The Appearance of Identity in Much Ado About Nothing Essays

The Appearance of Identity in Much Ado About Nothing Essays The Appearance of Identity in Much Ado About Nothing Paper The Appearance of Identity in Much Ado About Nothing Paper Essay Topic: Kindred Much Ado about Nothing An individual is often identified by his or her appearance, but what happens when an appearance can change so much so that it changes identity? William Shakespeare, above anyone, realized the connection between appearance and identity. As someone who went from being the son of a rural glover to frequenting the courts of Queen Elizabeth, and as someone whose career revolved around convincing others that actors on a stage could becomes kings and queens with a change in costume or shift in language, the world of his plays were the world of Renaissance England: a world in which the individual realized that his or her identity was dependent upon his or her appearance. In Much Ado About Nothing, Shakespeare applies the world of Renaissance England to Messina, Italy and with it the ability to defy social conventions as well as alter appearances to allow for the emergence of a new identity.Elizabethan England was a time and place in which people challenged social conventions to provide the o pportunity to assert their emerging individualism and Shakespeare applied this to his plays as well. In Much Ado About Nothing, the Prince’s bastard brother, Don John, proudly defies the traditional conventions of the court and develops an antisocial behavior and identity. He claims â€Å"I cannot hide what I am: I must be sad when I have cause and smile at no mans jests, eat when I have stomach and wait for no mans leisure, sleep when I am drowsy and tend on no mans business, laugh when I am merry and claw no man in his humour† (I.iii.10-14). Don John refuses to play the political games that his brother the Prince is adept in, and identifies himself as a self-sufficient man who will â€Å"wait for no man’s leisure† and â€Å"tend on no man’s business.† He further develops his independent identity and individualism through defying conventions by admitting that â€Å"though I cannot be said to be a flattering honest man, it must not be denie d but I am a plain-dealing villain† (I.iii.23-25). His admission of being a â€Å"plain-dealing villain† simultaneously defies the social standards of morality and asserts his identity as he adds, â€Å"in the meantime let me be that I am and seek not to alter me† (I.iii.28-29). Don John knows what he is and is comfortable establishing his identity as a villain. Like Don John, Beatrice is another character who defies convention and asserts her identity and individualism. When discussing with Leonato her vehement opposition to marriage, she exclaims, â€Å"No, uncle, Ill none: Adams sons are my brethren; and, truly, I hold it a sin to match in my kindred† (II.i.53-54). Beatrice not only denies a suggestion of marriage, a denial of convention in itself, she considers men her â€Å"brethren,† defying the social conventions of women in society and establishing an independent identity.In addition to asserting oneself through defying conventions, characte rs in Much Ado About Nothing are able to change their appearances, and thus change their identities in the process. Like the emergence of the individual in Renaissance England, Shakespeare’s Messina also allows people to be more than they appear. Before the return of the soldiers to Messina, a messenger tells Leonato about Claudio who â€Å"hath borne himself beyond the promise of his age, doing, in the figure of a lamb, the feats of a lion† (I.i.11-12). Claudio’s ability to exceed expectations and more importantly, exceed the expectations of his appearance, helps to establish the play’s theme of the ability to appear one way and act another. For Hero however, appearance is the cause of the fall and subsequent rise of a new identity. At Claudio and Hero’s wedding, Claudio accuses her of infidelity crying out, â€Å"Out on thee, seeming! I will write against it. / You seem to me as Dian in her orb, / As chaste as is the bud ere it be blown. / But y ou are more intemperate in your blood / Than Venus, or those pampered animals / That rage in savage sensuality† (IV.i.54-59). All of his accusations are based on her â€Å"seeming† appearance and it is this new appearance that causes her identity to change from a virtuous and chaste maid to a now â€Å"intemperate† â€Å"animal.† Taking a cue from this case of mistaken identity, the Friar suggests that Hero willingly change her identity and says, â€Å"Let her a while be secretly kept in, / And publish it that she is dead indeed.† (IV.i.202-203). Hero’s identity is transformed from a living person to a dead body solely based on appearance. In true Renaissance fashion, however, a rebirth takes place when she is married a second time, and she herself claims, â€Å"Nothing certainer. / One Hero died defiled, but I do live, / And surely as I live, I am a maid† (V.iv.62-64). She admits that her former identity has died and she is now before them, reinvented with a new identity based on appearance.The strength of the ability for appearance to define identity is reinforced by the willingness of others to believe what they see. When Don Pedro offers to help Claudio woo Hero, he states, â€Å"I will assume thy part in some disguise, / And tell fair Hero I am Claudio† (I.i.269-270). Don Pedro helps to establish the theme that people can change appearances and in the process, change their identities knowing that others will trust them. The strongest evidence of this inherent trustworthiness in appearance occurs when Benedick is tricked into loving Beatrice based solely on what he sees and hears. The trust Benedick has in appearance is strongly established by his statement that â€Å"I should think this a gull, but that the white-bearded fellow speaks it. Knavery cannot, sure, hide himself in such reverence† (III.ii.110-112). The fact that Benedick relies on the appearance of Leonato’s â€Å"reverenceâ €  demonstrates his ability to allow outward appearance to hide Leonato’s true identity and Benedick falls for it, despite his own feeling that it is a trick. While this trustworthiness in appearances allows for the harmless tricking of Benedick, it takes a tragic turn in the tricking of Claudio. After he believes he sees Hero with another man, he asks, â€Å"Would you not swear, / All you that see her, that she were a maid, / By these exterior shows? But she is none. / She knows the heat of a luxurious bed. / Her blush is guiltiness, not modesty† (IV.i.36-40). Claudio’s trust in appearances is complete. Not only does he believe what he sees the night before, but now he is able to interpret her blushes as â€Å"guiltiness, not modesty.† Claudio is manipulated by the emergence of the individual through appearance as he is unable to see the blushes for what they are.At the end of Much Ado About Nothing, the trick involving the slander of Hero is revealed and Leonato asks, â€Å"Which is the villain? let me see his eyes, / That, when I note another man like him / I may avoid him: which of these is he? (V.i.243-245). Of course the irony is that if Leonato can’t tell which man is the villain, then how will he be able to tell when he sees another one? This is the inherent problem in Much Ado About Nothing and, consequently, in Shakespeare’s England. With the ability to change identities through appearance comes the problem of identifying when that change has occurred, which is exactly what Shakespeare was counting on.

