Smoking Tobacco and the Brain :: Biology Smoke Cigarette Nicotine

Cigarette smoking, the chief avoidable cause of premature death in this country, is responsible for more than 300,000 premature deaths each year. Smoking is an avoidable cause of death. The way to avoid it? Quit smoking. But people can't quit because it's too hard -- because smoking is addictive. The Surgeon General issued a report entitled Nicotine Addiction. Throughout its 600+ pages he gives a highly detailed explanation of just why nicotine is addictive. The Surgeon General listed criteria for establishing a drug as addictive and showed how nicotine adheres to these criteria. The following are some of those criteria for determining that a drug is addictive (all information is based on US Department of Health and Human Services. The Health Consequences of Smoking: Nicotine Addiction: A Report of the Surgeon General 1988.): Users develop a compulsive use of the drug despite damage to individual or society. Smoking causes lung cancer, other cancers, chronic obstructive lung disease, heart disease, complications of pregnancy, and several other adverse health effects. Smoking has been associated with antiestrogenic effects such as earlier menopause and increased osteoporosis. Nicotine is known to enter the amniotic fluid, umbilical cord of the fetus, and the breast milk of expectant mothers. Despite these known negative effects of smoking, people continue using cigarettes. The drug is rewarding and drug seeking takes superiority over other important priorities. In a study by Henningfield, Miyasato, Jasinshki (1985) nicotine was seen to act as a euphoriant and at high doses acted similar to stimulants such as cocaine or amphetamines. Nicotine has been seen to produce other desirable effects as well. It is possible that nicotine improves attention, however most studies in this area compare smokers smoking to smokers not smoking, thus it is unsure whether smoking enhances attention or abstinence for someone who regularly smokes impairs attention. Due to a wide range of results, studies have not been able to conclusively show that smoking improves learning or memory; nonetheless, many smokers claim it does both. They also assert that smoking is relaxing and causes pleasurable feelings. Indeed studies have associated the onset of smoking during the teenage years with high levels of stress present at this time. Because smokers believe smoking to cause all of these beneficial effects, smokers will often stop what they are doing to take breaks for smoking in order to maintain the nicotine level to which their body has grown accustomed. The drug produces changes in a person’s mood that are mainly controlled by effects in the brain.

Indian Film Industry Bollywood Essay

The entertainment industry in India has outperformed the economy and is one of the fastest growing sectors in India. However, it registered a moderate growth of over 6 per cent in 200.The industry is expected to grow from Rs. 166 billion (U.S. $ 3.45 billion) to Rs. 419 billion(U.S. $ 8.72 billion) by the year 2007. Film entertainment is the most popular form of entertainment and it is this undiminished passion through the decades that has driven India to become the largest producer of films in the world. Since 1931, when talkies were introduced in the country, the film industry has produced more than 67,000 films in more than 30 different languages and dialects. The film industry recorded a loss of Rs. 3 billion (U.S. $ 62.5 million) in gross revenues of Rs 39 billion (U.S. $ 812.5 million) in 2002. But, it is expected to grow annually by 19 per cent to reach Rs. 93 billion (U.S. $ 1.93 billion) by 2007. The industry produced 1200 films in 2002, and 1,013 films in 2001, up from 855 films in 2000. While Hindi films continued to be the largest segment in 2001 (23 per cent share), south Indian language films (Telegu, Tamil and Malyalam) have seen growth in their shares. India’s movie industry is a great sector for foreign investment by corporatized entertainment companies. Though risks are high on a per-movie basis, the risk spreads out across a number of films. However, the domestic filmmaking industry, despite its profligacy, is yet to acquire the character of professionalism on a large scale. BRIEF HISTORY OF INDIAN MOVIE INDUSTRY When the Lumiere Brothers’ first films were shown at Bombay’s Watson’s Hotel in 1895 or when Dadasaheb Phalke released his epochal feature film Raja Harischandra in 1913, it is unlikely that either the exhibitors or the pioneer film maker realised they were unleashing a mass entertainment medium that would hold millions in sway for the next hundred years; that they were spawning an