Canadas Diverse History :: Canadian Canada History

Canada's Diverse History This essay analyzes the diversity of Canada's history, geography, climate, economy, cultures and government. Did you know it is the largest country in the world now that U.S.S.R broke up. Specifically, Canada is 9,922,330 square km. Did you know that Canada used to be named "Kanata"? Yes, Kanata is an Indian word meaning village. It was not until July 1,1867 that Kanata was renamed Canada. Canada was originally discovered by Jacques Cartier an explorer from France who sailed down the St.Lawrence in 1534. Cartier we believe was the first to set foot on Canadian soil. He marked his presence with a flag claiming it his land. Over the years, Canada has developed into the home of the largest free-standing structure in the world. Canada,(a great tourist attraction)is also home of the largest water fall in the world. Our farmland unlike a lot of others has a variety of climate. The warmer summer climate ranges from +10 - +30 and the cooler climate ranges from anywhere to -10 - -30. Despite the changes in temperature, Canada's precipitation is very light. Our home is enclosed by the United States of south, the Pacific ocean and Alaska on the west side, the Atlantic ocean on the east side and the Arctic up north. One of the dominant reasons Canada is so well populated is due to the fact of our financial status. At this present time, the economy is not doing too well, but who's is? Canada is highly industrialised by manufacturing Automobiles, food, liquor and tobacco. We as a Unified country accept other cultures and religions. Canada has about every nationality possible and together they form a great home. Despite the many cultures, Canada's main languages are english and french. Canada is a democracy. This means the government is elected by all t ople.

John Grishams A Painted House Essay -- Essays Papers

John Grisham's A Painted House John Grisham’s book, ‘A Painted House’ places the reader within the walls of a simple home on the cotton fields of rural Arkansas. Within the first few pages, the author’s description of the setting quickly paints a picture of a hard working family and creates a shared concern with the reader about the family’s struggle to meet the basic needs of life. The description of the dusty roads, the unpainted board-sided house, the daily chore requirements and their lack of excess cause the reader a reaction of empathy for the family. Although the story takes place in a dusty setting very unfamiliar to most readers, the storyline is timeless and universal. Most everyone has a desire to meet the basic needs of life, embrace their family ties, and make others and ourselves proud. The crux of this book is that it does an excellent job in showing the reader through other’s examples and hardships to persevere and never give up. The title of the book, ‘A Painted House’ is based on the actual farmhouse in which the Chandler family resides. It was an old house. It was a fine house that had never been painted. For this particular family, paint - like eating meat with every meal - was a luxury. It was not a requirement to have a painted house. It was not a sign of laziness as the reader might initially expect. It was a sign of being frugal with money. In this bold example of persevering and never giving up, Mr. Grisham demonstrates to the reader that ’one can’t have everything’. The story is told through the eyes of seven year old Luke Chandler. Luke lives with his parents and grandparents on their rented farmland in the lowlands of Arkansas. It takes place during the harvest season for cotton in 1952. Like other cotton growers, these were hard times for the Chandlers. Their simple lives reached their zenith each year with the task of picking cotton. It’s more than any family can complete by themselves. In order to harvest the crops and get paid, the Chandlers must find cotton pickers to help get the crops to the cotton gin. In order to persevere, they must depend on others. They find two sets of migrant farm workers to assist them with their efforts: the Mexicans, and the Spruills - a family from the Arkansas hills that pick cotton for others each year. In reading the book, the reader learns quickly that l... ...ily is residing in the Chandler barn where the Mexicans first stayed. Luke and his parents are traveling to Michigan in order for Luke’s father can find a job in a automotive assembly plant, and Luke’s grandparents are staying at the old farmhouse with the hopes that the whole family will be back together soon. The hope from the reader is that all of the book’s characters will someday find true happiness. These folks work hard and our characters seem to deserve more than they currently have. Most readers can appreciate this feeling because it’s a feeling shared by everyone. In regards to the unpainted house: At the end of the book, only a corner of the house needs painting to be complete. It would have been very easy for our author to have completely finished in painting the house. However, that’s not what the premise nor the promise of the book contains. There is a big difference in completing a challenge, and being successful. Although life’s problems and challenges are never ending, the success in dealing with a challenge has more to do with the way it is done than in its completion. ‘The joy is certainly in the journey’ when reading the novel, ‘A Painted House’.

