Discuss Media Influences On Prosocial Behaviour Essay

Genius social practices are activities which intend to help other people. For instance, helping, sharing and thinking about others. It appears as if the media can positively affect people. It can have an impact on expert social conduct, and there are various clarifications which help us to see how the media does it. Being presented to expert social conduct is one manner by which the media can positively affect individuals. Basically, this clarification contends that when individuals are presented to star social conduct on TV and different wellsprings of the media, they at that point become affected by it. For instance, if a character in a TV program accomplishes something supportive, this clarification would contend that the individual, who is presented to this master social conduct, would be influenced by what they are seeing and this would then imply that they will duplicate that ace social conduct and furthermore become accommodating, in actuality. Greenberg did an investigation of well known children’s programs in the US and found that there were an identical number of expert social and reserved acts. This gives us that the media furnishes us with ace social acts and it additionally gives us that we are presented to these ace social practices despite the fact that now and again we may not know about it. Woodard completed an exploration which indicated that 77% of children’s programs in the US contained professional social messages. Along these lines, as per this clarification, anybody, who watches these children’s programs, would be presented to the genius social acts and afterward they would duplicate the star social acts and show them, in actuality, circumstances. In any case, having said that, this examination is ethnocentric as it was completed in the US. This implies we can't sum up the outcomes to the remainder of the populace as it is socially one-sided. For instance, in different pieces of the world, kids may just be presented to solitary conduct in TV programs but then they despite everything carry on in an expert social manner. This, hence, brings up the issue concerning whether the media can really positively affect people who are being presented to star social conduct it may very well be the person’s character that is making them show genius social practices instead of the media impacting that individual. One quality of this clarification is the reality it is reasonable to a degree. For instance, it appears to be reasonable that if a youngster is presented to expert social follows up on TV, they would then get affected by what they are seeing, and this would then lead them into duplicating that star social conduct. There has been a great deal situations where youngsters, who have watched projects, for example, Bob the manufacturer, have duplicated what they have found in these projects and afterward utilized what they have seen to support their loved ones to take care of an issue. Another quality of this clarification is the way that it can positively affect child rearing as this clarification can help guardians to comprehend that what their youngsters are watching can impact the manner by which they carry on. For instance, guardians may get careful about what their youngsters are viewing on TV-they may urge their kids to stare at the TV programs which contain all the more professional social acts and less reserved practices and this might imply that their kids may show all the more genius social practices later on life.

A Timeline of the Russian Revolution From 1914 to 1916

Terror Tales

Margaret Atwood Reveals Her Genre Kryptonite Horror/Terror Tales This post is part of our  Margaret Atwood Riot Reading Day, a celebration of one of our  favorite  authors on the occasion of the publication of her new novel, MaddAddam. Check out the full line-up here. We are thrilled to present this guest post by Margaret Atwood.  Atwood,  whose work has been published in thirty-five countries, is the author of more than forty books of fiction, poetry, and critical essays. In addition to The Handmaids Tale, her novels include Cats Eye, short-listed for the Booker Prize; Alias Grace, which won the Giller Prize in Canada and the Premio Mondello in Italy; The Blind Assassin, winner of the 2000 Booker Prize; Oryx and Crake, short-listed for the 2003 Man Booker Prize; The Year of the Flood; and her most recent, MaddAddam. She is the recipient of the Los Angeles Times Innovators Award, and lives in Toronto with the writer Graeme Gibson. Follow her on  Twitter @margaretatwood. _________________________ I was sitting around with some family members discussing “horror” and “terror” over the blueberry pie, when I   gave it as my opinion that “horror” had to do with the body and “terror” with the mind. A spirited discussion took place in which these views were challenged, and I realized I hadn’t articulated my position clearly enough. Off I went to one of the earliest specialists in horror/terror writing, Ann Radcliffe. She was the author of The Italian, the early Gothic novel that so delighted the young heroine of Jane Austen’s Northanger Abbey. Radcliffe felt that “terror” had a degree of “obscurity and indeterminacy” that contributed to its “sublime” potential, but that “horror,” being unambiguous, lacked this quality. Terror is the fear of something dreadful yet to come. Horror, on the other hand, has a bowl-of-eyeballs yuck factor. That must have been what I meant by my mind/body distinction. This is a long preface to the announcement that I’ve just reviewed Stephen King’s forthcoming novel, Doctor Sleep, for the New York Times Book Review. This is a questionable thing to do, in that it will be questioned: I anticipate a chorus of disgruntled harrumphs from both sides of the literary pond. From those who think that “literary” authors should stick to their ivory towers and not frolic in the third-class swimming pool, a curl of the lip: why am I slumming? And from those who feel that “genres” are their own private carnival, annoyance that I am sneaking under the fence: what do “literary” writers know about such specialized “genre” wordfeats, anyway? Quite a lot, as it turns out. Horror/terror tales are rooted in folktales, of which I was an avid reader since the age of seven. (My parents sent away for the collected Grimms’, not realizing that this edition was complete and unexpurgated: no red-hot eyeballs or decomposing corpses were omitted.) To add to that, the complete Edgar Allan Poe was in the primary school library â€" those were the days in which only the presence or absence of Sex determined what was suitable for children â€" so I was no stranger to tell-tale hearts, teeth ripped out of semi-corpses, dead women coming back to life through other dead women, and so forth. Add to this the fact that the Comics Code Authority didn’t impose its rules until 1954 â€" a little too late for me. These rules included the prohibition of the words “horror” and “terror” on the covers, and of “depravity, lust, sadism,” gruesome pictures, the walking dead, torture, vampires, ghouls, cannibalism and werewolves. Indeed, none such appeared in the comparatively wholesome pages of Captain Marvel, Superman, or Batman. But the rules applied only to color comics, and the outlawed motifs flourished unchecked in the black-and-whites that a young person such as myself could purchase at the corner drugstore, read after lights-out, and then deposit under the bed of an older brother because the things were just too horrifying to store in one’s own room. I was therefore well-prepared to run my little sister’s Hallowe’en-themed birthday parties. Having decorated the cake with pumpkins and bats, I painted my face green, shone a flashlight under my chin, gathered the quivering little party-goers under the diningâ€"room table, and fed them a regurgitated mash of the above-mentioned materials. These parties were very popular, but there are a number of traumatized sixty-two year olds still walking the planet. Such experiences equipped me for my later academic study of the eighteenth-century, nineteenth-century, and early twentieth-century Gothic, including the well-known classics, Frankenstein and Dracula, but also more “literary” ghost-and-weirdness tales such as those of Bulwer Lytton, Charles Dickens, Henry James, R.L. Stevenson, and M.R. James. Name your present-day horror trope: each has a long genealogy. It also seems to be a general rule that this year’s despised pop shocker may well furnish the next decade’s serious thesis material. What is Beowulf â€" what is Inanna’s descent to the Underworld â€" what is the dismemberment of Osiris, not to mention Shakespeare’s Titus Andronicus â€" but horror/terror shock material of a former age? Yes, some of it was “religious” in intent   It would be, wouldn’t it, as the membrane separating gods and monsters is notoriously thin. So no harrumphing about my interest in the form, please. Horror/terror and “literature” are not mutually exclusive. In fact, tales of this kind may be among the most “literary” that there are, being both very ancient, and â€" unlike, say, social realism, in which a real tour of a real meat-packing factory may be involved â€" derived entirely from other tales. (Hint: there aren’t really any Walking Dead. Sorry. Sad, but true. Therefore all such monsters are metaphors.) But, you may ask, why do we like this stuff? Ah. That’s another question. Come under the dining room table with me, my dears, and I will answer it. Bring your flashlights. _________________________ Sign up for our newsletter to have the best of Book Riot delivered straight to your inbox every two weeks. No spam. We promise. To keep up with Book Riot on a daily basis, follow us on Twitter, like us on Facebook, , and subscribe to the Book Riot podcast in iTunes or via RSS. So much bookish goodnessall day, every day.

