Stakeholder Theory and the Nature of the Firm-myassignmenthelp

Question: Discuss about theStakeholder Theory and the Nature of the Firm for Goods. Answer: Stakeholder Theory and the Nature of the Firm The stakeholder theory in todays era is one of the most commonly used concept in business. According to this theory, this main purpose of a particular business is the creation of values for not only the shareholders, but for the stakeholders as well (Harrison Wicks, 2013). In the context of sustainable business practice, a stakeholder may be anybody ranging from a government body, investor, any political group, consumers, the employees or the trade unions. The external factors such as economy, competition, politics and customers and suppliers, and the internal factors including money, culture of the company, and staff has the potential to affect a the sustainability of a business in their own way. For example, the commitment from the higher management is one of the major factors that integrate the sustainability and the business practices as this helps in creating a business strategy around the sustainability. The paradigm change required in the transformation of business sustainability includes a significant shift right from the company leaders to the consumers as the scale of planetary crisis is enlarging. Reductions in using toxic chemicals, reduction in packaging, retooling for the efficiency of energy, taking green initiatives, recycling and conserving energy are the basic steps that must be taken by every business (Smith Offodile, 2014). The framework for supporting business sustainability has three important areas for consideration and they are fair and responsible banking, economic and social participation and sustainable growth. References: Harrison, J. S., Wicks, A. C. (2013). Stakeholder theory, value, and firm performance.Business ethics quarterly,23(1), 97-124. Smith, A. A., Offodile, O. F. (2014). Green corporate initiatives: a case study of goods and service design.International Journal of Logistics Systems and Management,19(4), 417-443.

Death of the Salesman American Dream Research Paper Example

Death of the Salesman American Dream Paper American Dream Written by Arthur Miller and a classic play of American theatre, Death Of A Salesman is a great book about how Willy Loman, a travelling salesman who has been working for thirty-four years, strives to become a successful man in America. However, Willy interpreted successful as what he considers as the â€Å"American Dreambeing â€Å"well-liked† and â€Å"attractive†, which he took too seriously and in end led to his tragic death. Always clinging onto his dream, Willy has lived in his own illusions throughout his whole life. Even more unfortunate, his son Biff has been living under his shadows and ended up as failure. Having an American Dream may not be a bad motivation for life, but Willy held on to this dream as if it was everything. An example from the book is when Biff realizes that his fathers’ many mistakes, they both get into an argument, which is also the climax of the play. During the argument, Biff asked his father, â€Å"Will you take that phony dream and burn it before something happens? This clearly shows that Willy is deeply possessed by his dream. As the play goes further on, Willy even wanted to die to show Biff that his â€Å"attendance at the funeral† will show how popular he was. His belief of worth â€Å"being dead than alive† finally led to his tragic death, also leaving his family in a bad condition. From the above two examples, it can be shown that the American Dream has blinded Willy. Only letting him realize the disparity between the dream and reality, and p utting on pressure for the poor man to commit suicide. We will write a custom essay sample on Death of the Salesman American Dream specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Death of the Salesman American Dream specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Death of the Salesman American Dream specifically for you FOR ONLY $16.38 $13.9/page Hire Writer

Origin of the Roman Satire Genre

Origin of the Roman Satire Genre Roman literature began as an imitation of the Greek literary forms, from the epic stories of Greek heroes and tragedy to the poem known as an epigram. It was only in satire that the Romans could claim originality since the Greeks never split satire off into its own genre. Satire, as invented by the Romans, had a tendency from the beginning towards social criticism- some of it quite nasty- which we still associate with satire. But the defining characteristic of Roman satire was that it was a medley, like a modern revue. Menippean Satire The Romans produced two types of satire. Menippean satire was frequently a parody, blending prose and verse. The first use of this was the Syrian Cynic philosopher Menippus of Gadara (fl. 290 B.C.). Varro (116-27 B.C.) brought it into Latin. The Apocolocyntosis (Pumpkinification of Claudius), attributed to Seneca, a parody of the deification of the drooling emperor, is the only extant Menippean satire. We also have large segments of the Epicurean satire/novel, Satyricon, by Petronius. Verse Satire The other and more important type of satire was the verse satire. Satire unqualified by Menippean usually refers to the verse satire. It was written in dactylic hexameter meter, like epics. Its stately meter partly accounts for its relatively high place in the hierarchy of poetry quoted at the beginning. Founder of the Genre of Satire Although there were earlier Latin writers instrumental in developing the genre of satire, the official founder of this Roman genre is Lucilius, of whom we have only fragments. Horace, Persius, and Juvenal followed, leaving us many complete satires about the life, vice, and moral decay they saw around them. Antecedents of Satire Attacking the foolish, a component of ancient or modern satire, is found in Athenian Old Comedy whose sole extant representative is Aristophanes. The Romans borrowed from him and other than extant Greek writers of comedy, Cratinus, and Eupolus, according to Horace. The Latin satirists also borrowed attention-grabbing techniques from Cynic and Skeptic preachers whose extemporaneous sermons, called diatribes, could be embellished with anecdotes, character sketches, fables, obscene jokes, parodies of serious poetry, and other elements also found in Roman satire.