industry that in years to come would overtake the rest of the  world in film production! For most Indians, cinema is integral to their lives; it is not a distant, two to three hour distraction, but a vicarious lifestyle for them. The large screen provides an alternative, an escape from the realities of day-to-day life. The protagonists are totally identified with, the hero is applauded, the virtuous is worshipped and the villain is condemned. The actors and actresses are household names; there is no escaping their omnipresence, from the Paanwala (betel vendor) to the most revered Indian painter – they are all caught up with the magnetism of screen personalities. A study of the vicissitudes of Indian cinema would throw light on the progress of technology, especially cinematography, and the changing political scene and social mores and attitudes. The silent films launched by Phalke, which had titles in English, Gujarati, Hindi and Urdu, by and large related to myths and legends. The stories were familiar to the audience and required minimum commentary. Historicals also proved very popular; Harsh, Chandragupta, Ashoka and the Mughal and Maratha kings strode the silver screen amidst cardboard pillars and in tinsel costumes. Strangely enough, while in the nineties we are still arguing over whether or not ‘kissing’ should be shown on screen, in the first decade of Indian cinema, with the British paying scant attention to censorship except when the Establishment was attacked in any way; leading heroines of the day kissed their leading men without inhibitions, like Lalita Pawar in Pati Bhakti (1922)! With the advent of Gandhiji came the plea for according a better status to women, the removal of untouchability and a cry for religious harmony. The silent era of Hiralal Sen, Baburao Painter and R. Nataraja Mudaliar came to an end when Adershir M. Irani produced his first talkie, Alam Ara in 1931. If Phalke was the father of Indian cinema, Irani was the father of the talkie. The classic Hollywood musical Singing in the Rain exemplifies the cynicism with which people first regarded the talking movie and this holds good for India too. There were too many gargantuan problems to be tackled; there were no dialogue writers, no lyricists; songs had to be sung during the filming as prerecording facilities were yet unknown. Minimum instruments  were used as the instrumentalists had to be camouflaged behind the singer. A quaint story goes that during the filming of a song the actress was getting agitated as the tabla beat was too fast. Finally the shooting had to be stopped and a hapless tabla player was pulled out of the pool where he had been hidden. â€Å"What can I do,† he cried, â€Å"a fish got into my dhoti (loin cloth)†. But the talking film had come to stay. Considering that even the silent film had a preponderance of songs, the talkie came to be more of a single; the heroes and heroines sang their way through the three-four hour movie. Histrionics and appearances counted less; a singing talent was all that mattered. To this day the Indian film song has a unique thrall. The music director, the song writer and the playback singers have an unparalleled status in India’s cinema. If Bombay was the hub of early cinema the other centres were not far behind; Calcutta and Madras with their own patriarchs were also making path-breaking films. Chandidas a film glorifying the Bhakti movement and castigating casteism, directed by Debaki Bose in 1932 for New Theatres, was lauded for its use of background music and dramatic narrative. K. Subrahmanyam’s Thyaga Bhoomi (1939) and Seva Sadan both advocated women’s rights and self-dependence. Seva Sadan also introduced to the world through the silver screen, the great singer M.S. Subbalakshmi, who came to be immortalised for her role in and as the poet-saint Meera both in Hindi and Tamil. While it is almost impossible to even list all the luminaries of Indian cinema over ten decades, the Wadia Brothers deserve special mention, before going into the different genres. JBH and Homi Wadia were the forerunners of the stunt film – the thirties was a period in Indian cinema when ‘Wadia’ and ‘Nadia’ were synonymous. Australian by birth, Mary Evans came to India with a dance troupe. She was asked to do a number for JBH’s Noor-e-Yman; she changed her name to Nadia. â€Å"Besides being a lucky name, it rhymes with Wadia†, she is reported to have said, and through various circumstances she became stunt actress for the Wadias, earning the sobriquet â€Å"Fearless Nadia†. The Wadias had a fixation for trains and made a number of films titled,  Toofan Mail, Flying Ranee, Punjab Mail and so on. Nadia got so used to sitting on roof top