Cruise Control

Dept. of Electronics & Communication RVCE, Bangalore Cruise Control System |Cruise control is a new technological development which incorporates a factor of comfort in driving. Safety is only a small benefit of this | |system. In short, cruise control can be said to be a system which uses the principles of radar to determine the distances between two | |consecutive moving vehicles in which either one or both of them is incorporated with this system. | Lalitha Chinmayee H M 1RV11EC052 Namratha H Mahesh 1RV11EC062 IntroductionEvery minute, on average, at least one person dies in a crash. Air bags and seat belts save tens of thousands of people a year. But the ultimate solution and the only thing that will save far more lives, limbs and money is cruise control system. Cruise control was commercially introduced in 1958 as an option on the Chrysler Imperial. Cruise control is an invaluable feature on American cars. Without cruise control, long road trips would be more tiring, for the driv er at least, and those of us suffering from lead-foot syndrome would probably get a lot more speeding tickets.Cruise control is far more common on American cars than European cars, because the roads in America are generally bigger and straighter, and destinations are farther apart. With traffic continually increasing, basic cruise control is becoming less useful, but instead of becoming obsolete, cruise control systems are adapting to this new reality — soon, cars will be equipped with adaptive cruise control, which will allow your  ­car to follow the car in front of it while continually adjusting speed to maintain a safe distance. What is Cruise Control System?Cruise control is a system, which automatically controls the speed of an automobile. Most cruise control systems don’t allow the use of cruise control below a certain speed. The purpose of the cruise control system is to maintain a constant vehicle speed despite external disturbances, such as changes in wind o r road grade. This is accomplished by measuring the vehicle speed, comparing it to the desired or reference speed, and automatically adjusting the throttle according to a control law. The cruise control system actually has a lot of functions other than controlling the speed of your car.It can accelerate or decelerate with the tap of a button. There are also several important safety features — the cruise control will disengage as soon as you hit the brake pedal, and it won't engage at speeds less than a particular value (usually around 25-30 mph). We all know that the things that control the speed of the car are the gas pedal and the brakes. And the brain that normally controls the speed of the car is the brain of the driver. The driver senses the speed by looking at the speedometer and then adjusting the pressure on the gas pedal or the brakes to compensate for variations in the desired speed.The cruise control system does the same thing with one exception. It only controls t he gas pedal – it doesn't even know there are brakes in the car!! A Blind inventor and mechanical engineer called Ralph Teetor, invented cruise control in 1943. [pic] Modelling To understand the working of a cruise control system, we consider here a simple model of the vehicle dynamics, shown in the free-body diagram (FBD) below. The vehicle, of mass m, is acted on by a control force, u. The force u represents the force generated at the road/tire interface.For this simplified model we will assume that we can control this force directly and will neglect the dynamics of the powertrain, tires, etc. , that go into generating the force. The resistive forces, bv, due to rolling resistance and wind drag, are assumed to vary linearly with the vehicle velocity, v, and act in the direction opposite the vehicle's motion. [pic] Figure 1 Summing forces in the x-direction and applying Newton's 2nd law, we arrive at the following system equation: (1)[pic] —(1) Since we are interested in controlling the speed of the vehicle, the output equation is chosen as follows 2)[pic] —(2) Taking Laplace’s transform for equation (1), we get m sV(s) + b. V(s)=U(s) —(3) We find the transfer function of the cruise control system to be: [pic] [pic] Figure 2 – Block Diagram Controlling the Cruise Control The brain of a cruise control system is a small computer that is normally found under the hood or behind the dashboard. It connects to the throttle control as well as several sensors. The diagram below shows the inputs and outputs of a typical cruise control system. [pic] Figure 3 – Cruise Control Working Block DiagramA good cruise control system accelerates aggressively to the desired speed without overshooting, and then maintains that speed with little deviation no matter how much weight is in the car, or how steep the hill you drive up. Controlling the speed of a car is a classic application of  control system theory. Since the cruise cont rol system controls the speed of the car by adjusting the throttle position, it needs sensors to tell it the speed and throttle position. It also needs to monitor the controls so it can tell what the desired speed is and when to disengage.The most important input is the speed signal; the cruise control system does a lot with this signal. The most basic control system is a  proportional control. In a proportional control