Terror Tales

Margaret Atwood Reveals Her Genre Kryptonite Horror/Terror Tales This post is part of our  Margaret Atwood Riot Reading Day, a celebration of one of our  favorite  authors on the occasion of the publication of her new novel, MaddAddam. Check out the full line-up here. We are thrilled to present this guest post by Margaret Atwood.  Atwood,  whose work has been published in thirty-five countries, is the author of more than forty books of fiction, poetry, and critical essays. In addition to The Handmaids Tale, her novels include Cats Eye, short-listed for the Booker Prize; Alias Grace, which won the Giller Prize in Canada and the Premio Mondello in Italy; The Blind Assassin, winner of the 2000 Booker Prize; Oryx and Crake, short-listed for the 2003 Man Booker Prize; The Year of the Flood; and her most recent, MaddAddam. She is the recipient of the Los Angeles Times Innovators Award, and lives in Toronto with the writer Graeme Gibson. Follow her on  Twitter @margaretatwood. _________________________ I was sitting around with some family members discussing “horror” and “terror” over the blueberry pie, when I   gave it as my opinion that “horror” had to do with the body and “terror” with the mind. A spirited discussion took place in which these views were challenged, and I realized I hadn’t articulated my position clearly enough. Off I went to one of the earliest specialists in horror/terror writing, Ann Radcliffe. She was the author of The Italian, the early Gothic novel that so delighted the young heroine of Jane Austen’s Northanger Abbey. Radcliffe felt that “terror” had a degree of “obscurity and indeterminacy” that contributed to its “sublime” potential, but that “horror,” being unambiguous, lacked this quality. Terror is the fear of something dreadful yet to come. Horror, on the other hand, has a bowl-of-eyeballs yuck factor. That must have been what I meant by my mind/body distinction. This is a long preface to the announcement that I’ve just reviewed Stephen King’s forthcoming novel, Doctor Sleep, for the New York Times Book Review. This is a questionable thing to do, in that it will be questioned: I anticipate a chorus of disgruntled harrumphs from both sides of the literary pond. From those who think that “literary” authors should stick to their ivory towers and not frolic in the third-class swimming pool, a curl of the lip: why am I slumming? And from those who feel that “genres” are their own private carnival, annoyance that I am sneaking under the fence: what do “literary” writers know about such specialized “genre” wordfeats, anyway? Quite a lot, as it turns out. Horror/terror tales are rooted in folktales, of which I was an avid reader since the age of seven. (My parents sent away for the collected Grimms’, not realizing that this edition was complete and unexpurgated: no red-hot eyeballs or decomposing corpses were omitted.) To add to that, the complete Edgar Allan Poe was in the primary school library â€" those were the days in which only the presence or absence of Sex determined what was suitable for children â€" so I was no stranger to tell-tale hearts, teeth ripped out of semi-corpses, dead women coming back to life through other dead women, and so forth. Add to this the fact that the Comics Code Authority didn’t impose its rules until 1954 â€" a little too late for me. These rules included the prohibition of the words “horror” and “terror” on the covers, and of “depravity, lust, sadism,” gruesome pictures, the walking dead, torture, vampires, ghouls, cannibalism and werewolves. Indeed, none such appeared in the comparatively wholesome pages of Captain Marvel, Superman, or Batman. But the rules applied only to color comics, and the outlawed motifs flourished unchecked in the black-and-whites that a young person such as myself could purchase at the corner drugstore, read after lights-out, and then deposit under the bed of an older brother because the things were just too horrifying to store in one’s own room. I was therefore well-prepared to run my little sister’s Hallowe’en-themed birthday parties. Having decorated the cake with pumpkins and bats, I painted my face green, shone a flashlight under my chin, gathered the quivering little party-goers under the diningâ€"room table, and fed them a regurgitated mash of the above-mentioned materials. These parties were very popular, but there are a number of traumatized sixty-two year olds still walking the planet. Such experiences equipped me for my later academic study of the eighteenth-century, nineteenth-century, and early twentieth-century Gothic, including the well-known classics, Frankenstein and Dracula, but also more “literary” ghost-and-weirdness tales such as those of Bulwer Lytton, Charles Dickens, Henry James, R.L. Stevenson, and M.R. James. Name your present-day horror trope: each has a long genealogy. It also seems to be a general rule that this year’s despised pop shocker may well furnish the next decade’s serious thesis material. What is Beowulf â€" what is Inanna’s descent to the Underworld â€" what is the dismemberment of Osiris, not to mention Shakespeare’s Titus Andronicus â€" but horror/terror shock material of a former age? Yes, some of it was “religious” in intent   It would be, wouldn’t it, as the membrane separating gods and monsters is notoriously thin. So no harrumphing about my interest in the form, please. Horror/terror and “literature” are not mutually exclusive. In fact, tales of this kind may be among the most “literary” that there are, being both very ancient, and â€" unlike, say, social realism, in which a real tour of a real meat-packing factory may be involved â€" derived entirely from other tales. (Hint: there aren’t really any Walking Dead. Sorry. Sad, but true. Therefore all such monsters are metaphors.) But, you may ask, why do we like this stuff? Ah. That’s another question. Come under the dining room table with me, my dears, and I will answer it. Bring your flashlights. _________________________ Sign up for our newsletter to have the best of Book Riot delivered straight to your inbox every two weeks. No spam. We promise. To keep up with Book Riot on a daily basis, follow us on Twitter, like us on Facebook, , and subscribe to the Book Riot podcast in iTunes or via RSS. So much bookish goodnessall day, every day.

FAFSA Documents Youll Need to Fill Out the Form

For students entering college in the fall of 2016 or later, you can fill out the Free Application for Federal Student Aid (FAFSA) as early as October 1st. Applying early can improve your chances of getting scholarships and grant aid, for many schools use up their financial aid resources later in the admissions cycle. Filling out the FAFSA can be a frustrating process if you havent gathered together the information youll need. The department of education claims that the FAFSA forms can be completed in less than an hour. This is true only if you have all of the necessary documents at hand. To make this process as straightforward and efficient as possible, parents and students can do a little advanced planning. Heres what youll need: The first thing youll need before you can even begin filling out the FAFSA is a Federal Student Aid ID (you can get that here, and you can do it before the FAFSA is available). This username and password will give you access to your federal financial aid information throughout college and beyond.Your most recent federal income tax return. Note that as of 2016, you can use prior prior year tax forms. In other words, if youre applying for admission for the fall of 2017, you dont need to wait until you file your 2016 taxes, and you no longer need to estimate your current taxes. Instead, you can use your tax return from 2015.Your parents most recent income tax return if you are a dependent.  Most traditional aged college applicants are still dependents (learn more about dependent vs independent status). For both students and parents, you can greatly speed up the transfer of your tax return information using FAFSAs IRS Data Retrieval Tool. You can learn more about the tool here.Your cur rent bank statements including both checking and savings account balances. Youll also need to report any significant cash holdings.Your current investment records (if any) including real estate you own other than the house in which you live. Any stocks and bonds you own would go in this category.Records of any untaxed income you may have received. According to the FAFSA website, this can include child support received, interest income, non-education benefits for veterans.Your Drivers License (if you have one)Your Social Security NumberIf you are not a U.S. citizen: your alien registration or permanent resident cardFinally, its useful but not necessary to have a list of all the colleges to which you are likely to apply. FAFSA will automatically send financial aid information to up to 10 schools (and you can add more schools later). If you end up not applying to a school you list on the FAFSA, no harm done. You are not committing yourself to applying to the schools you list. FinAid.or g has a useful tool for finding the institutional codes youll need to use on the FAFSA: Title IV Institutional Codes. If you have all of the above information gathered before you sit down to fill out the FAFSA, youll find the process isnt that painful. Its also a remarkably important process--nearly all financial aid awards begin with the FAFSA. Even if you arent sure that youll qualify for any need-based financial aid, its worth submitting the FAFSA for some merit awards will also require the information. Third-party scholarships are one of the few exceptions to the importance of the FAFSA. Since these are awarded by private foundations, companies, and organizations, they rarely have any connection to your federal eligibility requirements. Here at About.com, we maintain lists of some of these scholarship opportunities that weve organized by the month of the application deadline:   College Scholarships by Deadline Month:  January | February | March | April | May | June | July | August | September | October | November | December