of trains for her stunts that she became reluctant to step off and even demanded her lunch be sent up! The true stunt woman, she grappled with a lion, did the trapeze, carried a calf and a man over running trains – it is unlikely there could ever be another actress like Nadia. She married Homi in 1960, and breathed her last recently. The forties was a tumultuous decade; the first half was ravaged by war and the second saw drastic political changes all over the world. Film-makers delved into contemporary themes. V. Shantaram, the doyen of lyrical films, made Dr. Kotnis Ki Amar Kahani – a tribute to Dr. Dwaraknath Kotnis who went out with a medical team to China and died there. Shantaram’s other films were reformist but visually appealing, like, Do Aankhen Barah Haath, Pinjra, Chaani. But there were films where pure artistic merit supersedes social message as in Jhanak Jhanak Payal Baaje and Geet Gaya Pattharon Ne. South Indian films also gained great footing. AVM and Gemini were two of the most prolific producers turning out social drama in the South Indian languages as well as in Hindi. While the thespian actor Shivaji Ganesan delivered mind boggling soliloquies on screen, many of the politically inclined writers and actors of the south Indian screen began to use the medium for reaching out to people. The DMK stalwarts, Annadurai, Karunanidhi and MG Ramachandran did not even resort to subtlety. â€Å"Naan anaittal adu nadandu vital†¦Ã¢â‚¬  sang MGR, (if I could be the decision maker, the poor of this world will not suffer†¦.†). The very titles of the films were chosen with care; Rickshakaran (Rickshaw Driver), Muttukara Velan (cowherd Velan) and En Kadamai (my duty) to convey his identification with the masses. No wonder he was hailed Makkal Thilagam (gem amongst people). Just how effective was the use of the medium was amply proved with the party coming to power and MGR getting voted Chief Minister of the state. The other star who used the screen image to great advantage was N.T. Rama Rao of Andhra Pradesh. The veritable screen god, NTR played the role so often that he began believing in his divinity. Apparently so did a lot of other people in Andhra, which is why we had a second screen hero from south as Chief Minister. While the south was busy wooing the public for votes, Bombay was either turning out escapist fare, light, happy, musical films with Dilip Kumar, Raj Kapoor, Dev Anand, Shammi Kapoor, Kishore Kumar, Nargis, Madhubala, Nutan, Geeta Bali, Mala Sinha and others or gave the audience absolute tear jerkers with social melodrama. This was the golden era of music. Shankar- Jaikishan, O.P. Nayyar, Madan Mohan, C. Ramchandra, Salil Chaudhury, Naushad, S.D. Burman – all had their distinctive sway. Each vied with the other to produce some of the most unforgettable melodies India has ever known. This was also the age of innocence; the screen was black and white, the vamp and the heroine did not merge, they had their domains, there were no shades to the hero, a man was all good or rotten to the core. No double entendres were woven into the songs and even the vamp was decently attired on the screen. This was the era of Raj Kapoor, of Shree 420, Awara, Boot Polish, Jagte Raho, Chori Chori and of course his magnum opus Mera Naam Joker – he was still making and acting in enduring films, the tramp who is not able to cope with the pace of the world. He caught up with times and his films changed with Sangam, Jis Desh Mein Ganga Behti Hai, Satyam Shivam Sundaram and Ram Teri Ganga Maili. Dilip Kumar and Guru Dutt were excellent foils to the chocolate-faced heroes as tragedy kings. So were Meena Kumari and Bina Rai amongst the heroines. But such was their versatility that they could also carry off comedy effectively. Two outstanding Hindi films of the fifties that deserve mention are K. Asif’s Mughal-e-Azam (took 14 years to make and is one of the most lavishly produced historical of Indian cinema) and Mehboob Khan’s Mother India, which is said to have gained the status of Gone With the Wind. In the meantime in Bengal, the man who was to take Indian cinema to the international arena and win accolades from the greatest film- makers, Satyajit Ray, released his first film, Pather Panchali (1955). After his trilogy there was no looking back for him or for cinema from Bengal. Mrinal Sen conveyed his quiet commitment to socialism through films like Calcutta, Oka Orie Katha (Telugu) and Bhuvan Shome. Director Ritwik Ghatak gave us memorable films Meghe Dhaka Tara and Subarnarekha. Although Bengal also came up with films that asked for a willing suspension of disbelief, these were  exceptions rather than the rule as in Bombay films, where the