Friday, January 31, 2020

Disc Assessment Essay Example for Free

Disc Assessment Essay DISC Assessment Paper Organizational behavior studies have become more significant in today’s present years than hey were before in past years, this is due to companies realizing that in order to acclimatize to the constantly changing business cultures that have stemmed from a competitive and rapidly moving market, they must put more emphasis on the correlation between human behavior and the organization. Understanding this concept has led many several companies to put investment into behavior assessments and seminars and use them as a training tool to educate their employees and learn the reasons for each person’s behavior and attitudes and how to handle and approach these various types of behaviors and attitudes. In this paper we will be discussing the study of various behaviors via taking the DISC platinum Rule Behavioral Style Assessment to identify both me and my learning team member’s predominant behavior styles. We will then analyze our behavior styles, our strengths and weaknesses identified within our styles and whether or not we agree or disagree with the assessment. The DISC Assessment categorized both of our behavioral types as being the interactive style and our sub styles were lc. The Interactive Style also called I Style is friendly, enthusiastic, a â€Å"party animal† that love to be where all the action is. They thrive on the acknowledgment, admiration and compliments that follow being in the spot light. They are more relationship-oriented than they are task-oriented. An Interactive style’s strengths are charm, persuasiveness, warmth and enthusiasm. They are gifted in skills and communication between individuals as well as groups. They are optimists with a large amount of charisma. They are also dreamers and idea-people who excel in getting others excited about their vision. All of these qualities assist them in influencing people and building alliances. The interactive style’s weaknesses are pinpointed as poor follow-through, carelessness, exaggeration and disorganization. They have a habit of getting to involved in too many activities and lose interest quickly. Furthermore, they can at times be seen as being impetuous, manipulative, and excitable when displaying behavior that is inappropriate to a situation. When analyzing the results of the DISC Assessment and the summary of my behavior. We were able to comprehend why we function and act the way that we do while interacting with our co workers, family and people. We both started to think about our adolescent years until now and realized that everyone wanted to be our friends and we were also chosen to be the leader most of the time. I would sometimes avoid being the leader and Gina would always be the leader but we were also both content with just being apart of the activities and tasks needing to be accomplished but our ability to drive others and complete task with enthusiasm would always show because of this we were thereby always moved to the front of the crowd. We also noticed that this same thing applies when were in the workplace; we were both again selected to be a leader after just a short time of displaying our abilities to charm and motivate. Gina noticed that she is always the person to excite employees and get them to produce at a faster pace when completing departmental tasks and goals. Gina saw that her managers are always pleased with her people skills and that they often use her as an example to her peers when adjusting or presenting new changes to the department. I identified that I was good at innovation at work and creating new ideas. Gina and I both welcome and look forward to change because it keeps and sparks our interest. We both despise boredom. DISC offered us so much information about our interactive style’s typical business characteristics such as wanting to be included by others in significant events such as research and brainstorming, resisting control and desiring freedom. In our personal lives we both also realized how our behavior style applied because we both don’t like when someone doesn’t give us their undivided attention and when were not given an opportunity to express ourselves or opinions.

Thursday, January 23, 2020

Irony in Tim O’Brien’s How to Tell a True War Story Essay -- How to Te

Irony in Tim O’Brien’s â€Å"How to Tell a True War Story† â€Å"This is true.† (O’Brien, 420) – with this simple statement which also represents a first, three-word introductory paragraph to Tim O’Brien’s short story, â€Å"How to Tell a True War Story†, the author reveals the main problem of what will follow. â€Å"Truth† – when looked up in a dictionary, we would probably find definitions similar to sincerity and honesty on the one hand, and correctness, accuracy or reality on the other hand. When looking at these definitions, one can make out two groups of meaning: While sincerity and honesty are very subjective, correctness or accuracy are supposed to be objective by nature. One can be sincere and still not report the truth, due to the simple fact that one does not know any better. Accuracy, however, is supposed to represent facts, bits and pieces of information that paint a picture of an event, untouched by opinion or attitude. In his short story, O’Brien unravels step by step the irony in the double meaning of truth, implied in this first statement, â€Å"This is true†, to the reader which is then woven through the entire story. By trying to characterize what constitutes a true war story, but never really achieving this goal, the true irony of his short story is revealed. Even though in some instances giving away his opinion explicitly, the sheer contradiction of honesty and reality becomes even more visible in an implicit way by following O’Brien’s explanations throughout the story while he deconstructs his first statement. The incongruity between his first statement and what is actually shown in his examples does not need any explicit statements to drive home his message. An interesting combination of recalled events and editorial commentary, the story is not set up like a traditional short story. One of the most interesting, and perhaps troubling, aspects of the construction of â€Å"How to Tell a True War Story† is O’Brien’s choice to create a fictional, first-person narrator who might just as well be the author himself. Because â€Å"How to Tell a True War Story† is told from a first-person perspective and O’Brien is an actual Vietnam veteran, a certain authenticity to this story is added. He, as the â€Å"expert† of war leads the reader through the story. Since O’Brien has experienced the actual war from a soldier’s point of view, he should be able to present the truth about war... ...r because it seems impossible to reconstruct an event from this objective point of view. Maybe the point of telling stories is not trying to recreate the reality of a past event, but it is the message that matters because that might be in the end the only thing that does not necessarily depend on single details of the story, but on the overall picture of an event. That is why to O’Brien another important component of a war story is the fact that a war story will never pin down the definite truth and that is why a true war story â€Å"never seems to end† (O’Brien, 425). O’Brien moves the reader from the short and simple statement â€Å"This is the truth† to the conclusion that, â€Å"In war you lose your sense of the definite, hence your sense of truth itself and therefore it’s safe to say that in a true war story nohting much is ever very true† (O’Brien, 428). These two statements frame the entire irony of the story, from it s beginning to its end. Almost like the popular saying â€Å"A wise man admits that he knows nothing.† Works Cited O’Brien, Tim. â€Å"How To Tell a True War Story.† The Compact Bedford Introduction to Literature. Ed. Michael Meyer. Boston: Bedford St. Martins, 2003. p. 420-429.