What Is the Toulmin Model of Argument

The Toulmin model (or system) is a  six-part model of argument (with similarities to the syllogism) introduced by British philosopher Stephen Toulmin in his book The Uses of Argument (1958).   The Toulmin model (or system) can be used as a tool for developing, analyzing, and categorizing arguments. Observations What is it that makes arguments work? What makes arguments effective? The British logician Stephen Toulmin made important contributions to argument theory that are useful for this line of inquiry. Toulmin found six components of arguments:[T]he Toulmin model provides us with useful tools for analyzing the components of arguments.(J. Meany and K. Shuster, Art, Argument, and Advocacy. IDEA, 2002) Claim: A statement that something is so.Data: The backing for the claim.Warrant: The link between the claim and the grounds.Backing: Support for the warrant.Modality: The degree of certainty employed in offering the argument.Rebuttal: Exceptions to the initial claim.[Toulmins] general model of data leading to a claim, mediated by a warrant with any necessary backing, has been very influential as a new standard of logical thinking, particularly among scholars of rhetoric and speech communication.(C. W. Tindale, Rhetorical Argumentation. Sage, 2004) Using the Toulmin System Use the seven-part Toulmin system to begin to develop an argument . . .. Here is the Toulmin system: Make your claim.Restate or qualify your claim.Present good reasons to support your claim.Explain the underlying assumptions that connect your claim and your reasons. If an underlying assumption is controversial, provide backing for it.Provide additional grounds to support your claim.Acknowledge and respond to possible counterarguments.Draw a conclusion, stated as strongly as possible. (Lex Runciman, Carolyn Lengel, and Kate Silverstein,  Exercises to Accompany The Everyday Writer, 4th ed. Macmillan, 2009) The Toulmin Model and the Syllogism Toulmins model actually boils down to a rhetorical expansion of the syllogism . . .. Although the reactions of others are anticipated, the model is primarily directed at representing the argumentation for the standpoint of the speaker or writer who advances the argumentation. The other party remains in fact passive: The acceptability of the claim is not made dependent on a systematic weighing up of arguments for and against the claim.(F. H. van Eemeren and R. Grootendorst, A Systematic Theory of Argumentation. Cambridge University Press, 2004) Toulmin on the Toulmin Model When I wrote [The Uses of Argument], my aim was strictly philosophical: to criticize the assumption, made by most Anglo-American academic philosophers, that any significant argument can be put in formal terms . . ..In no way had I set out to expound a theory of rhetoric or argumentation: my concern was with twentieth-century epistemology, not informal logic. Still less had I in mind an analytical model like that which, among scholars of Communication, came to be called the Toulmin model.(Stephen Toulmin, The Uses of Argument, rev. ed. Cambridge Univ. Press, 2003)

Othello, By William Shakespeare - 1515 Words

Shakespeare’s Othello is seemingly about the blooming affection between a man and a woman. However, it is a love story gone wrong—or is portrayed as so by the author. In the historical context of Othello, which is set during the Turkish-Venetian war in the 16th century, it is essential to emphasize that Othello is the love story between Othello, the Moorish general, and Desdemona, the Venetian lady. This racial difference is most problematic to the eyes of the white Venetian society, allowing characters like Brabantio, Roderigo, and Iago to use this weakness against Othello. The hatred and jealousy, especially by Iago, is clearly illustrated through the language they use in referring to Othello. While Shakespeare uses characters like Iago†¦show more content†¦To Roderigo, a â€Å"lavicious Moor† should not deserve the â€Å"fair daughter† of Brabantio (1.1.127,136). In this statement, Roderigo first draws the invisible line of physical boundary th at Othello, being a black man, cannot surpass; Othello’s character is successfully established in the â€Å"Other† category because he is a visible minority. Then Roderigo, representative of the English at the time, viewed Othello as â€Å"contaminating and threatening† (6), instilling a need to save Desdemona from the black hands, and put her where she naturally belongs, with a white man, preferably himself. This fear of the exotic and lesser-known being is what drives the racism in this play. Then, throughout the play, Othello is alluded to as the â€Å"Moor† more often as opposed to his name, Othello, reminding the audience that he is physically and emotionally an outsider and a foreigner. Even Desdemona, who loves Othello for his mind says, â€Å"That I did love the Moor†¦Ã¢â‚¬  (1.3.248). Though she means no negativity in calling him a Moor, it still separates him in a certain boundary. Iago, on the other hand, is quite vulgar in language when expressing his feelings towards Othello. â€Å"I have told thee often, and I tell thee again, and again, I hate the Moor,† Iago says (1.3.364-5). Even Emilia, a servant in the Venetian society, refers to Othello as â€Å"dull Moor† (5.2.225) and â€Å"cruel Moor† (5.2.250), inserting a negative connotation to the word. Othello is a visible minority because he

English Stories of Raymond Carver

Question: Discuss about theEnglishfor Stories of Raymond Carver. Answer: Introduction The Bath is one of the most popular stories written by Raymond Carver, that narrates the story of a couple, who are on the verge of losing their child to death owing to an accident, te boy confronted with, on the eighth year of his birthday. The author with the help of this story tries to explain the uncertainty of life, which is the major, pre-dominant theme running throughout the story. Scott shows the uncertainty of life, as he portrays the life of a couple getting shattered by a single mishap-the accident of their child. While the mother was excited to celebrate the birthday of the only child, by the time the reader arrives the middle of the story, he finds her left to ponder over the chance of survival of her only child. Further, to highlight a sense of uncertainty, the author also shows how the child, after being hit by the car was alright, and it is only after he came back to home, that he lost is sence and got hospitalized. The theme of uncertainty of life is clear throughout the story. In order to highlight the motif, the author keeps on offering jolts to the readers, by bringing in unexpected things. The story starts with a joyous note of the celebration of the boy, and even after Scott got hit by the accident, the reader does expect that nothing has changed as the boy returns home in perfect health. However, all of a sudden the boys shown to be hospitalized, and the reader along with the mother are left apprehending that the child is in coma. Further, the theme of uncertainty is again reinforced when the mother is shown passing through the waiting room at the hospital, where someone clad in housedress or another one in khaki shirt, is being shown to be awaiting healthcare provision. It shows how uncertain human life is, as one may get hospitalized even when it is least expected. The evidence is valid as the story illustrates a sense of uncertainty as the mother as well as the reader keeps on worrying if the child will get alright or not. The lack of understanding of what is happening around is also illustrated by the fact that the mother went to the extent of being superstitious, and left the hospital with the conviction that the child might get up if she was not watching him. The author shows life is uncertain and difficult to understand. The evidence is relevant as by the end of the story also, the readers are left to wonder if the child gets well or not. I have seen an uncle going out of his home in perfect health, and all of a sudden his family got a call from the hospital that he had a stroke and that his health was not stable at all. I partially agree with the authors view. Even though I am not fatalistic by nature, yet I have seen how people go through difficult times, where they do not get to control anything. A person who is smiling now, may not have a single reason to smile in the next moment. Reference List: Carver, R. (2015).Beginners. Vintage. Carver, R. (2015).Call if you need me: the uncollected fiction and other prose. Vintage. Halfon, S., Weinstein, L. (2016). Literary and analytic transformations of trauma: Repetition, revision and rebirth in two stories of Raymond Carver.Psychoanalytic Psychology,33(S1), S120. Hodge, M. (2014). Bicycles, Muscles, Cigarettes, and ESL: Raymond Carver in the Classroom.Teaching American Literature,7.