Mukherjis, Sippys, Chopras, Chakraborty and Manmohan Desai produced one bonanza after another for the masses and laughed all the way to their banks. There was no market for serious films, it was felt, and the classics that failed to break even like Guru Dutt’s Kagaz ke Phool and Raj Kapoor’s Mera Naam Joker, only strengthened the conviction. The former committed suicide and the latter resorted to the populist fare with Bobby. It was only after the government set up the Film Finance Corporation (FFC, which in 1980 came to be known as NFDC i.e. National Film Development Corporation) that several small but serious film makers got the wherewithal to make films, notable among them being Mani Kaul, Kumar Shahani and GV Iyer (with his maiden venture in Sanskrit, Adi Sankaracharya). The Corporation also partnered the making of Attenborough’s Gandhi and financed Satyajit Ray’s Ghare Baire which was to be one of the last films of the master. Like cinema in Bengal, Malayalam cinema too was meaningful but it took a longer time to get noticed. In fact it was Ramu Kariat’s melodious tragedy Chemmeen winning the President’s gold medal in 1965 that drew attention to Malayalam cinema. Adoor Gopalakrishnan (Swayamvaram) and others all gained similar recognition in the years to come. With actor Prem Nazir doing stellar roles in a record breaking 600 films, Malayalam films have come to be characterised by simple narration of powerful stories, authentic locales and low cost production. The Karanth (BV) – Karnad (Girish) combine have produced two milestone Kannada films Vamsa Vriksha and Samskara, both essentially iconoclast in treatment. Though much talked about, the critique of caste brahmins, the theme of both films was later seen to be rather extreme. In this context it is worthwhile to mention two films made in Tamil on the same subject. Vedam Pudithu directed by P. Bharatiraja and Ore Oru Gramathile by K. Jyothi Pandyan. Both carried strong indictments against caste hierarchy and the common man’s struggle to overcome it, but retained a balance – rather unusual for Tamil films. With government funds available for making films, the seventies saw an unhealthy divide between the existing commercial or mainstream cinema and the new parallel cinema or art films. The former was condemned unequivocally by the critics but continued to fill the coffers while the latter got rave reviews, bewildered the masses and created deep dents in government resources. Fortunately this situation did not last long, for soon there came a crop of film makers who realised that meaningful films need not necessarily incur heavy losses. Shyam Benegal, (Ankur, Nishant, Manthan) proved that there was an audience for films without frills but with a strong story and interesting narration. Govind Nihalani, Jabbar Patel, Mahesh Bhatt, K. Balachander, Bharati Raja, Adoor Gopalakrishnan, all fell into this category. Around this time, the singular phenomenon, the angry young man with his dark looks, smouldering eyes and mesmerising voice, Amitabh Bachchan, began to stride the scene like a colossus. He introduced to cinema for the first time as a cult, the negative or the anti-hero. Special screen plays were written for this hero seeking vengeance and taking on single-handed an unsympathetic establishment and inadequate legal system. The eighties saw the advent of women film makers, Vijaya Mehta (Rao Sabeb), Aparna Sen (36, Chowringhee Lane, Paroma), Sai Paranjpye (Chashme Baddoor, Katha, Sparsh), Kalpana Lajmi (Ek Pal and, later the much acclaimed Rudali), Prema Karanth (Phaniamma) and Meera Nair (Salaam Bombay). The most commendable thing about these directors is their individuality. Their films have strong content and are told with passion, (only Sai has tackled light hearted subjects). In the nineties, Indian cinema faces tough competition from television; the cable network gives viewers any number of channels and though the most popular channels continue to be the film-based ones, the cinema halls have taken a beating. Nevertheless, films like Aditya Chopra’s maiden effort, Dilwale Dulhaniya Le Jayenge and Suraj Barjatya’s Hum Aapke Hain Kaun have broken all records, because they recall the innocence of the fifties, a novelty in this age of sex and violence. This gives hope. Cinema in India can never cease, it has gone too deep into our psyche. It may undergo several reverses in fortune. With other mediums opening up, there will be a smaller market for films. Living as we are in a global village today, we are becoming a more discerning audience. No longer are we going to lap up every mediocre fare dished out by the moghuls of cinema; only the best will survive. And this is just as well.