Wednesday, January 15, 2020

Blockbuster Films Essay

Extra-terrestrial beings, intergalactic space flight, fictionalized re-telling of actual historical events, biological disasters that either threaten or bring human existence to a screeching halt, these are several of the most common elements and themes found in blockbuster films. But given the varying elements of blockbusters in film history, certain uncertainties give the term no exact definition. Yet, people, regardless if they are critics or ordinary viewers, are able to determine if a particular film is a blockbuster or not. Traditionally, blockbusters are regarded as films that denote popularity or success in production, but there is no authoritative body that gives requirements or criteria for judgement for films to be classified as blockbusters. Likewise, there exist no actual norms and standards on how films are to be classified as such. The fact that there uncertainty prevails over the true definition of a blockbuster leads to questions such as: is it based on towering budgets and high production values? Are blockbusters made through the popularity of the actors involved in the film? Or are blockbusters created and classified based on the brilliant, and seemingly flawless ideas spawned by a particular filmmaker’s imagination? In any event, Julian Stringers (2) introduction to the book, Movie Blockbusters, asserts that the term has an elusive nature because the meaning of the term blockbuster if used in the context of motion pictures is never fixed or clear. However, Stringer denotes that the term’s definition varies dependent of who speaks and what is being said (2). Stringer’s definition implies that a blockbuster does not necessarily have to have big budgets or sophisticated on-screen effects, rather, a complex spectacle that poses as a genre of the cinematic tradition. And by saying that a blockbuster is a genre, the distinct elements of the cinematic tradition categorize such films under blockbuster Take the case of Christopher Nolan’s 2008 blockbuster superhero film The Dark Knight. Apart from the concept of a masked vigilante using high-powered gadgets to ensure that no more 8-year old boy would lose his parents again, the idea of a rich, powerful, and influential individual sporting a caped suit and a mask to fight crime is can only be meant for children, or to some extent what the American culture came to call, the geeks.. Nevertheless, The Dark Knight managed to crawl its way to the hearts and minds of millions of movie goers. Set in a Gotham City manifesting itself as an archetypal city fired up by the sound of progress, but haunted by the vestiges of underground criminal activity, hypocrisy, and corruption, The Dark Knight revolves around Joker’s psychotic ploys to disgrace Gotham City’s law enforcement department while trying to reveal Batman’s alter-ego in the process. Putting Lieutenant James Gordon and District Attorney Harvey Dent in his primary hit list, Batman bends and distorts his principles in life to put a lid on the Joker’s irritating humour. As previously mentioned, the elements incorporated within a particular film create blockbusters. The Dark Knight is no exception as the actors and the film’s plot cooperate to venture the superhero genre to blockbuster. New York Times film critic Manohla Dargis describes Nolan’s The Dark Knight as a film that stands between the thin blurry lines of art and industry, as well as poetry and entertainment. This is because the dark portrayal of the characters in the film gives a totally new perspective on comic book characters in contexts beyond the limitations of comic strips. The Joker (Heath Ledger), for instance introduces the audience to what he calls a better class of criminal. The Joker is meant to become the irony of his own name that he exhibits a serious psychotic nature through gestures such as facial expressions and his walk (Nolan). Nolan’s Joker provides a justification for his criminal sanity by comparing himself to normal civilized individuals who feel that the laws being imposed make the world a safer and a better place. It is quite apparent in the Joker’s motives that he questions the morality of the corrupt law enforcement officers and politicians who allegedly feel that they are on the side of right. Heath Ledger’s performance as the Joker single-handedly carries the film to blockbuster status because of the dark, sadistic approach to the villain’s persona. Acclaimed film critic Roger Ebert of the Chicago Sun Times writes that Nolan’s Joker steps up in such a way that he puts up ingenious situations where Batman (Christian Bale), Police Lieutenant James Gordon, and District Attorney Harvey Dent (Aaron Eckheart) are placed in tight situations that challenges their morality in every sense. Dialogue is also one of the promising elements that place a particular film in the blockbuster genre. This is in large part brought about by language’s capability to leave an indelible mark to viewers from all walks of life. Adding more magnificence to the already unique, yet chilling gestures, the Joker’s lines exhibit a foreign implication that justifies his psychotic ploys. Simply put, how the Joker justifies the sadistic choices he gives to his adversaries establishes a different consciousness to people, especially ones who are oppressed by supremacists and bullies. In a similar magnitude, Eckheart’s iconic line â€Å"either you die a hero or you live long enough to see yourself become the villain (Nolan)†, tattoos a harsh reality that serves as a portrait of the current state of political. By literally and figuratively living to his words, Harvey Dent taps a reality, though morbid, reflects how power becomes self-destructive in such a way that it corrupts people who hold it. Apart from the remarkable performances, the film’s sinister and tragic plot spells out the word blockbuster. Primarily, Nolan’s The Dark Knight poetically departs from the typical good versus evil comic book plots. Nolan’s Dark Knight becomes darker as Gotham’s beloved citizen start to pile up for the caped crusader’s arrest, the Joker’s sick, demented mind takes advantage and prompts the infamous hero to come out and get him. Roger Ebert describes the plot as haunted that exceeds the boundaries of its comic book origins and transcends in to a shocking tale of tragedy. This is because most of the film’s scenes engages both the audience and the film’s protagonists to decide on moral dilemmas. In the end, no matter what choice the hero makes, a scar is left on his morale and his identity. Ebert adds that because of the actors’ ability to captivate the audience and because of how the film’s special effects respect the emotional acting, the audience are blindsided by the drama that pierces to their compassionate side. Through-the-roof funding and sophisticated production principles seem to pave the way for blockbuster films. But then again, how would a certain film become attractive and tasteful to the audience if it does not bring the promising elements in to consideration. Through its gloomy intensity and dark and horrifying humour, The Dark Knight managed to balance the weight production values with the term blockbuster. Likewise, the serious and cruel undertones of the film‘s plot not just redefines superhero movies but it clarifies what classifies as blockbuster as well. Works Cited Stringer, Julian. Movie Blockbusters. New York: Routledge, 2003. Dargis, Manohla. â€Å"Showdown in Gotham Town. † 18 July 2008. The New York Times Online. 22 October 2008 < http://movies. nytimes. com/2008/07/18/movies/18knig. html>. Ebert, Roger. â€Å"The Dark Knight. † 16 July 2008. Roger Ebert’s Official Website. 22 October 2008 < http://rogerebert. suntimes. com/apps/pbcs. dll/article? AID=/20080716/REVIEWS/55996637/1023>. Nolan, Christopher. IGN interview on Christopher Nolan. 6 December 2007. The Dark Knight. Dir. Christopher Nolan. Perf. Christian Bale, Heath Ledger, Gary Oldman, and Aaron Eckheart. Warner Brothers, 2008.

