This experience gave me some paradigms that had for quite some time remained at the back of my mind. Wednesday 4th May: The African Centre for Democracy and Human Right Studies was officially opened in 2001. During the visit, we were exposed to the eventful history gone through by the c enter. For the African Charter on Human and people’s rights to be effective, it was to be elaborated and comprehended by all Africa. This vision brought forth the formation of this center which was established to promote and insure respect of freedom, and to oversee that these freedoms do not go astray. â€Å"In order to find practicable solutions to institutional and existential problems caused by accelerating globalization diplomacy needs inter-disciplinary guidance by social sciences† (Bolewski, 2007: page 6). Adding to the already elaborated verbose in context of the need for social sciences to grow and take control of the growing diplomacy in trans-Atlantic relations, â€Å"Given that the issues cannot be ducked altogether, international human rights bodies have been reduced to

Report Essay Example | Topics and Well Written Essays - 1000 words - 1

Report - Essay Example Therefore, Daphnia and humans experience similar effects when exposed to specific toxic or chemical components (Grant, 2000). Daphnia magna is generally used by scientists because the species is fairly easy to care for and provides accurate investigation results for water quality and toxicity. Thus the assessment of the effect of different chemicals on Daphnia magna will give indications on the impacts of these chemicals on human body. The objective of this report is to determine and distinguish the effect of toxicity on the heartbeat by testing the effect on Daphnia magna. Hypothesis The interaction of foreign chemical components with the physiology of Daphnia magna affects its heart beats Non hypothesis The interaction of foreign chemical components with the physiology of Daphnia magna does not affect its heart beats Method:- As described in the practical handbook as well as time course events. Results Heartbeats of Daphnia magna after adding 3 chemicals and their combinations were recorded at different time intervals. The results have been tabulated in the table below Heartbeats min-1 Control A B C A+B B+C A+C Time 2 minutes 94 125 75 93 248 211 131 4 minutes 96 135 68 98 369 22 128 6 minutes 95 134 75 95 354 213 134 8 minutes 90 129 68 94 328 198 129 10 minutes 86 136 68 87 311 168 138 12 minutes 92 126 91 85 321 179 121 14 minutes 94 129 73 92 341 189 128 16 minutes 96 130 72 94 - 196 124 18 minutes 95 142 74 95 - 201 131 20 minutes 98 136 75 97 - 204 134 The following graph compares the changes in heart rates on addition of 3 chemicals and its combinations. Graph 1: Changes In Heart Rates On Addition of 3 Chemicals And Its Combinations. Additivity Graph 2: Comparison of the effect of A, B and the combination of A & B Graph 3: Comparison of the effect of C, B and the combination of C & B The graphs above compare the effect of chemicals in relation with the effect of their combination. Antagonism Graph 3: Comparison of the effect of C, B and the combination of C & B Discussion:- Graph 1: Heart rate count per 15 seconds Graph 1 indicates the effect on the heartbeat rate of Daphnia when exposed to chemical A, B and C and different combinations of A B and C. The graph results show that all the chemicals and their combinations. In comparison with the control, the combination of A and B had relatively higher impact on the heart rates. Chemical B individually reduced the heart rates of Daphnia. The combination of A and B and also the combination of B and C exhibited additivity. In both the combinations, the interaction of these chemicals was equivalent to the added impact of both the chemicals. In the case of the combination of A and C, A interacted with C to reduce the effect of C. This is a case of antagonism. This combination is of clinical relevance as one chemical reduces the impact of the other. Conclusion From the observations, it is evident that all the chemicals and its combinations cause interactions with heart functioning and aff ects heart rates at varied levels. All the combinations including the individual addition of chemical affected the heart rate of Daphnia. However, some of the effects were very less compared to others. Antagonic interaction was observed between the chemicals A and C. Additivity was observed between the chemicals A and B and also between B and C. Thus the hypothesis of the report is supported by the findings of the study.

Identifying Themes and Concerns for the Benefit of the Individual Coursework

Identifying Themes and Concerns for the Benefit of the Individual Business Manager - Coursework Example Concepts such as leadership are aligned with the organisational goals and sustainable practices are being brought in the business planning process for ensuring better results. Sustainability as defined by Jansson (2011) is the process of working in a manner by considering the future impact of the activities. Sustainable work practices ensure that the present needs are met without compromising the ability of the future generations to fulfil their needs. (Mishra, 2009) mentioned that in the contemporary scenario, the corporate houses are focusing on reducing the environmental and social impacts of their activities in order to ensure a better scope for business operations. However, Paley (2009) criticised that business firms are also getting affected by the environmental and sustainable issues which is hampering the growth and development process of the business. The diminishing stock of resources is also creating barriers for operational and production processes of the business houses. On the other hand, Boulton, Libert & Samek (2009) reflected the vast resource wastage taking place in the global scenario both in social and corporate segments. Furthermore, Dentchev (2009) also noticed that the over-utilisation and under-utilisation of resources are also among the top causes which influence the environmental sustainability. Considering the environmental factors affecting the business process the aspect of water usage will be studied in this segment. The importance of water does not need to be explained however the general ignorance among the global population regarding water usage is the primary factor leading to water wastage. Ander & Kapoor (2010) stated that going by the current rate, people of earth shall face water scarcity earlier then they face oil scarcity. One of the major consumers of water in the corporate sector is the energy industry. Every