system, the cruise control adjusts the throttle proportional to the error, the error being the difference between the desired speed and the actual speed. So, if the cruise control is set at 60 mph and the car is going 50 mph, the throttle position will be open quite far. When the car is going 55 mph, the throttle position opening will be only half of what it was before.The result is that the closer the car gets to the desired speed, the slower it accelerates. Also, if you were on a steep enough hill, the car might not accelerate at all. Most cruise control systems use a control scheme called  proportional-integral-derivative control (PID  control). The integral of speed is distance. The derivative of speed is acceleration. A PID control system uses these three factors — proportional, integral and derivative, calculating each individually and adding them to get the throttle position. We've already discussed the proportional factor.The  integral  factor is based on the  time integral of the vehicle speed error. Translation: the difference between the distance your car actually travelled and the distance it would have travelled if it were going at the desired speed, calculated over a set period of time. This factor helps the car deal with hills, and also helps it settle into the correct speed and stay there. Let's say your car starts to go up a hill and slows down. The proportional control increases the throttle a little, but you may still slow down.After a little while, the integral control will start to increase the throttle, opening it more and more, because the longer the car maintains a speed slower than the desired speed, the larger the distance error gets. Now let's add in the final factor, the  derivative. The derivative of speed is acceleration. This factor helps the cruise control respond quickly to changes, such as hills. If the car starts to slow down, the cruise control can see this acceleration (slowing down and speeding up are both acceleration) before the speed can actually change much, and respond by increasing the throttle position. pic] Figure 4 – Block Control of Cruise Control Model Setting of Cruise Control [pic] [pic] Figure 5 & 6– Setting of Cruise Control using buttons The system pictured above has five buttons: On, Off, Set/Accel, Resume and Coast. It also has a sixth control – the brake pedal, and if the car has a manual transmission the clutch pedal is also hooked up to the cruise control. †¢ The on and off buttons don't actually do much. Hitting the on button does not do anything except tell the car that you might be hitting another button soon.The off button turns the cruise control off even if it is engaged. Some cruise controls don't have these buttons; instead, they turn off when the driver hits the brakes, and turn on when the driver hits the set button. †¢ The set/accel button tells the car to maintain the speed you are currently driving. If you hit the set button at 45 mph, the car will maintain your speed at 45 mph. Holding down the set/accel button will make the car accelerate; and on this car, tapping it once will make the car go 1 mph faster. If you recently disengaged the cruise control by hitting the brake pedal, hitting the resume button will command the car to accelerate back to the most recent speed setting. †¢ Holding down the coast button will cause the car to decelerate, just as if you took your foot completely off the gas. On this car, tapping the coast button once will cause the car to slow down b y 1 mph. †¢ The brake pedal and clutch pedal each have a switch that disengages the cruise control as soon as the pedal is pressed, so you can shut off the cruise control with a light tap on the brake or clutch.Adaptive Cruise Control System A more advanced cruise control is being developed that can automatically adjust a car's speed to maintain a safe following distance. Adaptive Cruise Control (ACC) is an automotive feature that allows a vehicle's cruise control system to adapt the vehicle's speed to the traffic environment. This new technology, called adaptive cruise control, uses forward-looking radar (or lidar – light detecting and ranging. But lidar based ACC’s are limited due to poor working in bad weather), installed behind the grill of a ehicle, to detect the speed and distance of the vehicle ahead of it. [pic] Figure 7 – Adaptive Cruise Control System Adaptive cruise control is similar to conventional cruise control in that it maintains the vehicl e's pre-set speed. However, unlike conventional cruise control, this new system can automatically adjust speed in order to maintain a proper distance between vehicles in the same lane. This is achieved through a radar headway sensor, digital signal processor and longitudinal controller.If the lead vehicle slows down, or if another object is detected, the system sends a signal to the engine or braking system to decelerate. Then, when the road is clear, the system will re-accelerate the vehicle back to the set speed. The 77-GHz Autocruise radar system made by TRW has a forward-looking range of up to 492 feet (150 meters), and operates at vehicle speeds ranging from 18. 