Peshawar Terrorists Attacks Article Example | Topics and Well Written Essays - 1000 words

Peshawar Terrorists Attacks - Article Example It has always been believed that Islam does not support the acts of terrorism. However, terrorism has been seen so much to be associated with Islam across the world. However, in many cases, in as much as Islam has been associated with the on-going terror attacks in the world, it has been lenient to its followers. Rarely will you hear that Muslims attacked other Muslims? It is because of this that the Tuesday attack in Peshawar, Pakistan, is considered an extreme act of Islamism. The fact that Taliban militia had claimed responsibility, makes it be confirmed that this was a war that was executed by Muslims against Muslims. Several Islamic world leaders have come out strongly to condemn the act of terror that took place on Tuesday at Peshawar. For instance, the Nobel Prize winner, Malala Yousafzai has condemned the cold blood killing if the innocent lives of school children (Sofia & Greg, 2014). Remembering the fact that she was also a victim of shooting in Pakistan as a school student when she was shot on her way to school, she has urged that those who are opposed to Islamic militant violence ‘will never be defeated.’ She reiterated that she was condemning such atrocious act and cowardly act and is in unity with the government and the military men of Pakistan in combating the terrorists. She also joined other millions of leaders and other people across the world to mourn the killed children, who are her brothers and sisters, as she stressed that the country will never be defeated in combating the terrorists. The British politicians and leaders also joined hands in condemning the attack that left around 131 school children dead. The British government, through the British Prime Minister, David Cameron, described the scenes that were unfolding in the city of Peshawar as horrifying and appalling as it targeted school children.  

International Business Essay Example | Topics and Well Written Essays - 2000 words

International Business - Essay Example When we talk about a country Comparative advantage, they are the Superior features of a country which provide it with unique benefits in global competition derived weather from national endowments or deliberate national policies. It is concept that helps answers the question all nations can gain and sustain national economic superiority. Competitive Advantage of a country’s firm is distinctive assets or competencies of a company derived from its size, assets, innovation strengths which are difficult for its competitors to duplicate or imitate. In other words the concepts tells us how a firm can gain and sustain distinctive competence vis a vis competitors. (Theories of International Trade and Investment, 2008) Single Market - European Union The European Union is a group of Western European nations working to unite the economic resources into a single economy. It is a group of 27 member states which have been united to create a political and economic community throughout Europe . The European Union imports and exports more than any one country in the world. The community’s chief trade partner is the United States. The community have special trade agreements with many other countries (European community). The main purpose behind European Union is to provide better economy to the poorer countries in Europe. It also means that trade between these countries is cheaper. Apart from this the European Union aims to promote economic and social progress and a high level of employment opportunities, thus maintaining sustainable development and a better standard of living and Gross Domestic Product of the economy. Through the establishment of economic and monetary union, they create an area without internal frontiers, which includes a single currency and it makes trade much easier. One of the reasons behind the formation of European Union was to provide a common defence phenomenon. In this way all the members will be secure in terms of defence. Through the intr oduction of the citizenship of Union, the rights and interests of the nationals are strengthened and protected (Folketinget). Internally the European Union has abolished trade barriers, experiencing a common currency and is constantly striving towards the convergence of improved living standards. In the words of Central Intelligence Agency : â€Å"The European Union faces a lot of difficulty in devising and enforcing common policies because of the differences in the per capita income among member states. Between 2004 and 2007, 12 countries were added to the European Union which are generally less advanced than the remaining 15 countries. Being a large Union, it has a couple of transnational issues.†The European Union itself has no border disputes with the neighbouring countries. But technically Estonia has no land agreements with Russia; on the other hand Slovenia disputes its land and maritime boundaries with Croatia. Similarly Spain has territorial and maritime issues with Morocco and with the UK over Gibraltar (Central Intelligence Agency). A single market is a trading bloc. It comprises of a free trading are and has common policies. There is freedom of movement where assets like land, labour, capital and enterprise are concerned. The main objective is that these factors of production are mobile. All the trade barriers, whether it be in the form of