Experimenting with compound pendulums and moment of inertia Essays

Experimenting with compound pendulums and moment of inertia Essays Experimenting with compound pendulums and moment of inertia Paper Experimenting with compound pendulums and moment of inertia Paper Two compound pendulums with different weight distributions were used to experimentally determine if the laws of simple harmonic motion would apply to them as well. The moments of inertia were determined experimentally, based on the periods of the pendulums, and compared to theoretical calculations. The average percent error for the pendulum with the shorter R (distance from pivot point to cm of the weights) was 2. 67%, and for the longer R was 6. 15%. Introduction The laws of simple harmonic motion are based on the periodic displacement, acceleration, and velocity of an object. A period is the time taken between peaks of maximum amplitude. When this type of motion is free of nonconservative forces, and the force needed to displace the object is proportional to the displacement, it is called simple harmonic motion. A simple pendulum is one in which a point mass is suspended from a string of negligible mass. It swings with a period of: T = 2 (L/g) where L is equal to the length of the pendulum. In a compound pendulum, the mass of the pendulum arm provides torque and must be described using Newtons second law for rotation: ? = Iarm? , and the torque is ? = -mgLcmsin ?. This leads to the equation for the period of a compound pendulum: T = 2 (Iarm/mgLcm) which is similar in form to the simple pendulum equation, adding the compensation for the moment of inertia inherent in the arm of the pendulum. A pendulum is suitable for experiments in simple harmonic motion, because it provides a motion similar to a vertical spring oscillating up and down (or back and forth for a horizontal spring). This is because gravity provides the force to move the pendulum initially from its point of all potential energy to its point of all kinetic energy. In the absence of friction and air resistance, a pendulum would oscillate forever in simple harmonic motion, much the way an ideal spring would. In this experiment, a compound pendulum was constructed out of two weights that could be screwed together through a series of holes in a flat steel bar. The weights were attached near one end, and the center of mass of the system was determined by balancing. A hole toward the other end of the bar was chosen as the pivot point, and measurements were taken for the length of the bar, the width of the bar, the center of mass of the bar to the pivot point, the center of mass of the pendulum to the pivot point, the center of mass of the weight to the pivot point, and the radius of the weight. A scale was used to measure the weights of the bar and the weight. The pivot hole was placed over a knife-edge support, and the pendulum was pulled to the side and released to start it oscillating. One oscillation is the motion for one complete trip to and fro. The swing needed to be less than ten degrees from vertical, so that sin? ? ?. A stopwatch was used to measure the time for ten complete oscillations. Five trials were performed, and the experimental moment of inertia was calculated from the resulting period. The weight was moved on the bar, and a different pivot point was chosen for a second set of trials. The resulting moments of inertia were then compared to theoretical calculations for the moment of inertia. Purpose To demonstrate that the laws of simple harmonic motion apply to a compound pendulum. Procedures 1. Take measurements of the mass of the bar, the mass of the weights, the length and width of the bar, the radius of the weight, and distances from the pivot point to the centers of mass of the bar, the weight, and the bar and weight combined. 2. Select a pivot hole. Hang the bar from the knife edge support through the pivot hole and swing the pendulum with an angle of less than ten degrees. 3. Start timer at the beginning of an oscillation and stop it after ten complete oscillations. 4. Record the time. 5. Repeat for five trials. 6. Change conditions, i. e. the location of the weight on the bar and the pivot hole used, and repeat the above. Sources Wozniewski, L. (2000). Physics Laboratory Manual: Coefficient of Static and Kinetic Friction. Retrieved October 19, 2003, from Indiana University Northwest, Department of Chemistry, Physics, and Astronomy Web site: iun. edu/~cpalw/pweb/pendulum/pendulum. htm Cutnell, John and Johnson, Kenneth. Physics Sixth Edition. Hoboken, NJ: Wiley and Sons, 2004. Tables of Experimental Data set/triaConclusion The motion of a compound pendulum was similar to the motion of simple harmonic motion. The oscillations of the pendulum were similar in velocity, acceleration, and period to that of an ideal spring oscillating back and forth in harmonic motion. Therefore, the laws of simple harmonic motion could be applied to a compound pendulum also, because the experimental moment of inertia was comparable to the theoretical moment of inertia. It should be noted that moving the center of mass of the weights further from the pivot point increased the moment of inertia, and thus slowed down the rotation of the pendulum about the pivot point. Bringing the weight in closer to the pivot point provided less torque, which allowed faster times for the period. The average percent error for the shorter R was 2. 67%, and for the longer R was 6. 15%. This may be due to the greater time involved in the swing, which allowed friction and air resistance more time to act on the pendulum, as well as the larger swing area that front to back movement of the pendulum could have been introduced. Also, the theoretical calculation was based on ideal conditions, without friction or air resistance, which could not be obtained in the lab setting. Human error could have played a role in the error of the experiment, also. Measurements were taken by yardsticks, and the angle that the pendulum was started at may have been greater than ten percent, which could have skewed the results on one or both of the pendulums.