6 miles per hour (30 kph) to 111 mph (180 kph). Delphi's 76-GHz system can also detect objects as far away as 492 feet, and operates at speeds as low as 20 mph (32 kph).These systems are being enhanced to include collision warning capabilities that will warn drivers through visual and/or audio signals that a collision i s imminent and that braking or evasive steering is needed. In May 1998, Toyota became the first to introduce an ACC system on a production vehicle,luxury sedan. Main Parts & Working of ACC’s The main components of a typical radar-based ACC system are: 1. Fusion sensor 2. Headway control unit 3. Throttle 4. Brake 5. Dashboard display Fusion sensor: It is a combination of sensors and processors.They are 1. Millimetre-wave radar 2. Stereo camera 3. Image processor 4. Fusion processor [pic] Figure 8 – Architecture of Radar Based ACC System Millimetre wave radar: It is a sensor which uses millimetre wave for detecting the position and velocity of a distant object. Range is calculated using the formula C = 2*R/T Where, ‘C’ is the velocity of light, ‘R’ is the range, ‘T’ is the time of flight of transmission. [pic] Figure 9 – Millimetre Radar Unit Stereo camera: The camera’s function is detection of cars and other objects i n the roadway.Image processor: It processes the images from the stereo camera and the data fed into the fusion processor. Fusion processor:  The function of fusion processor is Data Fusion. Headway control unit: It has control on the brakes and throttle and uses dashboard for immediate warnings. Canceling Cruise Control Operation: †¢ Brake pedal is pressed †¢ ‘Off' button is pressed †¢ Vehicle Speed < 25 mph †¢ An ACC system fault is detected [pic] Figure 10 – A car model with advanced cruise control system First, the vehicle speed sensor might fail. Normally the speedometer also fails so that's pretty easy to diagnose.Next, the power to the brain can be interrupted (Here brain is referred to the cruise control system as it works similar to brain). A blown fuse or a corroded connector can prevent the brain from working correctly or at all. Next, the brains can lose its ability to function. A faulty component can prevent the brain from doing its thi ng. The brain is a pretty sophisticated box that contains a lot of electronic components including a microprocessor. Normally when the brains fail you need to replace the box. The vacuum diaphragm can develop a leak.If that happens then the cruise control might set and hold the speed for some time however if the leak is larger than the supply line and modulator can add vacuum to the system the system will slowly lose control and the vehicle will slow down. This can also happen if the vacuum line to the diaphragm is cracked or loose. Finally, the linkage that connects the diaphragm to the accelerator linkage can fail. Some aftermarket cruise control systems use a short length of what looks like fat key chain – bead chain. I have seen several units fail when the chain simply breaks. ConclusionBut one drawback is that cruise control systems are dangerous in wet roads and slippery roads as they may cause some serious problems. Fully autonomous car is probably not viable in the fo reseen future. Nearby vehicles would be in constant communication with each other and act co-operatively. It will probably take decades, but car accidents may eventually become almost as rare as plane crashes are now. References 1. www. howstuffworks. com 2. www. cars. com/features/adaptivecruisecontrol 3. www. autorepair. about. com 4. ctms. engin. umich. edu/CTMS/index. php? example=CruiseControl=SystemModeling

Ornette Coleman Paper Essay

Ornette Coleman is one of the most influential artists in jazz and considered an American icon and legend. There are not many musicians that emerge who dramatically changed the way we listen to music. Ornette Coleman was of the major innovators of free jazz as well as a great saxophonist and composer. Coleman’s bluesy, playful music revolutionized jazz by ignoring regular harmonies and rhythm. He even created his own theory â€Å"harmolodic† and applied it to rock instrumental in his group Prime Time. The musician’s new style helped to regenerate jazz by allowing for the genre to go into a new direction and be placed for his music to be placed in a group of major 20th century composers. This paper will discuss how Ornette Coleman borrowed from the world of jazz to influence concert hall compositions. Ornette Coleman was a revolutionary saxophone player who expanded contemporary boundaries of music. He gained those remarkable skills by teaching himself how to play saxophone at the age of 14 and by playing with musicians in local rhythm and blues bars while growing up in Fort Worth, Texas in the late 1940s and early ‘50s. Some of his legends include Charlie Parker and two local musicians in Fort Worth Ben Martin and Reed Connors. Coleman loved Charlie Parker and bebop and thought of it as the most advanced collective way of playing a melody and at the same time improvising. Parker taught Coleman many lessons especially about the quality of what he could play and knowing the audience (Ratliff 63). The musician decided to travel to L.A. and played in various establishments. He eventually made his way to New York with his first band having a good sense of melody and ideas of playing without any preconceived chord changes (Ratliff 55). People thought of him as a genius and others denounced him as a charlatan. His music was considered controversial for instance in his quartet th ey