#FreelancerFriday #1 - Rebecca Faith, Editor

#FreelancerFriday #1 - Rebecca Faith, Editor #FreelancerFriday #1 - Rebecca Faith, Editor â€Å"In my experience successful authors are open to revision. It’s not easy to hear the eighty or ninety thousand words you’ve just poured your soul into are not up to par. But if you can leave a little bit of your ego behind and dive into the art, and find someone you trust to be there with you, I don’t think good authorship is beyond many people. It’s a form that invites participation for those who are willing to do the work.†Rebecca Faith is one of the members of Reedsy's advisory board, and also an outstanding editor.A quick anecdote that probably says more about Rebecca than any interview possibly could. The interview below is the first half-hour of our conversation. As I was thanking her, I mentioned that I didn’t want to take up any more of her time with questions about editing that would just be thinly-veiled attempts to find guidance with my own (pretty blocked) novel I’m working on. She pushed through my chronic shyness whe n it comes to talking about creative projects, and spent another half-hour, right there, listening patiently and dispensing insightful advice. Advice, by the way, that went way beyond any of the feedback I’d had from beta readers, best friends, anonymous message boards, and so on. It was neat to see someone almost spontaneously giving off editorial assistance. But you can meet her for yourself below.–REEDSYHow would you describe what an editor does for an author? It seem like the simple answer is â€Å"They edit,† but I wonder what you see that as consisting in. Some would see editing as just being fixing spelling mistakes.REBECCA FAITHSometimes it is. It really depends on the kind of editing we’re talking about. There’s a very nuts and bolts straightforwardness about proofreading and line editing. Those editors bring a level of professionalism and polish to written work, and you really can’t put a price tag on that. It’s very importa nt.But developmental editing or content editing has surged in prominence since self-publishing has become more popular. A good editor helps drawn an amateur into more professional ranks by offering a lot of insight about craft, character development, style, plot production, and so on. There’s a nice collaboration between good editors and authors that really teases out the creative process. The most succinct way that I could say this is a good editor helps an author inhabit their work more fully and helps them stretch beyond their perceived limits of skill.REEDSYI like that. You’ve identified the two very different parts of the editing process.REBECCA FAITHThere’s the technical side which is grammar, conventions, â€Å"How the hell do you use a semicolon?†; and there’s the subjective side: â€Å"Yes, you might have conceived your ideas and your characters in a particular way but I’m here to help you reach beyond the limits that you’ve imposed on your own imagination.† I don’t know that you can ever quantify that or articulate it without experiencing it first-hand, but that’s my best effort.REEDSYCould you talk about how talking to an author can be part of that process? It seems tricky to do a developmental edit working with the manuscript alone.REBECCA FAITHI think the face-to-face or phone-to-phone interaction is important. It’s more important for content editing or developmental editing because there’s a certain kind of idea exchange; where the characters or the content come alive. A good editor feels the reality of a book as strongly as the author does. If a particular passage feels awkward, or it’s not reading well, or there’s a continuity issue - meaning it’s not lining up with the rest of the book - a live chat gives us the opportunity to troubleshoot it. That’s very hard to do with just the page. I might say â€Å"This line of dialogue feels h ollow to me and I don’t now if you mean x, y, or z, but what’s being communicated to me is this.†The developmental work requires a live component, although I was resistant to that when I first started editing. It’s always quite nerve wracking to work with people and their art. It’s important to take the right tone and tack when you’re talking out things. Who am I say to say to an author â€Å"I don’t think your character would do this.† Thats a lot of ownership on my part. Face-to face work needs good editors who have a very cogent understanding of how to bring out an author’s best work while also pressing those limits that we talked about.REEDSYAre there limits on what an editor can do for an author?REBECCA FAITHAt some points I’ve had to say â€Å"Look the work is not good, the book is not good, and you should stop working on it. Let’s go back to some craft lessons, let’s talk about short stories, creative non-fiction, let’s learn how to write.† An editor can’t take an author who has no skills and no desire to revise, and make that person a better writer. So I suppose the limit of an editor is a closed mind. There’s not much you can do with someone whose work is atrocious but who doesn’t believe it, and who doesn’t trust in the curated opinion of an editor.An editor is like a chef. Good chefs have developed their palates: they’ve tasted everything, single ingredients, complex foods, they’ve honed their tongue like a fine-edged sword, and that sword can taste the difference between ‘tangy’ and 'sour.’ A good editor has honed their literary palate by reading everything: genres they love, genres they don’t; they’ve read craft books, they’ve read the Chicago manual, they read blogs about punctuation and they’ve developed a keen taste for what good writing is. Then, like a chef, they can transform that into any dish. A good chef can’t just cook one thing well, and a good editor can’t just edit one genre. Generally an editor is going to take that sophisticated palate and apply it across anything.The resistance is the diner who salts his food before he eats, who is not willing to taste and be led on a culinary journey. Authors who don’t want to open their eyes and their minds to their editor will never get better. The only limit of a truly excellent editor is an author who won’t release their mind to that help.REEDSYWhat’s the appeal of editing? I feel like most people told to sit in a room with unedited work would balk at that; do you like what you do?REBECCA FAITHI love what I do. I wanted to be an editor since other girls were dreaming of being ballerinas. I don’t think I had language for what I wanted to do; I just started hoarding red pens and hoping for the best. I love losing myself in line editing the same way others love losing themselves in doing the laundry. There are correct answers. There’s a certain comfort in that, it’s almost mathematical. Grammarians, people who truly love our language, can at once respect the rules of that language and acknowledge that language is a communicative tool; and so there’s also play within grammar. It’s not all cut and dry; there are moments where we break the rules.But my real pleasure as an editor is the developmental editing. Helping someone discover the work that lives in their soul is a privilege. Being in that space with an author who’s trying to give life to something that does not exist outside of their own mind is an incredible thing to witness, and I’m in awe every time.I’m working with a client now who came to me with a full completed draft. After the first three chapters I went to her and said â€Å"You know, this is really terrible. I think it’s not the story you want to tell; I th ink it’s just the story that occurred to you first.† We’ve been working together on a draft where you don’t even recognise where it came from. She’s working so hard and so well and so productively; she’s writing a book she won’t just be proud of but that people will love. Watching that happen, watching someone’s mind give life to things that are not there, that’s magic.So I suppose it takes a certain amount of creativity for someone to go into editing. You have to have a mind that sees potential where it’s hiding, but also a mind that makes space for someone else to roam around freely, and create. There’s a balance for good editors between offering structure, lending out my palate, and also sitting back and saying â€Å"What do you taste? What are you baking?† I’m a sous chef in the kitchen. It takes a certain kind of person to enjoy that behind the scenes work.REEDSYWhat makes a good developme ntal editor? It seems difficult to look at two people and tell who’s better. I’ve heard experience thrown around as a way of doing this.REBECCA FAITHI think experience is important. But there’s a balance between being the scaffolding, and then also the architect. A good developmental editor gives authors the structure they need to be free. If you’ve ever had to write an essay for a class, you’ll know writing for a prompt is much more directed than writing on 'a topic of your choice.’ That’s the death knell for a lot of people because it’s too much open space. A good developmental editor creates a structured place for an author to live in, creatively. They have no ego about their author’s work. As much as I invest in my authors work- and I feel the heartbeat of their characters and I care deeply about what happens to them - I have no desire to make that work my own. There’s a lack of covetousness with a good editor wherein you truly are working in service of another person’s artwork, and I think that’s a quality even experience can’t necessarily teach.REEDSYOnce you’ve engaged with a client and want to start an edit, what happens?REBECCA FAITHA lot of my clients have just an idea for a book. For those people we start with a one page synopsis, which is much much harder than you might imagine. For people who have a completed first draft I start reading and after 25 or 30 pages I edit and make margin notes. I send that work back to the author and then we talk. We talk about the work, we talk about the edits, about subjective and objective things; we do grammar lessons and we also talk about character motivation and how things are shaping up. Generally we’ll proceed along in that fashion until the end of the book. First drafts are generally extremely malleable and change very quickly. A lot of rewriting happens after a first draft so I’ll also guide write rs through rewriting, what’s interesting to me as a reader, questions they should be asking themselves about their characters, and we go through the work using it as a practicum for being a better writer and expanding the usefulness, utility and beauty of a manuscript.REEDSYSo what about when someone has just an idea?REBECCA FAITHThe line that I draw is that a substantive editing is based off a completed first draft, while in developmental editing we’re developing from an idea.In developmental editing, you come to me with an idea. We start by talking about it and I require a one-page synopsis. People spend months on a one-page synopsis. It makes plain where there’s not enough plot, which is often a problem - authors tend to have a pretty good handle on the beginning and end of a book, and the middle is a wasteland where forward momentum goes to die. The one page synopsis helps us hone in on conflict, character development, protagonists, antagonists; a lot can be accomplished within the confines of an 8.5" x 11" page. That usually requires a few hours of Skype conversation, a few drafts, a lot of brainstorming.From there we move into what I call chapter-snapshots. You get a short paragraph, maybe five or seven sentences, to articulate what happens in each chapter. Again, we’re trying to avoid the problem of authors getting off to a sprint when the race begins, then having an asthma attack laying down at the side of the road by chapter 12. That foundation-laying helps engage authors engage with and confront the problems of their work.After that we start writing. The snapshots are very productive, and usually make people feel pretty excited. The author has now done the work of creating some of that structure on their own, and it becomes much easier to then say â€Å"OK, I’m going to write chapter one† because you know where chapter one begins and ends/ Working within those structures I often find that people become much m ore creative. They might say â€Å"I started to write chapter one but it’s much more difficult than I expected because I had so many ideas while I was writing,† and then we revisit how those ideas integrate into the chapter snapshots and the synopsis.It’s very difficult to build on nothing, so once an author does the hard work of laying the foundation, the house goes up quicker than you might imagine.REEDSYSo there isn’t some place an author needs to be in before you can come in and help. You can be there at any stage of the project.REBECCA FAITHAnyone with even just the flame of desire to write a book can work with me. If someone comes to me and says â€Å"I want to write, but I don’t know what to write,† that’s OK. I start by asking that person what they like to read. I help them curate their own literary palate. I ask them what movies they like, what music they like; like, â€Å"What is your artistic profile?† Based on that I’ll make some recommendations about authors that are doing great work, and we’ll talk about books. We’ll talk about reading. I might give a couple of small writing assignments: free-write for me about someone in your office from the time they wake up to when they sit down at their desk.Writing is a thankless and difficult process. To anyone with the heart to do it I say bring it on. So many of us are limited in our ability to produce art. Not everybody has the skill or patience for an instrument, or we don’t have the balance and the grace for dance, and when we dip a paintbrush in paint we just end up with splatters on a canvas. But writing uses something that’s inborn. We all have this language. Because of the structure of writing, because of the structure of grammar and good story production, pages are just waiting to be filled. It does take some discipline, I’m not saying it’s easy - it’s the hardest work you can do in some ways, artistically. But it’s there if you have language. It’s a true laying bare of the soul, and anyone who’s willing to do that work is welcome to call me.REEDSYIf writing is a thankless and difficult process, is there a parallel for what you’d call the editing life?REBECCA FAITHEditing is not thankless! Editing is wonderful, in fact. I feel very close to my clients; by the end of our work many of them are friends. Editing is intimate process because, and this goes back to you asking about the qualities of a good editor, an editor mustn’t create shame; an editor has to actively quell embarrassment. The safe space that we create for our authors is a place where they can take risks and fall flat on their faces and not feel stupid about it. How many people have adult-to-adult conversations about sex, religion, ideology? These issues all come up in the course of creating three-dimensional characters. Authors and editors have to bring their whole his tories to the table and be comfortable with that. I’m very humbled by the collection of books I have at home where I’m mentioned in acknowledgements. I think editing is the long straw; I wouldn’t have it any other way. I find my work deeply gratifying.In my experience successful authors are open to revision. It’s not easy to hear the eighty or ninety thousand words you’ve just poured your soul into are not up to par. But if you can leave a little bit of your ego behind and dive into the art, and find someone you trust to be there with you, I don’t think good authorship is beyond many people. It’s a form that invites participation for those who are willing to do the work.REEDSYRevision is interesting, because it’s such an important part of writing, but it doesn’t apply to other uses of language; it would be insane to revise everything you say before you say it.REBECCA FAITHIt would, but think about the times you wish you could have taken it back! The thoughtfulness we can bring to writing is a double-edged sword; if you’ve ever read something overworked you know what I’m talking about. But putting work on a page is an opportunity for people to really lay bare a certain amount of soulfulness, look at it objectively and say â€Å"Who am I? What is this?† There’s so much value in that clarity. I think authorship is a process of self-discovery as much as it’s a process of discovering worlds that don’t exist yet.You invite an editor to accompany you and be a spirit guide. Editors who don’t take that privilege incredibly seriously should not be editors. It’s humbling to be entrusted with that privilege. I think people who want to write should write, and editors are out there who want to help.REEDSYWhen do you think the writing process ends? In traditional publishing it seems like it passes into the hands of the publisher. How would you talk about whe n a manuscript ends, for authors and for editors?REBECCA FAITHSome people say that work is never finished. I think that’s incorrect, and also very depressing.REEDSYLike, the idea that you don’t finish a novel, you put it away.REBECCA FAITHI think that’s just†¦ what an awful thing to say. I think work reaches a place where it’s take the form that we’ve imagined it to. We feel like the journey we’re talking about has ended. Our characters have completed their journey. The work has reached a level of polish that’s industry-standard and acceptable. There’s an objective level to that - is it free of errors, as error free as a work can be? We also have to look at our characters. Have they changed? Have they grown? Have they gotten from point A to point B? I think that’s our best view of what’s happening.REEDSYThanks Rebecca.