How to Start Writing a Novel 3 Key Elements a Novel Needs to Succeed

How to Start Writing a Novel 3 Key Elements a Novel Needs to Succeed How to Start Writing a Novel: 3 Key Elements a Novel Needs to Succeed Want to write a compelling, dramatic story?One that draws readers in, takes them on a roller-coaster ride of emotions and thrills,  then leaves them hungry for you to publish your next book, and your next, and your next?If so, then I have good news:With the right understanding of story structure, I believe anyone is capable of writing an amazing story.Yes, that includes you.And the key to making this process as easy and natural as possible is to start every novel with a good story foundation.This is where most new writers struggle. Either they have trouble getting their story off the ground, or they can get it off the ground, but it nosedives partway through the book.Either way, the cause is the same: they didn’t start their book from a good story foundation.In other words, they were missing one or more of thethree critical elements that every novel needs to succeed. I call these foundational elements, â€Å"The Story Foundation Trifecta.†Let’s talk about itNOT E: We cover everything in this blog post and much more about the writing, marketing, and publishing process in our VIP Fiction Self-Publishing Program. Learn more about it hereHow to Start Writing a Novel for BeginnersIf youre new to the world of writing, its really easy to get overwhelmed. Its normal to feel that way. Youve never done this before and its a major task to learn how to write a book.What advice do you listen to?How will you even sift through all of the ideas you have?What steps do you actually need to take to start writing a novel?The best part about being a beginner is that you  can  only  make  progress. Theres really nowhere else for you to go but up.The tricky thing, however, is knowing how to get started. After all, that step is the most important, but also the most difficult.These are among the first things you have to do in order to start writing a book as a beginner:#1 Choose a book idea to write aboutIf youre ready to write a book, chances are you hav e more than a single idea in mind thats just how the minds of creatives like yourself work.But how do you choose which to write and which to save for later?The good news is that any and all of your book ideas can get written, its just a matter of choosing which goes first.These are a few questions I like to ask myself when it comes to deciding which idea to start next:Which do you find yourself thinking about most often?Which has a theme/message that means the most to you?Which do you have the most content developed for?Which will be the fastest to write?Once you have an idea in mind that fulfills these questions, youll know that that is the one to write about.Essentailly, in order to choose a book idea, think about which one youre most passionate and excited about. #2 Start your mindmap and outlineOutlining is necessary no matter what type of book youre reading. Even if you think youre the type to write by the seat of your pants, an outline of some sort will come in handy.Even St ephen King has the end of his stories in mind and a few plot points along the way, and he self-identifies as a pantzer, or someone who writes by the seat of ones pants.Now this does NOT mean you have to go through every single part of your story and create a step-by-step outline of everything that will happen.You can do that, but you don’t have to.Generally speaking, there are two kinds of writers out there:Plotters (like James Patterson)Pantzers (like Stephen King)Plotters are people who like to plot their stories in advance, while pantzers are people who don’t- they â€Å"fly by the seat of their pants,† coming up with their story ideas on the fly.You might think that outlining is only important for plottersbut actually, that’s not the case. EVERY writer needs to come up with at least a basic outline before they start writing.Even Stephen King, the most well-known pantzer out there, has admitted that he writes his stories with an end in mind.Knowing whe re your story is going can help you develop the plot to be more complex, exciting, and allow you to hide foreshadowing within the book.This will help you craft your twists to be even harder to see coming something all bookworms love.We have complete guides for learning how to fill out a mindmap and then complete an outline based on it. Check those out before moving on to the nexts steps because its essential to have those details done first.