had no chordal instruments such as the piano. Listeners said his music was radically rejecting jazz traditions, but a few praised him and said the music was an extension of the historical practice (Martin,Waters). As he was traveling  in R&B jazz bands across the country, he switched back and forth between alto and tenor sax. Resistance was normal for Coleman, and he was use to being fired. In 1950, he wrote an unpublished book that deals with a theory that melody has nothing to do with harmony, chords, or key centers. In 1958, he formed his own band that was established on a mode of playing which no one player had the lead but anyone could come out and play at any time. Beginning in 1959, Coleman and his quartet went to New York and developed the concept of free jazz (George-Warren and Pareles). Free jazz and improvised music did away with any of the strict forms of jazz and classic music such as tonality, chord changes, formal shape and structure, etc. Coleman was put into the category along with Cecil Taylor and Albert Ayler, and they abolished the traditional hierarchy of instrumentation in jazz, classical rock, and pop allowing for any instrument to be equal in improvising. Many performers were encouraged by these individuals to go beyond the regular technique to develop â€Å"extended† techniques (Cox, Warner 252). Coleman’s group debut in New York was unlike anything anyone had ever heard. The bassist or drummer did not function in a conventional rhythm sense, and there was no piano to provide chordal harmonies. When Coleman played with his group, they did not have any idea what the end result would be. The group was even able to get the attention and approval from conductor-composer Leonard Bernstein and composer Virgil Thompson along with other writers and painters (Europe Jazz Network). Each player in his group contributed what he felt in the music at any moment, and each member is not told what to do but play what they hear in the piece themselves. He also stated that in a sense that there is no start or finish to any of his music, but there is a continued expression, continually evolving strands of thoughts that link all of his compositions together (Coxer, Warner 254). Other things that summarized Coleman’s style of music include: fragmented, pointed melodies, melodic connections based on motive structure and large-scale gestures and abstract relations among pitches, little or no use of conventional harmony and voice leading, but solos often have loose shifting tonal centers, variety of melodic rhythm, nasal insistent tone, loose rhythms, use of middle and upper range o n instrument, passionate expression, and deviation from standard intonation (Martin, Waters 271). Coleman started to explore different music possibilities by mixing and  extending elements of honky-tonk, blues, funk and bebop in areas of harmony, rhythm and the melodic structure. His musical styles alienated him from the jazz world that musicians walked off the stage when he showed up for a show. His new innovations later became known as â€Å"harmolodic†, which helped change jazz by pointing it in a direction away from the musical styles of bebop, but also established a place in a group of major 20th century composers such as Charlie Parker, Harry Partch, Charles Ives, and John Cage (Europe Jazz Network). From 1962 to 1965, Coleman withdrew himself from the spotlight and taught himself to play the trumpet and violin. He began to turn his attention to writing compositions for various musical forms such as woodwind quintets, chamber orchestras, string quartets, symphonic works and vocal works. This is the point in his life where his music began to affect the concert hall. The first public performance of one his pieces was the string quartet piece Dedicated to Poets and Writers. Performances of some of his works are scarce and have not been performed or recorded. The release of his two pieces Saints and Soldiers and Space Flight performed by the Philadelphia Orchestra cleared the way for his most famous piece Skies of America symphonic suite. The piece is scored for jazz ensemble and orchestra and debuted in 1972 at Newport in New York Festival and recorded by the London Symphony Orchestra (George-Warren and Pareles). This work stands as Coleman’s harmolodic manifesto. There are some themes that people can recognize. Coleman enters the scene halfway through the piece with his saxophone during â€Å"The Artist in America†. His modulations have a fresh, sometimes abrupt sound as a result of movement of the melody and the chords. There are a number of different c hord changes which are considered correct even though it does not sound correct. Throughout the piece the works of Charles Ives comes to mind with the jumble of melodies and heavy densities. The entire work introduced his â€Å"harmolody† theory in which harmonies, rhythms, and melodies function independently and equally (George-Warren and Pareles). The theory relates to the use of similar melodic material in different clefs and keys, producing a texture of predominately parallel motion (Martin, Waters 271). He wanted to be like famous musicians George Gershwin, Duke Ellington, and Charles Mingus so that he could help break down boundaries between â€Å"modern jazz† and â€Å"serious concert† music. Coleman translates his ability as an