Essay on Financial Condition Analysis

Essay on Financial Condition Analysis Essay on Financial Condition Analysis Essay on Financial Condition AnalysisWhat is the (EVA) economic value added model?   How is it used, why is it important?  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   The economic value added model is used to measure the company’s real economic profit. The model is based on the measurement of the residual wealth calculated by deducting cost of capital from its operating profit (Gapenski Pink, 2012). The economic value added model is used to determine the real, true profit of companies and helps to determine whether the declared profits of the company match real ones because, in actuality, companies may use different schemes to hide their real profits and present investors their high profits which do not always coincide with their real profits. The use of the economic value added model is important because it helps to determine what the actual position of the company is and what its profitability is.What are (KPIs) key performance indicators? How are they used and why are the y important to monitor the financial position of a healthcare organization?  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Key performance indicators vary depending on the company and industry, where the company operates. As a rule, key performance indicators are measures that help to determine whether the company matches its strategic and operational goals or not. Therefore, key performance indicators are the major indicators that show the marketing performance of the company and help to determine the extent, to which they match strategic and operating goals of the company (Gapenski Pink, 2012). For example, the market share or total revenues of the company are important indicators for the company that focuses on the market expansion. These performance indicators should give the clear vision of the current position of the company, which may be compared to the desired one, i.e. the position of the company, according to its strategic and operating objectives.Why is financial forecastin g important? What is taken into account in a forecasting analysis?  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Financial forecasting helps the company to determine which financial resources it will need and will have at its disposal within the definite timeline (Gapenski Pink, 2012). For example, the company needs to forecast its revenues to be able to fund new projects. The accurate financial forecast helps the company to determine whether it will be able to earn sufficient funds to complete the project successfully or not. In case of the inaccurate financial forecast the company may lack financial resources to fund the project. However, external and internal factors affect the financial forecasting and companies should take into consideration possible changes in the market, in customer behavior, and internal business operations to make financial forecasts.What drives changes or deviations in the operating revenue forecast?  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   The change in the customer behavior, supply or competition can drive changes and deviations in the operating revenue forecast (Pine Gilmore, 2009). For example, the introduction of an innovative product or service by a rival will change the operating revenue forecast of a company. Similarly a scandal that discourages customers from buying products or services from a company will lead to changes in its operating revenue forecast.When forecasting revenue, whats the difference in forecasting from the top verses the bottom?  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Forecasting from the top differs from forecasting from the bottom. Forecasting from the top implies the ultimate financial results after taxes (Pine Gilmore, 2009). Forecasting from the bottom implies forecasting based on the brute financial performance of the company.