#3 Consider how long you want your book to beThis is also the stage in which you figure out if youll be writing a standalone (a single book) or a series (2 + novels of the same storyline).But first, how long do you want this book to be? Some authors will tell you to just write as much as is needed, but its often a good idea to know your baseline so you can stay on track.This is a table of the average word count for different types of novels to help you get an idea for what to shoot for:Type of WritingWord CountPages in a Typical BookExampleShor t story100 - 15,0001 - 24 pages"The Gift of the Magi" by O. HenryNovella30,000 - 60,000100 - 200 pages"A Clockwork Orange" by Anthony BurgessNovel60,000 - 100,000200 - 350 pages"Harry Potter and the Sorcerer's Stone": by JK RowlingEpic Novel120,00 - 220,000+400 - 750+ pages"Game of Thrones" by George R.R. MartinOnce you have an idea as to how long you want your book to be, you can better plan out each chapters length and formulate a writing schedule that will allow you to make real progress.How to Start Writing a Novel with the Story Foundation TrifectaFirst off, what IS the Story Foundation Trifecta?It’s a combination of  three things:An interesting premiseA sympathetic heroA clear compelling â€Å"A-story†As you’re about to learn, these are the most critical and fundamental pieces to any successful story. As long as you have these three things in place, your story is bound to be engaging and entertaining.In the rest of this post, I’ll explain what th ese things are and how you can improve these elements in your story idea. And to help you understand, I’ll be using examples from well-known stories such as The Hunger Games, The Matrix, and my own series GoneGod World.Foundation #1: An Interesting PremiseYour premise is the foundation of your plot. The collection of situations or presuppositions that make up your story world.That sounds complicated, so let’s put it in simpler terms:Your premise consists of 2-3 seemingly unconnected ideas that have been meshed together to make something truly unique.If you analyze really popular stories like The Hunger Games and The Matrix, you’ll realize they have great premises. And that’s a big part of the reason why they were so successful.So how do you come up with an awesome premise of your own?One common method is to use the â€Å"What If† technique. Here’s how that might look using The Hunger Games as an example:The Hunger Games: What if, sometime in the future, there is a society which demands children must fight to the death once a year?Immediately, the premise opens up a hundred other questions that your story may or may not answer. What happened to create this world and contest? Why children? What happens to the victors? Your story may not answer all of these questions, and certainly Suzanne Collins – the author of The Hunger Games – doesn’t answer all of them.See how that works? You take a few different ideas and combine them. See how they might fit together.In this case the premise is using the familiar idea of a gladiator storybut it’s mish-mashing that concept by having the gladiators be children.Then when you throw in a couple extra elements, likeSetting the story in the futureIncluding a love-triangle with the main characterHaving a power struggle behind the scenes only the audience knows aboutyou end up with a really great premise for a story.Here’s another example:The Matrix: What if reality isn’t what we think it is, and in fact we’re all connected to computers as human batteries for the robot world?Here we’re taking the idea â€Å"reality isn’t what you think it is† and mashing it together with â€Å"we’re human batteries connected to computers.†These are cool ideas on their own. But when you put them together, they become something really fascinating. With a premise like this, is it any wonder why The Matrix was so successful?And here’s one more example, from my series of books:GoneGod World: What if all the gods are gone, and when they leave they force all their denizens to go to earth?Here I’ve combined the ideas of â€Å"divine creatures† and â€Å"refugees† to create a unique story premise out oftwo familiar ideas.In this story, every sort of magical creature you can think of- dragons, faeries, etc.