improviser into orchestral terms. With his  orchestral works, he was able to create a peculiar timbre and certain licks unlike any other composer writing orchestral works. During the 1970s Coleman’s musical horizons continued to expand. He formed the group Prime Time which incorporated rock and funk rh ythms and melodic fragments similar to R&B music along with its harmonic possibilities. The free jazz/classical composer now created dance music that combined elements of jazz, funk, R&B, and rock with an unusual mix of instruments two guitarists, two drummers, two bassists, Coleman on the sax, violin, and trumpet. This group’s music included multi-layered melodies, polytonal and polyrhythmic textures which were defined as harmolodics. This style shaped more music other than jazz, and Coleman’s music influenced affected many rock musicians during the 70s especially Frank Zappa (Europe Jazz Network). While Coleman influenced rock musicians, he continued to diversify his music and became interested in African cultures. He traveled throughout Africa with Prime Time and created a new album Dancing in Your Head featuring field recordings with the group while they were working with tribal musicians in Morocco. In the 1980s Coleman revised and completed Skies of America after being commissioned by Caravan of Dreams, an arts center that opened in his hometown of F ort Worth, Texas. Coleman continued to write for all instrumentation and group sizes. He continued compositions for the concert hall such as the Meet the Modern series and The Sacred Mind of Johnny Dolphin. His group Prime Time eventually mixed ac (Martin and Waters)oustic and electric instruments. In 1993, his most monumental recordings from Atlantic were released in a box set entitled Beauty Is a Rare Thing. He went on to be inducted into the American Academy of Arts and Letters and was featured by the New York Lincoln Center which hosted a festival of his works featuring a performance of the Skies of America by the New York Philharmonic and surviving members of his band Prime Time (Europe Jazz Network). One of the greatest jazz artist and composer of all time is Ornette Coleman who influenced music for the concert hall and popular music genres such as jazz and rock and roll. His music for the concert hall was innovative and creative as stayed true to his artistic style and capabilities. One of his most influential pieces for the concert hall was Skies of America which helped blend many different styles of music into an orchestral work. Individuals were influenced by his pioneering work in  creating free jazz and the use of improvisation styles as well as his newly created harmolodic theory. Coleman was not afraid to step out on the limb to perform and create music without boundaries and that did not follow the traditional Western theory practices. He did receive a lot of criticism for his approach but affected and changed many by his abilities. Bibliography Cox, Christoph and Daniel Warner. â€Å"Audio Culture: Readings in Modern Music.† Change of the Century. New York: The Contiuum International Publishing Group, 2004. Europe Jazz Network Musicians . 20 February 2010 . George-Warren, Holly and Jon Pareles. â€Å"Rolling Stone Encyclopedia of Rock And Roll.† Ornette Coleman. Boston: Simon & Schuster , 2001. Martin, Henry and Keith Waters. Jazz: the frst 100 years. Belmont: Thomas Schirmer, 2006. Music, The Jazz Ear: Conversations Over. â€Å"Ratliff, Ben.† I Know Who You Are Ornette Coleman. New York: Henry Holt and Company, LLC, 2008.

“Beloved” by Toni Morrison

â€Å"Beloved† by Toni Morrison discusses slavery’s deconstruction of identity as well as explores the emotional, physical and spiritual devastation caused by slavery. Toni Morrison assumes that former slaves are haunted by devastation even in their freedom. Thus he raises important themes, because the question of slavery is still under discussion. Moreover, â€Å"Beloved† is discussed in accordance with supernatural dimension. Therefore, the paper will discuss the negative impact of slavery on sense of self and self-alienation.Further, the paper aims at discussing main themes and motifs involved in â€Å"Beloved† as well as providing thorough examination of Morrison’s ideas and narrative style. The paper will progress through the methods of in-depth analysis and description. The purpose of the paper is to enlarge knowledge and to become more informed about slavery and community solidarity. Annotated Bibliography Badt, Karin. The Roots of the Body i n Toni Morrison: A Mater of â€Å"Ancient Properties†. Journal Title: African American Review, 29, 4 (1995): 567-576.The article discusses the ambivalence about maternal power and the uneasiness of the novel stating that Morrison's novels signify the mother and evoke the desire for her meet with a depressing end. Furthermore, the article defines renovation of the self and the African-American community and says that, according to Morrison, deadly sacrifice is required. The article may be used to examine the catharsis and renewal of former slaves and to provide overview of religious experience of reincarnating. Bennett, Juda. Toni Morrison and the Burden of the Passing Narrative. African American Review, 35, 2 (2001): 205-215.The article is devoted to examination of the passing myth, sometimes in only one or two