Lyle Alzado View of Steroid Use

Also I was undersized compared to the other players. After graduation no colleges gave me scholarships for playing football. Being undersized and playing averagely I wasn't the best athlete. I tried out for the Kilgore Junior College's football team in nineteen sixty four, but they told me that I wasn't good enough to play for them. I was finally accepted to Yankton College in South Dakota; I started taking steroids to play football better after being accepted, in order to play better and to insure my place on their football team.In nineteen seventy one I was the Denver Broncos fourth draft pick. I was a defensive lineman the same as in high school. I became a formidable player by the end of my rookie year. I outran, outwit, authenticated everybody. All along I was taking steroids and I saw that they made me play better and better. In nineteen seventy seven, I was named the Oaf's defensive player of the year and the defensive lineman of the year. I went from being and average player in high school, to being a feared professional football player in Just a few years.I was so wild about winning, it's all I cared about, I never talked about anything else, and steroids helped me keep on winning. In nineteen eighty four, I retired from football due to an injury to my Achilles tendon, which I believe was cause by my steroid use. I tried to make a comeback in nineteen ninety with the Raiders but I immediately had a knee injury that prevented me from playing. By the end of my football career I was name all-pro twice and had a total of ninety seven sacks In one hundred ninety six games. I had done well for someone who had no hope In high school of playing professional oddball.All during my college and professional football career I was taking steroids. I spent around thirty thousand dollars a year on steroids. All the time on the field I was fierce, mean, and determined to win, but off the field I had a hard time turning these emotions off. One of my teammates described me as have a split personality, â€Å"on the field he projected a tough image,† He said. But off the field I was like a gentle giant. When the game was over, I would be plagued with mood swings from the steroids; I could keep a good relationship with people.I was married four times over the course of my football career. Once a man sideswiped my car in Denver and I followed him home and beat him up In his front yard. I couldn't control my anger. I abused my second wife so much that she called the police five times on me during the course of our marriage. In March of nineteen ninety one, during my wedding to my fourth wife Kathy, I had a hard time keeping my balance while walking. A month later I was diagnosed with a chemotherapy treatment, in an attempt to cure the brain tumor.I died over a year after being diagnosed in my home in Portland, Oregon. I told Sports Illustrated before my death that I had started taking steroids in nineteen sixty nine and never stooped. I wanted to tell others to stop taking steroids. It wasn't worth it to me, steroids caused me to become detached from my friends and family, I couldn't keep a good relationship due to the mood swings caused by my steroid use. Ultimately my death was caused by steroids, they had made my appear strong on the outside while they wrecked my mind and body.

Japanese Communication Styles Essays

Japanese Communication Styles Essays Japanese Communication Styles Essay Japanese Communication Styles Essay Japanese Communication Styles Japanese communication patterns and styles can be confusing to Westerners. Americans are used to straight talk. Americans make great efforts to convey the exact intent of their message. Japanese interlocutors tend to use words as only part of the message they are trying to communicate. Other factors, such as silence, subtle body language, mood, tone, and intuition imply communication styles. I would like to explore the aspects of communication styles in terms of (1) body language and physical behavior, (2) silence, (3) eye contact and (4) saving face. It is often pointed out that throughout the long history of Japan; the Japanese have cultivated their unique communication styles which are based on their high-context, collectivistic and almost homogeneous society (Ishii et al. , 1996). The Japanese are reported to be reserved, cautious, evasive, silent, and ambiguous (Barnlund, 1975), placing an emphasis on not hurting others and keeping harmonious relations with each other. This emphasis on harmony has helped to mold a society where the ability to assimilate differences and to engineer consensus is valued above a talent for argument (Barnlund, 1989). In this communication-passive society of Japan, modesty, humility, and suppression of self are considered to be moral ideals (Okabe, 1983), and people are rather reluctant to disclose their true feelings (Barnlund, 1975). Body Language and Physical Behavior Body motion, as a whole, is more reserved in Japan than in the West. The Japanese predisposition for well chosen delicate gestures is born from necessity, for 125 million people live on these small mountainous islands. Japanese living quarters and public places are usually