- is forced to become a refugee on earth. As you can imagine, this opens up all kinds of possibilities for interesting storylines and conflicts.So that’s foundation #1 of the Story Foundation Trifecta: create an interesting premise. Now it’s your turn:How to Start Writing a Book Action Step:Take a look at your favorite stories and identify their premise. Turn those premises into â€Å"What if† statements.Bonus: Among the premises that you have identified, see if you can alter them slightly to turn them into something completely unique.Challenge: Create 3 to 5 premise statements of your own, statements that ultimately create world, you’d love to write in.You’ll be surprised at how quickly you start cranking out really unique story premises.Foundation #2: A Sympathetic HeroFoundation #1 focuses on your plot. It’s a big-picture statement of what happens in your story.But remember, stories don’t just happen by themselves. They happen to characters- to people. To human beings. (And sometimes, to elves and aliens.)At the heart of every story is a hero who strives to meet an important goal. And the more your audience can understand and identify with that hero, the more likely they are to become engrossed by your story.Now when you’re creating your hero, the  three  most important things to figure out are your hero’s:Key traitsOuter journeyInner journeyâ€Å"Key traits† refer to your character’s distinguishing features. Is your hero:Brave?Intelligent?Beautiful?Charming?Underhanded?Strong as an ox?Your character’s journey refers to the challenges they will be forced to overcome throughout the story. And we break that journey up into inner and outer journeys.A few examples:The Hunger Games: Katniss’s outer journey is to survive the games. Her inner journey is to mature as an individual, to let other people in, and to learn to accept help from others.The Matrix: Neo’s outer journey is to defeat Agent Smith and the robot forces enslaving humanity in side the Matrix. His inner journey is to believe in himself and accept that he’s the only one capable of saving the human race.Make sense? Great. Now go figure out who your hero is, give them a few key traits, and most importantly decide on their inner and outer journey. Then when you’ve completed that, you’re ready to move forFoundation #3: A Clear Compelling â€Å"A-Story†Once you know your story’s premise and have identified your hero, your next step is to use those 2 elements to create your â€Å"A-story.†Loosely defined, your A-story is the main storyline in your novel. It’s the one story we need to see resolved in order for us to put down your book and feel satisfied at the end.Your book can have multiple storylines- maybe you have a romance subplot, for example- but your A-story is the main story. The big problem that gets resolved at the end. The big problem that gets resolved at the end.In most cases, your A-story is going t o be the same as your hero’s outer journey. In The Hunger Games, for example, the A-story is Katniss’ trial to survive the games.But your A-story can also tie into your hero’s inner journey. In The Matrix, the A-story deals in part with Neo’s struggle to believe in himself and become â€Å"the one.†Here are some common A-stories for different genres to think about when you start writing a book:Sci-fi: Repel the alien invasionAction: Get revenge on the bad guysRomance: Finally succumb to the love of your lifeIt’s important to know your A-story. This is the storyline that you need to focus on, to keep coming back to. This is the major conflict of your story, so don’t lose sight of it.Exercise: Identifytwo or three unique A-stories that fit could each premise. Spend a few minutes contemplating how the premise and the A-story work together. (And also relish is how your A-story is better than the original 😊.)Bonus: Could you alter o ne of the premises to fit with your own unique A-story? If so, you very well may have the a kickass story on your hands!Challenge: Now that you have defined your premise in step one, identify 2-3A-stories that could work within that premise statement.How to Start Writing a Book Action Step:Identify two or three unique A-stories that fit could each premise. Spend a few minutes contemplating how the premise and the A-story work together. (And also relish is how your A-story is better than the original)Bonus: Could you alter one of the premises to fit with your own unique A-story? If so, you very well may have the a kickass story on your hands!Challenge: Now that you have defined your premise in step one, identify 2-3 A-stories that could work within that premise statement.You Know Your A-StoryNow, What’s Next?OK, so you’ve gone through the Story Foundation Trifecta and figured out your premise, hero, and A-story. What should you do next?Sign up for your free training to guide you through this process with more detailIts not enough to just read about it. What you need is someone whos done it before to take you through this process step by step.When it comes to fiction, those with experience are those who thrive and we should all learn from someone who know what theyre doing because if we can bypass all the mess of starting to write a book, we should.