Appropriation and Important Postmodern Strategy

Appropriation and Important Postmodern Strategy Important shifts in visual strategies in the arts mark the historic cross-over from the Modern to the postmodern paradigm. While this holds equally true in music and literature, it is the evolution of such strategies in the visual arts that this essay concentrates on. While such demarcation cannot be pinned down to a specific year or date, it is possible to convincingly chart this shift via an examination of the working strategies of three important painters: Americans Andy Warhol and David Salle, and Australias Imants Tillers. Postmodern art, by definition, rejects strict genre confines and, unlike modern art, celebrates the mixing of forms and ideas. As a result of this rejection, postmodernism advertises the use of irony, parody, satire, humour and collage. The use of appropriation in art is a useful strategy for commenting on or criticising aspects of life by recontextualising an image or object of already determined meaning. Giving new meaning to, or building upon the meaning of, an existing idea by redefining its context is an effective tool that alters or interferes with the viewers original association with an object or idea. This being immediately recognisable as a postmodern approach due to its embrace of contradiction, diversity and the unconventional. This is important as the message translates easily, giving meaning to a modern day audience. David Salles Tragedy, 1995, is a diptych. The right-hand panel is performed in grisaille, a technique predominantly used to render figures from one base colour or monotones, greatly accentuating the mood. In this panel are two figures, a smirking female, obliquely behind the main male figure who sits with hands on knees with the face distorted into a grotesque parody of despair. The left panels apparent pastiche is backgrounded by what appears to be a domestic scene derived from a 1950s advertisement, possibly a direct reference to Richard Hamiltons landmark artwork Just what is it that makes todays homes so different, so appealing? (1956), a work widely considered as a seminal precursor to Pop art. There is also a possible death motif in reference to the Cold War and the anxiety of the Atomic age of the post-WW2 West. In the centre is a black and white photograph of a bomb blast, surrounded by lemons, with a black glove at the top right corner. The explosion could also be representational of death, as well as the black glove being a traditional mourning trope, these funerary motifs all relating back to the tragic tone of the artwork, and the mans expression. Salles work is more about juxtaposition which he uses as a strategy to destabilise the ways in which we traditionally see, and at the same time reconfigure traditional visual narrative. He leans heavily on a simple strategy of montaging images of the banal and everyday. The effect is jarring and visually disturbing. In this, we can see his indebtedness to the better aspects of Pop like Warhol and James Rosenquist. Salle also created another diptych work entitled Comedy (1995) using the same layout, but mirrored with opposite facial expressions on the figures; as the man with an exaggerated frown in Tragedy now smiles in Comedy. The left panel of Comedy is also rendered in grisaille. In the right panel, an advertisement for a bedroom suite is set on its side and like the artists early works is collaged with additional imagery: a black and white photograph of a headless female fashion mannequin, enclosed by a garland of butterflies, and below a theatrically ruffled harlequin collar.   The paired titles may refer directly to Salles set and costume designs for ballet and theatre, as well as his endeavour into directing the 1995 feature film Search and Destroy. The tropes of the frilled glove and harlequin collar in Salles work of the early nineties hints to his involvement with the performing arts. A cinematic feel can also be identified in Salles juxtapositions of scenes that conjure a cinematic impression in which components are arranged to produce an alternative meaning that is not, indeed cannot, be seen in the singular images alone. The fact that the images of the man in the foreground are reversed when comparing Comedy and Tragedy also gives the viewer an ironic configuration of the Janus, the tragic and comic faces are referenced, via each other, into a singular idea. The God Janus was the protector of gates and doors, beginnings and endings and dates to Roman times. But beyond the traditional trope of the Janus, is the fact that he is two-faced. It may be of some interest to note that, before making it big as an artist Salle worked for a short time in the late 1970s as a paste-up artist for  Stag magazine, a pornographic publication. It is interesting to note that highly sexualised and fetish images making a regular appearance in his works of the 1980s. In  Tragedy  the main figure is haloed by a biomorphic shape, at once visceral and phallic. If this motif is indeed phallic, along with the bomb blast possibly symbolising a premature explosion, Tragedy may well portray a failure of male potency. Taking this reading,  Comedy must surely read as the opposite: the main male figure beams, proud and confident as opposite a bio-morphically enclosed female mannequin in a flowing gown stands without a head. The fact the female mannequin is headless is also interesting, being without identity, the female strictly objectified. The porn aesthetic is genuinely interesting though. While porn does not read compositionally the same as any other figurative traditions, porns narratives run to succinct, highly predictable paradigms. Pasting-up, now a dead skill as all such work is now done on a computer, was physically very much like a collage. Pasting-up is a compositional exercise where images and/or text are literally separate physical items pasted into position on a board for photo reproduction prior to final printing. So we could argue that some of Salles visual sensibility the recurring figures and images, the outlines of figures and objects cast over earlier images and grounds could have derived from his work for a porn publication. Salle was raised on the mythology of the Abstract Expressionists. Accordingly, the scale of his work is New York School-size; his 1995 diptych Tragedy is over 3.5 metres in length. Salle also defers to the Abstract Expressionist myth of all-over composition, the famous domain of Jackson Pollock. But rather than the frenetic, energetic marks of Pollocks famous Poured Period, Salle crams his canvasses full of eclectic figures and objects, often dissimilar and jarring, often seemingly disconnected and layered. It is an ironic homage to the macho painters of the New York School. Salle is widely considered one of the early blatantly postmodern painters by virtue of his subversion of the recognisable, and by distorting the familiar via awkward juxtapositions and unlikely compositional decisions. He drew from such widely artistic traditions as Minimalism, Abstract Expressionism, Pop Art, Realism and Cubism as well as images from popular culture. Although much of his work seems highly symbolic, Salles paintings seem not to contain a specific message, but rather leave space for the viewer to interact, to read into, the work. It is this interaction that