paragraphs and often with indirection. Also the article emphasizes the contours of black identity throughout the novel and admits that the novel is important for histo ry. Actually, Morrison conveys a rather standard, albeit postmodern, suspicion of truth. Therefore, the article will be used to examine and analyze the identity of black community in the novel and to outline the historical significance of the novel. Drake, Kimberly. Toni Morrison: A Critical Companion. Contributors: Kimberly S. Drake – author. African American Review, 35, 2 (2001): 333-334.The article underlines interest in Morrison’s own texts’ blank spaces, in her usage of imagination and approach to her fiction. The article explains theoretically sophisticated concepts in a responsible and clear manner providing examination of novel in terms of identity development and Christian religious. Furthermore, the article discusses minor plot errors of the novel. Thus the article will be used to critically asses the novel and to analyze the concept of self as well as to discuss the role of the black community in identity development. Jones, Carolyn. â€Å"Sula† and â€Å"Beloved†: Images of Cain in the Novels of Toni Morrison.African American Review, 27, 4 (1993): 615-623. The article provides thorough comparison between Morrison’ â€Å"Sula† and â€Å"Beloved† to find out similarities in author’s style of narration and themes involved. Carolyn states that memory is the main essential category of the author and Morrison wants to â€Å"re-memory† meaning he wants to use moral imagination shape the events of one's life into story. The article will be used to provide in-depth analysis of author’s main themes and style of narration as well as to apply theoretical framework to the concept of identity deconstruction caused by slavery. Okoso, Yoshiko.Elizabeth Ann Beaulieu, Ed. the Toni Morrison Encyclopedia. African American Review, 38, 1 (2004): 168-174. The article examines narrative style of Morrison stating that she prefers to neither explain everything, nor to provide solutions or to resolv e every detail of the plot. Morrison’s works are filled with enigmatic, shifting and vibrant aspects being not merely an accompaniment, but a provider of essential background knowledge. Thus the article will be useful in analyzing the negative impact of slavery on sense of self and self-alienation and in providing in-depth examination of the author’s style and novel’s themes.Parrish, Tony. Imagining Slavery: Toni Morrison and Charles Johnson. Studies in American Fiction, 25, 1 (1997): 81-86. The article compares and contrasts theme of slavery and identity deconstruction in the novels of Morrison and Johnson providing similarities and differences. It is stated that â€Å"Beloved† has similarities with Johnson’s slavery novels, because both authors offer negative meaning of slavery and explore African-American identity. The article will be used to describe how African-American identity is involved in the novel and how it continues to be created nowad ays.Further, the article gives the opportunity to examine Morrison’ philosophy. Rubenstein, Roberta. Singing the Blues: Toni Morrison and Cultural Mourning. Mosaic, 31, 2 (1998): 147-156. The article examines Morrison’s imagery of dismemberment and stating that it is â€Å"trope for the profound damages inflicted on African Americans by the emotional dismemberments of slavery and its aftermath†. Further, the article touches symbolic figures and transfiguration and provides links between emotional/psychological and aesthetic/cultural losses.Therefore, the article will be used to examine novel’s symbolism and aesthetics as well as to define main novel’s motifs. West, Genevieve. Conner, Marc C. , Ed. the Aesthetics of Toni Morrison: Speaking the Unspeakable. Studies in the Novel, 35, 2 (2003): 272-275. The article examines the aesthetics of Morrison. The author provides the idea that Morrison has explicitly worked to distance herself from Western trad itions in favor of situating her writings within an African-American cultural and aesthetic tradition.Therefore, the article will be used to examine the aesthetics of â€Å"Beloved† and to develop two versions of the grotesque: emphasizing play, humor, and renewal; emphasizing alienation, estrangement, and terror. Works Cited Badt, Karin. The Roots of the Body in Toni Morrison: A Mater of â€Å"Ancient Properties†. Journal Title: African American Review, 29, 4 (1995): 567-576. Bennett, Juda. Toni Morrison and the Burden of the Passing Narrative. African American Review, 35, 2 (2001): 205-215. Drake, Kimberly. Toni Morrison: A Critical Companion. Contributors: Kimberly S. Drake – author. African American Review, 35, 2 (2001): 333-334.Jones, Carolyn. â€Å"Sula† and â€Å"Beloved†: Images of Cain in the Novels of Toni Morrison. African American Review, 27, 4 (1993): 615-623. Okoso, Yoshiko. Elizabeth Ann Beaulieu, Ed. the Toni Morrison Encyclopedia. African American Review, 38, 1 (2004): 168-174. Parrish, Tony. Imagining Slavery: Toni Morrison and Charles Johnson. Studies in American Fiction, 25, 1, 81-86. Rubenstein, Roberta. Singing the Blues: Toni Morrison and Cultural Mourning. Mosaic, 31, 2 (1998): 147-156. West, Genevieve. Conner, Marc C. , Ed. the Aesthetics of Toni Morrison: Speaking the Unspeakable. Studies in the Novel, 35, 2 (2003): 272-275.