overcrowded. People must share space continuously at ome, work, and play. It is very easy to physically violate another persons space, so the Japanese do all they can to avoid it. They are raised to detest pushy and argumentative behavior in public. To avoid such unpleasant exchanges, people tend to keep their hands, feet, elbows, and knees closer to their frame. Being polite, reserved and aware of ones own and other peoples body movements, is an essential part of being Japanese. A code of physical behavior seems to exist almost everywhere in Japan. People generally do not talk loudly, touch each other unless forced to by vercrowding, or make other disturbances in places traditionally considered public. People keep to themselves when among strangers. Yet even among friends, there are always subtle codes of behavior to consider, a code for what you can and can not do with your hands and feet. Hand gestures are plentiful and useful, especially when you want to relay a message without drawing the attention of those around you. In the office, hand signs can invite someone to a drink or meal, tell others the boss is angry or has a girlfriend, or simply explain that youve Just been fired. In all these examples the hand gestures would be different from those used in the West. One of the most common communication styles that non-Japanese people are familiar with is bowing. Bowing (oJigi) is a very important custom in Japan. Japanese people bow all the time. Most commonly, they greet each other by bowing instead of handshaking. It is impolite not to return a bow to whoever bowed to you. Japanese people tend to become uncomfortable with any physical forms of contact. But, they have become used to shaking hands with westerners. Bowing has many functions in one. It expresses the eeling of respect, thanking, apologizing, greeting, and so on. Japanese people bow, when they say, thank you, sorry, hello, good bye, congratulations, excuse me, good night and good morning. Bowing seems simple, but there are different ways of bowing. It depends on the social status or age of the person you bow to. If the person is higher status or older than you are, you should bow deeper and longer. It is polite to bow, bending from your waist. Men usually keep their hands at their sides, and women usually put their hands together on their thighs with their fingers touching. If it is a casual situation, you can bow like nodding. The most frequent bow is a bow of about fifteen degrees. Bowing is also an important part of the Japanese tea ceremony. Silence The use of silence in communication is not an exclusively Japanese phenomenon and all languages make extensive use of it. In Japan, however, it is a particularly important part of the language. While we in the West have programmed ourselves to listen for hidden meaning in a Jumble of words and try to read between the lines. Japanese people listen to the silences, for hidden innuendo and deeper meaning, as f reading between the words. Just as the white space on the paper in Japanese graphics is an important part of the design, spoken Japanese flows among the silent spaces. Silence speaks loudly and clearly to the Japanese. There are many examples in Japanese culture where silence expresses meaning with great force or subliminal elegance. The Japanese tend to be suspicious of words; they are more concerned with actions. They believe in using silence as a way of communicating. They also believe it is better to talk too little than too much. Japanese people take special note of the pauses between words. They are comfortable with less talk and longer periods of silence than are Westerners. Japanese may even use the fact that silence disturbs Westerners as a strategy to unnerve them. In the United States speakers may use silence to draw the listener in, to slow down the flow of events, or encourage the other person to pay attention while they Justify or explain something (Riesman Riesman 1987). In the Japan however, silence may be a polite acknowledgment of failure or inability. This technique is common amongst students who often assume there is only one specific way to answer, as is customary in test-oriented Japanese ducation. Silence signals to the teacher to move on to the next student, maintaining the flow and harmony within the classroom. Eye Contact In most cultures especially Western culture, it is considered rude to not look at the person who is speaking to you. We are taught to look people in the eye at all times and avoiding eye contact is usually associated with being dishonest or uninterested. In Japan it is considered rude or even aggressive to hold the gaze of another person. Japanese people usually look at the other persons neck or focus on something such s their tie knot or other parts of the face such as the eyebrows or the mouth. It is less offensive to look at a persons eyes and then look away or down before looking at their eyes again. The avoidance of eye contact can limit social interactions with non- Japanese persons who would probably assume that that person is being rude when they are actually practicing a form of communication etiquette. Saving Face Being accurate is very important to Japanese people