Ethics Law and Change Management Case Study Example | Topics and Well Written Essays - 3250 words

Ethics Law and Change Management - Case Study Example On the average these companies create a product without knowing for sure what the product is going to be for, with no more than a vision. So far, they have not had a failure and have created millions of software jobs. France has a totally different kind of legal system. It is not like any other legal system in the world. Their courts as well as their judicial system can be confusing and difficult to use. Fortunately France understands this though and provides advocates to help maneuver the system correctly. Corporations may find, however, that France is a difficult country to get started in though if popular, the reception is like no other. Apple is a change company that stands up well to globalization. They are very popular throughout the world and are extremely popular in France. They will meet their problems but chances are pretty good that they will continue their climb in profitability and popularity, that is unless they let their ethics get in the way. Kotter (1996) says it better than anyone, "major change is never successful unless the complacency level is low. Complacency must be virtually absent and there must be a do it now attitude." This is what the winning team looks like. This is the country that will have all of the things that it needs including excellent business relations. This is the description of both Apple and France. There are ups and downs for both the corporation and the country and not everything has been perfect but in neither case can we say they were complacent. They have teams who have a "do it now" attitude. Like so many things there is also good and bad here. Apple has been in more than one bought with legal trouble and Apple and France have been advisories so since both have this culture there will probably be more. This paper will discuss both Apple and France and how they function within their culture and the world around them. Apple Incorporated Large corporations today have many ethical responsibilities. Apple is no exception. High ethical standards are one of the major things that help guarantee a corporations success. They determine how the company relates to their shareholders, customers, employees, and vendors. Ethical standards will determine whether or not these people believe they are dealing with a fair and forthright company. These ethical standards include principles of trust, honesty, respect, integrity, and commitment. A company's code of ethics covers many but not all of the practices that are involved in that business. This paper will discuss the ethics involved in Apple Inc. business as well as the legal system in France and the change often related to the globalization of a company. History Apple started its life

Customer Inserts Research Paper Example | Topics and Well Written Essays - 2250 words