brings the work to meaningful completion. This active engagement of the viewer is also a prime postmodern strategy. Imant Tillers use of quotation and appropriation has seen him classified as one of the early postmodern painters. His approach has a clearly personal element, despite appropriating imagery from both unknown and famous artists alike. Tillers 1985 work The Nine Shots is a an abstract figure who appears to be laying sprawled on his back, with nine target shapes all about him. Instantly, one can see the direct influence of Indigenous art influence on this piece. Tillers notably recontextualises the circular Indigenous motif for camp site or resting place to represent bullet holes. The main Aboriginal image Tillers has appropriated in The Nine Shots was Michael Nelson Tjagamarras Five dreamings, 1982. This appropriation lead to some considerable controversy, with allegations that appropriating Aboriginal imagery without permission impinged upon the moral privileges of the artist. The offence being exacerbated by the indissolubility of Aboriginal art from its environment. Tillers seemingly questioned identity established by and arising from locality by displaying appropriated cultural imagery with other images from different contexts. Over the next decade Tillers relationship with aboriginal art developed, even to the point of gaining a personal friendship with Tjagamarra whose work he incorporated without permission, the two even collaborating together in Nature Speaks: Y (Possum Dreaming) in 2001 using Aboriginal Walibri motifs. Walibri icons subsequently appearing as common elements in Tillers later work as a result. Tillers appropriation of aboriginal signs seems now to be more an appreciation of their artistic power. Although there has been no change in Tillers practice of appropriating Aboriginal art in his own work without permission, it could be deduced that the moral dilemma surrounding the re-using of sacred Aboriginal artworks has become less controversial, its treatment becoming more alike non-aboriginal art. While appropriating, building upon, borrowing from and being influenced by others art is now a mainstay of postmodern art, it is never going to be without hazard as art is not confined to particular types of objects. Aboriginal art it is a device of selfdom, a title deed to the land, a cypher of ancestral presence. It is the situation that Aboriginal law reserves rights to produce these sacred works to a limited group of artists and the infraction of these rights in the unauthorised borrowing of such art can be seen as a type of sacrilege that affects the foundation of the artists society. While widely recognised as the chief proponent of the Pop idiom, specific early works by Andy Warhol can retrospectively demonstrate the decline of the Modernist period. Warhols rejection of the machismo of the New York School is a classic Oedipal strategy. The best of the Abstract Expressionists had traded heavily on the supposed Jungian content of their work, whereby meaning was derived from the actual physical laying down of paint on canvas. Most notable of these, of course, was Jackson Pollock who was on the record in interview touting his Jungian pedigree. By implication also, this Jungian ideal cashed out on the implicit value of originality. To witness the extent to which adoration of the authentic mark of the artist extended, one only need examine the huge, stark calligraphic works of Franz Klein. But Warhol was notable in his total rejection of these ideas. His foppish, effeminate persona stood starkly at odds with the Abstract Expressionists who, we must remember, were still practising in the years of Warhols emergence in the early 1960s. In place of the Abstract Expressionists tortured surfaces were Warhols radically underworked monochrome renditions of newspaper advertisements and newspaper headlines as in  $199 Television, 1961. Warhols Campbells soup can, along with images of CocaCola bottles and Marilyn Monroe became the Pop Art movements representing motifs. The soup can being a satirical comment on Americas consumerism. By using the familiar image of Marilyn Monroes face he has turned it purely into an icon of pop culture, and no longer a person with depth and character. Her depiction is now just a shallow symbol of fame and beauty. Warhols signature use of the silkscreen completed his rejection of the New York style of painting of the late 1940s and 1950s. The silkscreen stood as a reproducible artwork, and the mechanic nature of this production put the artists hand at one remove from the finished product, especially given Warhol employed assistants to make the actual work while he stood as supervisor, and oversaw production.   In 1964 Warhol was one of ten artists commissioned to produce work for the World Trade Fair to be held in New York. Warhols contribution, Most Wanted Men, 1964 featured silkscreen portraits taken from FBI mugshots. This mural-sized work was installed on the outside wall of the Circarama, a one hundred foot circular cinema in which a 360-degree view of New York was projected. Within days of its installation, however, the Circaramas architect, Philip Johnson, had asked Warhol to remove Most Wanted Men, saying the New York State governor thought it would offend the many Italians among his constituents, given all the men depicted were Italian. Given twenty-four hours to replace or remove the work, Warhol had his assistants scale ladders and cover the portraits with industrial silver paint. The strategy is intriguing. Beginning with the idea of appropriating photographs, photo-silkscreening them to find the appropriate scale, and then, after the order that it be removed, Warhol chooses not to replace the work, but complete it with the metaphoric mirroring of the silver paint-out of the original image.   In real terms then, the interference or censoring offered by the Trade Fair organisers and associated politicians, did not necessarily result in a failure of this work. In the same way that many postmodern artists position their viewers to interact with a work in order to complete it, or find meaning, so Warhol played with the critical interference he was offered in a way that served the work and, perhaps more importantly, appended Most Wanted Men with a complex narrative that sited the artist as the  enfant terrible or provocateur who, in completing the work with a crude, industrial silver skin, metaphorically throws an unacknowledged and (given the ambiguity of its title, homoerotic) Narcissistic impulse back in the faces of the authorities. So whether the artists intent is purely representing a personal side of themselves to an audience, or to provoke controversy and questioning from the public, the use of appropriation is a useful strategy of postmodernity as it requires the participation of audience thought to make a work complete. This would seem very unconventional to Modern art, but thats what makes appropriation or recontextualization such a powerful postmodern tool. Salles personal love of the theatrical, Tillers questioning of sacred aboriginal art or Warhols parodic use of popular and commercial products; As can be seen from these well known artists and artworks of the postmodern era, building upon or giving new meaning to an image or object is a very efficient way of producing art with a message behind it.