Theodicy and the Free Will Defense Essay Example | Topics and Well Written Essays - 750 words

Theodicy and the Free Will Defense - Essay Example This paper deems to tackle the concepts revolving around theodicy and free will; this also aims to know whether the free will defense meet all the three criteria for an effective theodicy. Free Will Human free will and freely chosen good actions are of high value, even though free will opens up the possibility of evil (Pinnock 5). Furthermore, as guided by the definition of freedom, free will or free act is an act that is not determined casually in any way by one’s genetic makeup, by one’s environment or even by God (Pinnock 5). Likewise, every free person is possibly sinful and free to choose evil; thus, given the independence of human freedom from divine control, it is obviously impossible for God to guarantee that individuals will always freely choose to do what is morally noble (Pinnock 5). In simple terms, Pinnock implied that free will is considered as a key justification to evil (4). Individuals deem that they have free will if they view themselves as agents capa ble of influencing the world in a variety of ways (Kane 5). Moreover, persons feel that it is up to them what they will choose and how they will act and this means they could have chosen and acted otherwise (Kane 5). Furthermore, Kane suggests that the basis of the actions of individuals exercising free will lie in themselves and not outside them which is something that could be beyond their control (5). The Biopic Teleological Argument Edwards inquired about how a powerful transcendent Creator can be a Benevolent Super-intellect when evil is evident in the world (299). Edwards then emphasized that no single, magic bullet neatly solves the problem of theodicy for if there is an available solution, it usually results from cumulative weight of many considerations; hence, the success or failure of theodicy is a matter of fallible and variable judgment (299). Massive evil in the world is indeed the greatest obstacle of all to have faith and believe that a good God created the universe f or benevolent purposes (Edwards 299). Without theodicy, individuals would deprive God of devotion instead contempt might linger in their mind and hearts (Edwards 299). The Free Will Defense amidst the Criteria of Theodicy The Free Will Defense by Alvin Plantinga denotes that much of the evil most notably the moral evil that exist in the world is a consequence of God’s endowing humans with significant moral freedom (Nash 199). In lieu of the first criteria of effective theodicy, the premise handled only human-caused suffering satisfactorily in the sense that it rationalizes why one experiences such. Such outcome is based on the fact that a free and responsible choice originates with the intelligent moral agent who makes it (Edwards 299). Thus, being responsible for a choice and its consequences such as suffering means picking that option or choice knowingly (Edwards 299). As what Edwards (299) highlighted that moral agents are responsible only for the decisions they made that originated from them, other than that, they may not be held accountable (Edwards 299). The second criteria of an effective theodicy was tackled by the Free Will Defense, in such a way that this approach stressed that God allows moral evil in order to bring about the greater good of allowing his creation to encompass significantly free moral agents, without whom there could be no moral good (Nash 199). Though pain and suffering may be experience due to the

Nestle Research Paper Example | Topics and Well Written Essays - 750 words

Nestle - Research Paper Example In order to improve its performance, it also shifted its executive offices to the United States. Another major organizational change took place when Nestle took its first step towards diversification by becoming a major shareholder in L’Oreal, the largest company in the cosmetics industry. Instead of investing in developing markets like cosmetics, Nestle purchased Alcon laboratories and entered the pharmaceutical industry. The main focus of Nestle during this time was to restructure its organization by focusing on strategic acquisitions and improve its financial improvement through diversification. In the later period, however, the new CEO focused on slow and conscious organizational change. 2. Identify whether the changes were first-order and/or second-order changes and the rationale for your decision.   In simple words, first order change is when a company does something which is similar to that done before and is a reversible option. A second order change is an irreversib le practice that an organization adopts which is fundamentally different from the practices adopted before (Leadership and institutional change, n.d.). According to the case studies, Nestle incurred both first order and second order changes. The first change of relocating its executive offices from Switzerland to the United States during the World War 2 is considered to be a first order change because the core identity of the company as well as its organizational values were maintained. During this change, the company underwent an organizational climatic change which is a king of a transactional change. The second order changes incurred by Nestle would be the decision of global expansion and diversification. By buying out shares in L’Oreal and Alcon Laboratories the company underwent transformational change as it had to face radical transformation as well as organizational development. This organizational change transformed the core organizational values and practices of Nest le. Together these changes made up the stream of organizational changes that Nestle went through. 3. Discuss whether or not the changes made were with an incremental approach as emphasized by Brabeck-Letmathe.   The CEO of Nestle, Brabeck-Letmathe, believed in sustaining and developing the strengths of the organization and introducing radical changes only if the company is facing a crisis. He believed in slow and conscious changes which are considered to be an incremental approach. He also believed that any change should only be adopted after conscious decision making which should be focused on long term rather than short term success of the organization. The first change made by the CEO was changing the entire executive board and replacing it with 10 new executive members. The CEO also focused on reinforcing and sustaining the strengths and relying on the commitment of the managers. But the overhaul of the executive board might demotivated these managers and instill in them a fea r of losing their own jobs. Also, slow and conscious growth in today`s fast paced world hinders the growth of the organization and might affect Nestle negatively. 4. Identify three examples of lessons from the front line that were evident in the Nestle case and how these issues may be overcome.