Customer Inserts - Research Paper Example The extensive use of this therapy is also a subject of focus within this paper. The paper also tries to categorize this therapy in terms of set models of classifications for treatment of mental illnesses. The various aspects of the therapy which require improvements are covered within the context of the paper. Introduction Schizophrenia can be identified as a chronic mental illness which is characterized by the inability to process thoughts. Individuals suffering from this condition experience various symptoms. These symptoms may include paranoia as a result of mental instability (American Psychiatric Association, 2000 ). The individual gets the impression that others are conspiring against him/her and thus paranoia begins. Other symptoms may include hallucinations, disorganized speech and delusions. Hallucinations come as a result of the individual hearing voices which do not exist. This condition has been associated with a number of factors. Though there exists a small percentage l inked to genetic factors, the condition is immensely associated with substance abuse. The most common drugs associated with this condition include are cannabis and cocaine. Environmental factors like social groups can also be linked to the development of the condition to a small extent. Most of the environmental factors associated though, seem to lead to substance abuse. It is therefore not clear whether there is a direct connection between the environmental factors and schizophrenia. There exist numerous medications which have been used to treat schizophrenia. Being a mental condition, the treatment targets the developed symptoms as there are no viruses or infectious pathogens. The most effective, known methods have been application of first and second generation antipsychotic. These are aimed at getting the individual away from the causative agent. There exist numerous interventions employed commonly in the treatment of this condition. These include cognitive behavioral therapy, s ubstance abuse treatment, family member education, assertive community treatment, training in social skills among others. All these interventions aim at reducing the symptoms displayed by an individual. The intervention Cognitive behavioral therapy is a reality based intervention employed to help people with schizophrenia. It has been extensively used in many cases where symptoms associated with schizophrenia become evident. The king’s college in London developed this intervention. Numerous studies and researches have been undertaken in different parts of the world aiming at providing more information concerning the application of this reality based intervention (Berrios, 1994). This therapy aims at improving cognitive abilities which become drastically reduced by schizophrenia. It targets at restoring the cognitive abilities of an individual suffering from schizophrenia. Supported employment has been profoundly used in the treatment of individuals showing severe symptoms of schizophrenia. Supported employment is part of the cognitive behavioral therapy administered for the treatment of severe mental conditions. Through the use of supported employment, the people with mental illnesses like schizophrenia have been able to maintain competitive employment. The method employed in this study for collecting information was to use individuals with a severe mental condition. Some of the individuals chosen also had to have a history of job failures. They were

Operation Managment Report Essay Example | Topics and Well Written Essays - 3250 words

Operation Managment Report - Essay Example The Board of executives remains as the head officials followed by the branch supervisors who are appointed over the different operational activities of the said technological group. Through the assistance of the said system of authorization, the different activities of the organization becomes more and more progressive suggesting the fact that the officers indeed put their efforts forward for the sake of organizational success procedures. It could be noted that the strategy of management that the said organization deals with certainly portrays the fact that the officials put their best in assisting the whole team in becoming effective performers in their own responsibilities in the operations of the organization. Holding full control of their human resources has also been the key factor that brought the said organization the success that they particularly needed from operating in business. The management divisions see to it that they are able to provide their people with the satisfaction and the motivation that they ought to receive from the higher management of the organization. The people then in return perform at their best to be able to return the favor to the organization. The two major branches of the organization primarily deal with the best procedures of dealing with their human resources through the utilization of reasonable policies and effective procedures of helping the people force reach their goals through the reasonable efforts that they devote for the completion of their appointed jobs. The groups is obviously hoping for a better future which they primarily sourced out from believing that the governance of their organization would be effective enough to handle the said advancements in the future. Through this, the members of the group believe that they are capable of facing the future with much confidence that they would be the main organization who would help the human

Gaining a foot ahead in the athletic industry Assignment

Gaining a foot ahead in the athletic industry - Assignment Example is program expands on the available training opportunities because it allows trainers to be able to understand how to train adults and their learning patterns. However, the trainers might have the desire to learn so as to be able to train others, but the resources provided by the district might not be adequate enough to support this program. This might be a challenge, but it does not necessarily mean that it is unachievable as it is a necessity if the district is to create a professional learning environment. In order to cut on the cost of Training the trainer, it is important for schools to do this internally rather than having to implore the services of outside staff to conduct the training because outsourcing can be an expensive venture. External consultants can offer the same training, but do so at exorbitant rates, meaning that training internally can be the preferable way because it will be able to cut on the costs. Internal training can also provide ongoing support when the trainers are implementing the training program as this can help the educators to make the necessary changes as per the advice the trainers may receive from their trainers. Internal training is also the best way to go because the trainers are more familiar with the school curricular used meaning that they may not find it hard to apply the program as compared to external trainers that may have to understand the curricular before they can commence work (261f). Therefore, internal trainers are able to align professional training with the cultural attributes, policies and curriculum so as to ensure that the program applied becomes a success. Additionally, professional learning also requires that a teacher combines it with instructions so as to be able to support the learning needs of the students and also gauge what they should be taught. In summary, involving external trainers for the Training the trainer program can be expensive and might force a school to increase their school fees,