The fellowship of the ring :: essays research papers

The Lord of the Rings: The Fellowship of the Ring The Lord of the Rings: The Fellowship of the Ring, by J.R.R. Tolkien, is the first book in the fantasy-based trilogy of the Lord of the Rings. The book begins with Bilbo Baggins celebrating his one hundred and eleventh birthday. After his party, he then decides to leave everything behind and join a Fellowship, which has a task of destroying the ruling ring, which will give supreme power to whoever has possession of it. Just before he leaves, Gandalf asks Bilbo for this ring. Due to the power in which the ring possesses while it is in his possession, he does not want to give it up. The novel ends with the destruction of the Fellowship due to the power in which the ring contains. One of the prime facts of the Middle Earth is power. Power is not neutral, but is always evil. It gives wicked the chance to dominate. The good is corrupting and inescapable. This is shown repeatedly throughout the novel, from when Bilbo gives up the ring, to when Boromir tries to take the ring, and finally, t o seeing the control that the ring has over Frodo. One incident in the book, which corresponds with how power is evil, would be when Bilbo had to give up the Ring. The ring is very powerful. The power is so enticing that Bilbo is very weary to give up that ring. When Gandalf asks Bilbo if he wishes to give up the ring, Bilbo seems unsure saying yes and no. When it came to having to give it up he didn't like parting with it at all and didn't see why he should have to . Due to the power in which Bilbo feels that the ring had given him, he doesn't want to part with it. By no means does Bilbo want to use the power in an evil manner to dominate all. It is just the thought of power itself that causes this greed to come over him. Although Bilbo in general is a good character, the power of ring corrupts his ways, showing his thirst for power, which he deserves. Another incident, which portrays this corruption of goodness to evil, is when Boromir approaches Frodo and tries to take the ring f rom him. Boromir has authority, which is being heir to the throne of Gondor, but not the supreme power that he desires.