Sexism in different cultures and societies Research Paper

Sexism in different cultures and societies - Research Paper Example The above statistics clearly show that sexism exists in many forms in America. In schools, teachers, give more attention to the boys than the girls. They believe that boys are brighter than girls and should get more attention. In professional world, women are getting lesser salaries than men even though both of them are doing the same job. Many organizations in America have the belief that men can handle certain jobs better than women. For example, in the recently concluded American Presidential election, Hillary Clinton fought hard against current President Obama for getting the Democratic Party nomination. However, majority of the Americans, voted in favor of Obama because of their perception that a male President could be more effective than a female President. If we take the number of women presidents or prime ministers in countries worldwide, we can see that the number of females is much lesser than the number of males. Even in America like advanced country, people believe that men have superior abilities in taking decisions and handling pressure and this belief is definitely the contribution of sexism. The number of females going to colleges is less than the number of boys when we consider the statistics of boys and girls who attend the college education in America after their school education. This is because of the parental belief that giving college education to the boys is more important than giving college education to girls. If an American family faces financial problems in giving education to their children., they will stop the education of their daughters first and will try maximum to give education to their sons. Majority of the men in America believe that the primary role of women is to do all the housework at home. Only after the completion of the house works, men like their wives going for other professional works. McFadden (2010) has pointed out that in American society, â€Å"Women are still being fired for getting pregnant and getting demo ted

Ethics, Pirated Software and Spyware Essay Example | Topics and Well Written Essays - 500 words

Ethics, Pirated Software and Spyware - Essay Example Benefits include attracting new employees, customers, investors and retaining the employees. Lack of ethical behavior and corporate social responsibility, can damage the firm’s reputation and cause a fall in profits and an eventual business close down. There are several cases that would be eligible for an exception to the law of copyright. One of such situations is when the work is in the public domain. The work in the public domain is not protected by the copyright law and can be used freely by anyone. Another instance is when there is assurance of fair use. This provision allows copyright materials to be used for research and educational purposes (Howe 265). Other occasions may include the use of electronic reserves, libraries and archives, learning management systems like blackboards, and the application of the first scale doctrine. In the first scale doctrine, owners of legally obtained copyright material can dispose of them without the permission of the owner. However, this does not apply to music and software licenses. In music and software licenses, one has to be authorized so as to carry out a transaction. Spyware can be defined as software and applications that take information about the user’s online activities and send them back to their creators. Spyware effects include pop-up ads and browser hijacking. More serious breaches include identity theft and key logging. Each piece of spyware acts differently depending on the information collected. Some gather information for the purpose of marketing while others have malicious intents. Key logging applications monitor the user’s keystrokes and send the information a malicious recipient of the data. In the workplace, keystrokes may be directed to an administrator, who may just be monitoring the companys operations. Keylogging can happen through the email or other internet servers. There are three types of keylogging, hardware keyloggers, software

Plagiarism Assessment Types of Plagiarism

Plagiarism Assessment Types of Plagiarism This essay is going to consider the issues around and avoidance of plagiarism. Its going to look at definitions and the different forms of plagiarism as well as the impact and consequences of plagiarism. Its going to explore the use of correct referencing format for a variety of research sources. Plagiarism is the act of using someone elses words and/or concepts, applying them and not giving recognition to the person who thought of them and then passing those words/concepts as their own. (Reserved, 2017) There are various forms of plagiarism and all are severe infringements of scholarly morality. (Bowdoin.edu. N.p., 2017) The most common types of plagiarism are direct, self-plagiarism, mosaic plagiarism and accidental plagiarism. (Bowdoin.edu. N.p., 2017) Direct plagiarism is the literal replica of a piece of a different persons work that doesnt contain acknowledgment, or quotation marks. The purposive plagiarism of a different persons work is improper, scholarly fraudulent and requires punitive measures, including expulsion. (Bowdoin.edu. N.p., 2017) Self-plagiarism takes place when a pupil hands in their own preceding work, or incorporates sections of preceding works without acceptance from all lecturers involved. For example, it would be inadmissible to mix a section of an assignment a person wrote in their first year into an assignment they are writing in their second year. Self-plagiarism is also implemented when handing in the same assignment in different classes without acceptance from both lecturers. (Bowdoin.edu. N.p., 2017) Mosaic plagiarism takes place when a pupil obtains phrases from an authorship without citing, or when numerous words are replaced with synonyms but keeps to the original layout of the source. This is known as patch-phrasing. Whether its deliberate or not, it is scholarly fraudulent and requires punitive measures. (Qcpages.qc.cuny.edu, 2017) An example of mosaic plagiarism goes as followsà ¢Ã¢â€š ¬Ã‚ ¦ Here is a sample piece of text, Directions: After waxing has been completed, apply the lotion generously, gently massaging into the treated area for a soothing and relaxing effect. A plagiarized version of this would be, Method: After waxing has been completed, spread the lotion generously, softly massaging into the treated area for a soothing and calming effect. The underlined text in this example is what has been plagiarized. Accidental plagiarism is when someone doesnt cite their findings, or misrepresents their findings, or accidentally rephrased a finding by using like for like terminology, sentences and/or layout without giving credit. (Bowdoin.edu. N.p., 2017) Plagiarism accusations can account for a pupil being dismissed or deferred. Their scholarly report can reveal the practice has been breached, likely provoking the pupil to be eliminated from university or joining another university. Universities take plagiarism as a severe matter. Universities often withhold pupils for their first infringement. Pupils are normally eliminated if more breaches are made. (Ithenticate.com, 2017) When someone has been marked with plagiarism accusations, a pupils career can be desolated. Publishing is an essential part of an illustrious, intellectual career. To relinquish the capability to publish possibly means the end of a pedantic role and the loss of respectability. (Ithenticate.com, 2017) The juridical follow up of plagiarism is considerably significant. Copyright measures are infallible. An individual simply cannot utilize someone elses work without citing and referencing. The original composer of the work has the right to sue the plagiarist. A few forms of plagiarism can also be suspected as a felony, and can lead to confinement. However, these punitive measures are often applied to people who have a career in writing, for example authors and journalists. In some cases, pupils and others can have monetary penalties if found plagiarizing. (Ithenticate.com, 2017) The result of plagiarizing is extensive and applies to everyone. Obliviousness or a persons capacity does not justify someone from the principled or juridical developments of plagiarizing. Prior to starting a project, it is advised to have knowledge on plagiarism. Identify what legislates plagiarism and how to abstain from plagiarizing. Indolence or infidelity can affect a persons reputation and career. (Ithenticate.com, 2017) References Bowdoin.edu. (2017). The Common Types of Plagiarism. [online] Available at: https://www.bowdoin.edu/studentaffairs/academic-honesty/common-types.shtml [Accessed 7 Mar. 2017]. Ithenticate.com. (2017). 6 Consequences of Plagiarism. [online] Available at: http://www.ithenticate.com/resources/6-consequences-of-plagiarism [Accessed 18 Mar. 2017]. Qcpages.qc.cuny.edu. (2017). Plagiarism 9. [online] Available at: http://qcpages.qc.cuny.edu/~redwards/Plagiarism/09.html [Accessed 12 Mar. 2017]. Reserved, A. (2017). What is plagiarism? Definition and guidance. [online] Available at: https://www.scanmyessay.com/plagiarism/what-is-plagiarism.php [Accessed 22 Feb. 2017].