because it saves face. When the Japanese make mistakes/errors it is very unacceptable. Most Japanese people do ot like being put in a position where they have to admit to a failure or mistake, because doing so means losing face and it is very serious to them (http:// www. rikkinyman. com/training/]apanese culture/communication. htm). Many are hesitant to admit that they dont understand something. Japanese people tend to avoid the word no for all practical purposes; it doesnt exist. They believe that no person should be publicly humiliated or embarrassed. This saves face or avoids marring that persons image. Saying no or directly showing displeasure or disappointment risks humiliating the other person and they must be avoided. The Japanese have created ways of saying no without humiliating the other party (http:// www. rikkinyman. com/training/]apanese culture/communication. htm). Some examples of how to tell another person no is: asking a question, saying they dont understand, changing the subject, or claiming they have no authority to answer at the time. When a Japanese person is criticized they take it as a personal offense and it also is considered losing face. Many Japanese do not understand how Western cultures accept or separate behavioral criticism from personal criticism. Conclusion There are many important differences between Western culture and that of the Japanese people. These important differences show how important it is for people to be aware of other cultures and how they interact and communicate with each other. After learning about Japan and their communication styles, I see how easy it can be for people to misunderstand and stereotype others based on what they dont know. Etiquette and manners are important and required in Japan. In our culture it is rare for people to uphold the dignity of others the same way they would for themselves. It s important for Japanese people to adhere to their communicative styles because there is some correlation between the way they communicate and how they live. Without their conversational rules their communities would be chaotic based on their vast population. Japanese people are subtle with words and body gestures and have maintained their cultural communication styles despite Western influence through globalization and technology. References 1 rikkinyman. com/training/]apanese_culture/communication. htm 2. danin]apan. com 3. ) Barnlund, D. C. (1975). Public an d Private Self in Japan an d the United States. Tokyo. The Simul Press. 4. ) Barnlund, D. C. (1989). Communicative Styles of Japanese an d Americans: Images and Realities. CA. Wadsworth Publishing Company. 5. ) Ishii, S. et al. Intercultural Communication (1996). Tokyo: Yuhikaku. 6. ) Riesman Riesman. Conversation s in Japan (1987). Basic Books, Inc. , Publishers: New York. 7. ) Okabe, R . (1983). Cultural Assumptions of East and West: Japan and the United In W. B. Gudykunst (Ed. ) Intercultural Communication Theory: Current States, Publications. Perspectives. CA: Sage

Within the African American community, leaders have debated the efficacy of industrial education versus liberal education to determine the most effective means of securing African liberation.

Within the African American community, leaders have debated the efficacy of industrial education versus liberal education to determine the most effective means of securing African liberation. Throughout the life of Booker T. Washington expressed in his autobiography, Up From Slavery, that one cannot succeed solely on a liberal education, but must accompany this with that of an industrial education as well. He believed that with this type of education, the black man could provide necessary services not only for himself, but also for those in his community as well.According to Washington, "We wanted to teach the students how to bathe; how to care for their teeth and clothing. We wanted to teach them what to eat, and how to eat it properly, and how to care for their rooms. Aside from this, we wanted to give them such a practical knowledge of some one industry, together with the spirit of industry, thrift, and economy, that they would be sure of knowing how to make a living after they had left us. We wanted to teach them to study actual things instead of mere books alone."Photograph of Booker Washington and Theodore Roose...This expresses his standards for education, but also the standards for what he felt every person should live by. Washington opened a school, Tuskegee Institute, where architecture, construction, and brick making were taught. In addition, students also learned such industries as landscaping, farming, and laundry.Booker T. Washington's idea of education presents a huge dilemma because it accepts the alleged inferiority of blacks and represents the old attitude of adjustment and submission as the only means of survival of the race. This presents a paradox because being submissive in terms of political and civil rights does not allow blacks to better himself and propagate his heritage. Instead it completely undermines the identity of his soul and threatens to lose it for the sake of making blacks a contestant in the race.DuBois was not an early opponent of...