Tuesday, January 7, 2020

Animals Should Not Be Used For Biomedical Research

Animals have been used from the beginning of time the ancient civilisations used animal testing to find answers to the unknown for example why do animals exist romans greeks simply dissected animals to have knowledge. Now days animals are used to understand basic human biology, so called â€Å"models† for studying human biology and disease. Improvements in human health, vaccines and medicines. Another type of animal use is for cosmetics. Even though people believe that biomedical research is a way to improve human health by testing on animals for cures and vaccines I believe that animals should not be used for biomedical research because biomedical research leads to animal suffering ,number of animal death and most studies are unthinkable. biomedical experimentation leads to animal suffering millions of animals are stuck behind cages many of those animals never had a life outside of a laboratory. According to petda More than one million animals are used for biomedical research each year big companies use animals to test their products some of these products humans use everyday it can be as simple as your shampoo or body wash to your eye liner. animals have rights too just as humans, animals are subject to many different test in 1920 animals were used for acute toxicity testing in which the animal was subject to poisoning to determine the toxic consequences of a single, short-term exposure to a product or chemical, the substance is administered to animalsShow MoreRelatedAnimal Testing Should Not Be Used For Biomedical Research1645 Words   |  7 PagesMillions of animals are used and tested on for biomedical research. Considering this fact, is it really an ethical approach to satisfying the needs of humans? Animals should not be used for biomedical research because the experiments are cruel and inhumane. 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