Expository texts Real Gorgeous by Kaz Cook :: essays research papers

Features and rhetorical devices of non fiction text encourage responses from the reader, how do they do this ? We are often bullied into doing things against our will, this could also be said of expository texts which aim to inform, instruct and explain but importantly to persuade. They use shock value to force us to look at our values, attitudes and ideologies. When devices such as statistics, personal touch, persona, language and case studies are used the responses from the reader will have been deliberated by the author, Who uses these features to illicit the desired response. Looking at articles such as Real Gorgeous, The other country crisis and Columbine it is obvious to see the many features and devices that have been carefully positioned to encourage responses in the reader.   Ã‚  Ã‚  Ã‚  Ã‚   Almost all statistics do not consider the varying factors contributing to the study. When reading a text containing statistics the reader feels they are attaining the hard facts, this however could not be further from the truth as Rod Quin points out with the example of the text Manhood written by Steve Biddulph. Biddulp states â€Å"One in seven boys will experience sexual assault by an adult or older child before the age of eighteen.† Reading this the audience will feel outraged or sympathetic towards men, Quin however asks us to consider the â€Å"rest of the â€Å"facts† that â€Å"one in a hundred girls will experience sexual assault by an adult or older child before they reach eighteen† that’s five times the rate of men. While the statistics are convincing it is also the source they come from that can encourage a response from reader. They will feel the â€Å"fact† is more credible if it comes from a well known source. The Other Country Crisi s by Stephen Scourfeild states that â€Å"According to the Bureau of statistics, Australia has once of the highest rates of youth suicide† Once again the reader is not seeing all of the facts, yet the source from which the statistic come from is credible and well known. With this in mind the readers response will still be swayed because we are taught to trust authority. The author has triumphed in encouraging the desired response. It is always more pleasant and enjoyable to read something that appears to be personal or sympathetic. Real Gorgeous by Kaz Cooke is a perfect example of manipulative language. The text encourages the reader to feel comfortable with themselves that they are fine â€Å"the way they are† .

SALES PROMOTION PROJECT OF KURKURE Essay

SALES PROMOTION PROJECT OF KURKURE Launched in 1999, this perfect ‘namkeen’ snack, fully developed in India, has become the torch bearer of fun and lovable human quirks. It developed an even stronger identity through celebrity associations with Juhi Chawla [2003] and Kareena Kapoor [2008] Named after the Hindi word for â€Å"crunchy†, Kurkure is a cheeto-like snack and is the flagship of Frito Lay’s Indian division. It is marketed by Hirani Industries Corp. (USA incorporated company)in Kenya. It is one of the most popular food products in India today. 4 Different flavours They are Masala Munch (orange pack), Green Chutney Rajasthani Style (light green pack), ChilliChatka (dark green pack) and Tamatar Hydrabadi Style (brown pack) Kurkure was Frito Lay’s first big hit in India and succeeded by making a host of Indian flavours possible and popular in a finger snack. Kurkure is a crunchy new age namkeen snack brand whichsymbolizes light hearted fun. Embodying the spirit of India, Kurkure has found a home in the hearts& minds of all and enjoys the position of a strong Lovemark brand in India Over the years, Kurkure has journeyed effortlessly from being a snack with a twist to being anintegral part of the tea time menu to being an embodiment of lovable human ‘imperfections’ or ‘tedhapan’ Product strategy Building trust and connection by informing the consumers of the authentic ingredients that go intothe product. Kurkure is a new age Namkeen and made of edible ingredients including rice meal,corn meal, gram meal, edible oil, seasonings, salt, spices and condiments and flavours. Its Snack Smart initiative to cut out trans-fat from its products by using rice bran oil which cuts saturated fat by 40 per cent. Kurkure has 40% less Saturated Fat, Zero Trans Fats and No Added MSG Pricing Competitive pricing Strategy was adopted by the company in order to establish the brand inIndian markets. Introduction of smaller packs targeted towards  small quantity consumers andmiddle/ low income customers. Price Range Small Rs 5/- Medium Rs 10/- Large Rs 20/ Rs.3 packs encourage consumers in rural areas. Sales Positioning Kurkure is also positioning itself on the basis of its usage. Its promotional campaigns urgeconsumers to use it on. Daily basis At lunch Dinner Anytime, anywhere Servings With Chaat With tea With Raita With drinks Occasions Parties and celebrations Unique Selling Preposition Desi brand nam: Easy to identify with Kurkure is a synonym of a crunchy food stuff. Infact a brand by the name TakaTak : tried to imitate it but failed miserably. Launching its product in indian flavours, which differentiated it from their competitor itsunique advertisements which features the bubbly Juhi Chawla. Innovative flavor, affordable price and continuous communication to consumers Kurkure’s success in the Indian market is mainlyfor three reasons namely innovative flavor, affordable price and continuous communication toconsumer. To meet the regional requirements Kurkure is launched in various flavors like Masala,chilli, green chutney etc. Special (Limited) Edition Pujo Special:Jhajhalo Hit – Released in West Bengal for Durga Puja, 2007 Ganeshotsav Special:Usal Pao – Relesed in Maharashtera for Ganesh Utsav PACKAGING Style and design matter a lot on the outcome and response of the product. ‘Kurkure’ as the product(inside the pack and outside wrapper) has much attractive and catchy colors style and design whichattracts the customers alot.Kurkure is available in the market in 3 different packing. Kurkure comes in the air tight packingand packing material of Kurkure is of high quality so that product will remain fresh and its tastekeeps secure up to more than four months. Kurkure has different flavors in the market so the eachflavor has its own unique packaging color combination according to its taste. Basic color combinations are in green and red colors which all are eye catching.Kurkure is available to the consumer only in primary packing. No secondary packing is using.However they are delivered in container packing from production plant to shopkeepers or retailers,which carries 48 packs. Kurkure is available in three different sizes 19 gm 38 gm 75 gm Promotion Strategy Kurkure – Tedha Hai Par Mera Hai Slogan: â€Å"Chai time masti time† Named after the Hindiword for â€Å"crunchy†, Kurkure is acheeto-like snack and is the flagship of Frito Lay’sIndian division. It is marketed by Hirani Industries Corp. (USA incorporatedcompany) inKenya. It is one of the most popular food products in Indiatoday.In November 2006,Frito Lay announced plans to release Kurkure to American markets sometimein 2007. This decision was made after analysts showed increasing interest in Indian spices in theUSA. Also the introduction in other markets with a non-resident Indian population such as the UK was planned.In India, actor-celebrity Juhi Chawlaadvertises Kurkure. Range â€Å"Kurkure Flavors† Masala Munch Naughty Tomato Chilli Chatka Green Chutney Rajasthani Style Hyderabadi Hungama â€Å"Kurkure Desi Beats† Deewana Tamatar Dildaar Masala To mark 10 years of its existence, Kurkure, FritoLay’s Indian innovation in the salted snack market,is changing tracks, says Sayantani Kar.It came out in December with a print campaign which told readers how Kurkure is made from whatcan be found in any Indian kitchen, underlining that the ingredients are as wholesome as what goesinto home-made food FritoLay Marketing Director Deepika Warrier says: â€Å"We wanted to demystify Kurkure for the consumers. That meant building trust and connection by informing them of the authenticingredients that go into the product. We will have more surprising and untried ingredients in our product this year.† She says the print ad has already generated a positive response, and expects sales to go up 20 per cent. The†Kurkure Chai Time Achievers† campaign: This was the first of its kind campaign in India, launched in May 2007 aiming at promoting versatile usage of Kurkure. Powered by an exciting commercial showcasing crazy consumers trying to grab the ‘Kurkure frame’ – their ticket to famedom, this campaign truly gives consumers a taste of Kurkure in the most innovative way!! Leading to replacement of Juhi on the Kurkure packs with pictures of their own and their near and dear ones, it gave the consumers chance to become celebrity overnight by printing their photographs and recipes on a million Kurkure packs. The company claims to have received an overwhelming response, with over 100,000 recipes pouring in ,within just 6 weeks. For a brand holding out the reward of instant fame to its  consumers, Kurkure has indeed delivered on its promise. Volumes shot by 20% in just one month. Sales have increased by 19% over last year. KURKURE TELEVISION ADVERTISEMENTS In 2004 it launched the â€Å"Kahani mein Kurkure† (â€Å"Crispiness in the Story†) campaign, which was atake on Indian popular culture. The advertising campaign spoofed popular Indian TV shows likeJassi Jaissi Koi Nahin and Kyu ki saas bhi kabhi bahu thi, to appeal to Indian housewives, thelargest target audience to watch these programs.In addition to targeting housewives, who play a significant role in making purchase decisions, the brand appeals to the Indian family as a whole. The â€Å"Kurkure Chai Time Achiever’s Award† was acontest launched by the brand where families were invited to submit interesting recipes made withKurkure. The winning family would have the opportunity to be famous and have their photographfeatured on one million Kurkure packs.This direct marketing campaign was supported through television advertising, where Indiancelebrity Juhi Chawla, Kurkure’s brand ambassador, announced the winners of the competition. Thecontest was also publicized through the website http://kurkure.co.in, specifically designed to promote the contest. Using the website as a strategic tool for promotion helped the brand appeal to ayoung audience that spends a considerable amount of time surfing the web Kurkure express Another novel branding initiative was a tie-up with South Western Railways in India to have trainscalled the â€Å"Kurkure Express.† These were special trains that operated only during the holidayseason. The brand was featured on reservation charts, coach indication slips, and during anyannouncements about the train. This outdoor media was a unique way to target families who travel by train during the holidays. Distribution Channel Adopted by Kurkure Distribution is also one of the key parameters for expanding market share. Frito-Lays hasthe advantage of access to Pepsi’s a formidable distribution network .Generally Companies arehaving their sales vehicles that are loaded on daily basis and are distributed to local retailers. Somecompanies appoint  Distributors. Distributors have to give a proposal with a market research likestorage facilities, infrastructure, and retail outlets in area, market leader, types of products availablein the market etc. The Kurkure products are delivered to the retailer twice a week. The products aregenerally sent in Boxes on an average each box contains 80 packs of 30 gm or 30 packs of 150 gm.Distributors are solely responsible for the sales in the particular area he is operating in.Every Distributor should have a specified number of minimum shops in his area. Distributorsgenerally have small vans (rickshaws) and employ salesmen on commission basis who loads the products from the distributor’s storage and distributes it amongst the retailers. It services one-lakhretail counters across the country by employing a total strength of 300 sales personnel anddistributors nationwide. HOW TO IMPROVE FUTURE GROWTH The company can occupy a huge number of customers by keeping in mind about the preferences and needs of customers regarding tastes and flavors, By introducing new tastes, flavors and retaining the quality standards can attract consumers of other brands and pull them towards itself by leaving other competitors far behind and getadvantage over them. By delivering valued trade promotions to wholesalers and retailers, company can capture this huge segment. This will allow Kurkure to stay in market effectively and people will order more quantity due to its increased demand by customers The company should try to expand its wings to cover towns, villages, cities; making it available to everybody The entire unorganized Farsan sector, Dhokla, Khaman, Kachoris, & all the eatables thatcould be had as snacks in Parties, while watching Movies, Cricket matches are substitutes to KURKURE SO kurkure can bring up flavours which can match the taste of all these items to boost up the sales.