How to write a tender - Emphasis

How to write a tender How to write a tender The key to writing a good tender is to be specific and detail how your capabilities match the clients exact requirements. You don’t have to be arrogant to sell your firm. Never kick off the tender by saying how great you are. Instead, show that you’ve listened to the client’s needs and found them the right solution. The way to do this is to identify and concentrate on the ‘win themes’ – the issues the client is most concerned with. Hopefully, you will have had an opportunity to ask them about these. But invitations to tender usually give you clues about what they are and often state them directly (‘tenderers must have †¦Ã¢â‚¬â„¢). Win themes could include things like: completing the job within a tight time schedule attracting quality subcontractors project-management skills guarantees to stay on schedule health and safety procedures. To some extent, most tenders should cover all these issues – among others. But make sure you focus more on the ones your client is particularly interested in. And then show how your firm can meet their needs. One way of doing this with more complex tenders is to draw up a compliance matrix to make sure you’ve got a solution for everything the tender asks for. This could give you the edge if you include it in the tender document itself. Some people in the construction industry argue that tenders are usually won on price alone. No-one can dispute how important price is, and sometimes it may be the main factor (making it a win theme, of course). But never ignore the fact that whoever is in charge of the tendering process is also very interested in your firm – and what you can deliver over and above your competitors. Focus on these and you may well reduce the client’s sensitivity to price. Unique selling points This doesn’t mean you should slate your competitors in your tender – far from it. But it does mean you should have a clear idea of what your firm’s USPs (unique selling points) are. Some examples might include: quality of finish and ability to deal with snagging quickly getting the job done within a tight timeframe and budget (without jeopardising quality) regular progress reports and updates to client client-satisfaction record and percentage of repeat business. Make it clear why they should choose you. Don’t just make vague and clichà ©d claims such as ‘we deliver high-quality work within tight schedules’ or ‘we have considerable experience in the management of new office fit outs and refurbishments’. You need to substantiate these kinds of claims with supporting evidence. For example, ‘We have delivered 90 per cent of our jobs within budget and 60 per cent or our business comes from existing clients’. Include a breakdown of all the various aspects of the work involved in the project. And don’t leave out things because you’re not sure if the client wants them or because you can’t price them accurately at this stage; it will look as though you’ve overlooked them. If necessary, put them in with a ‘TBC’. Don’t make assumptions. Just because the client or person managing the tender knows you, that doesn’t mean you can leave out vital information about your firm. What if there are some other crucial ‘influencers’ reading your tender who know nothing about you? Finally, always go through your tender face to face if the tender process allows it. That way you can sort out any sticking points. Robert Ashton, Chief Executive, Emphasis, business writing specialists. Want to learn how to win business? Have a look at our tender-writing course for individuals or our in-house tender-writing course for teams.

Human Resource Planning Essay Example | Topics and Well Written Essays - 750 words

Human Resource Planning - Essay Example At the moment, the organization needs to hire competent individuals that are capable of providing the services. The problem of limited cash flows is affecting the recruitment process; the company simply cannot pay for quality services. In the coming years, the organization will be in dire need of individuals that are capable of promoting the company’s image to attract more donors. Currently, the cash flows are dwindling, and it is negatively effecting everything that the company does. The company needs healthy donations to effectively run its operations. Relying solely on volunteers is harmful to ‘going concern’ of the company. First and foremost, Juanita needs to get her authority, and power expanded. Without the power to effectively manage people and resources she will remain ineffective, and the company will never get out of hot waters. Juanita is already on the right track. Instead of making frequent appointments, she has setup her group over the email, and she is in touch with them. Juanita is new, and she is learning more about the company every day. The first step is obviously meeting the company personnel and assuring them that the HR manager is there to help achieve better results for the company. The first step towards improving employee performance is to cut the dead weight. Juanita did her research and found that there are people in the company who do not have any significant work, but they are still getting the paychecks. If the company carries on the same pattern it will have ripple effects as others will see that idlers are getting paid for doing nothing so why should they work so hard. Second, the company needs to formulate its HR policy exactly according to the laws that apply to a Non for Profit organization. This will help promote the better image of the company as new recruits will notice that the company operates in accordance with