Workplace Violence In The Workplace - 1071 Words

INTRODUCTION: Violence in the workplace has become a major safety and health issue. Workplace violence is not limited to homicide. This type of violence includes behaviors and circumstances that threaten an employee s physical safety; such as: verbal threats, sexual or physical harassment, coercion, behavior changes, intimidation, stalking, telephone/email harassment, and history of aggression. â€Å"Workplace violence incidents have tripled in the last decade, and it is now the fastest-growing category of murder in the United States. It is also the second leading cause of death for women in the workplace (Bureau of Labor Statistics, 2016).† The United States Department of Justice declared the workplace as one of the most dangerous places to†¦show more content†¦Additionally, Mr. Staver states that other identifiers are â€Å"dramatic and unreasonable demands occur when the individual is constantly impatient and expects an immediate response to the task, and or project (Staver, 20 12). Also, Staver stressed the importance of â€Å"recognizing personal insults and threats and notifying management of said gestures so that the organization maybe on alert and preventive measure can be implemented (Staver, 2012).† There are other identifiers of potential workplace violence such as: an individual who have difficulty getting along with others, making inappropriate remarks, always upset about everything and everyone. Also, there are individual who the company and employee have no clue about because the perpetrator is an outsider, not an employee of the organization. In this incidence, it is quite difficult to identify the potential threat. Therefore, the organization must have a program in place to handle offsite threats that may invade the company and cause violence and/or harm to its employees. The program(s) designed within that particular organization will better assist that company in the scope of recognizing and avoid potential workplace violence occurr ences. HOW TO AVOID: The Occupational Safety and Health Act of 1970 is â€Å"To assure safe and healthful working conditions for working men and women; by authorizing enforcement of the standards developed under the Act; byShow MoreRelatedWorkplace Violence And The Workplace1396 Words   |  6 PagesWorkplace violence Workplace violence can be any act of physical violence, threats of physical violence, harassment, intimidation, or other threatening, disruptive behavior that occurs at the work site. Workplace violence can affect or involve employees, visitors, contractors, and other non-Federal employees. A number of different actions in the work environment can trigger or cause workplace violence. It may even be the result of non-work-related situations such as domestic violence or â€Å"road rageRead MoreWorkplace Violence And The Workplace1145 Words   |  5 PagesWorkplace violence definition OSHA Fact Sheet (2012) states â€Å" workplace violence is a violence or the threat of violence against workers† (p.1). Workplace violence causes serious harm to employees or homicide that can lead to deaths. Act in any kind of shapes and forms such as: physical threat, threatening behavior, intention of assault and battery, verbal abuse, beating, stabbing, rape, shooting, being followed, psychological trauma, suicide, treat or obscene phone call/text, intimidation. WorkplaceRead MoreWorkplace Violence And The Workplace1274 Words   |  6 Pageshave worked at? If you didn’t know this is a crime and you could be charged with workplace violence. Workplace violence is any act of physical abuse or threats made in the workplace of any sort to any employee or multiple employees. It can take place anywhere around the workplace and has become a very big concern around the country. According to research, there are 2 million cases a year involving workplace violence. Many peo ple are becoming victims of this and you should be aware when it comes yourRead MoreWorkplace Violence And The Workplace1298 Words   |  6 PagesWe do not normally go to work expecting something bad to happen, but workplace-related violence can occur any time. When we interact at work there is always a risk of violence at the workplace. We can witness acts of violence, and even become a victim of aggressor. Usually people think that violence involves only physical assault. In reality, workplace violence is a much bigger problem. Workplace violence is defined by OHSA as any action, conduct, threat or gesture of a person towards an employeeRead MoreWorkplace Violence And The Workplace2844 Words   |  12 PagesWorkplace Violence statics across the United States of America have been on a steady rise each year since the early 1990’s. Reports have consistently shown in recent years that than an average of 500 homicides and 1.5 million assaults occur each year in America, in the workplace. With those types of statics on the rise in America it’s clear that a Workplace Violence Program is essential to the health, welfare, safety, and security of our employees in the workplace. When enacting a Workplace ViolenceRead MoreThe Effects Of Workplace Violence On The Workplace1235 Words   |  5 PagesIntroduction Violence in the workplace has been around for centuries. Everything from verbal abuse and harassments to physical abuse and murders have been known to happen in a business. During the 1980’s several violent attacks happened in the Postal Service, public awareness of workplace violence began in August of 1986 when a postal employee shot and killed fourteen people before killing himself. Prior to these killings, violence in the workplace was only referred to as getting injured on theRead MoreThe Effects Of Workplace Violence On The Workplace1676 Words   |  7 PagesWorkplace violence (WPV) is defined as â€Å"any act or threat of physical violence, harassment, intimidation, or other threatening disruptive behavior that occurs at the work site† (OSHA, n.d., para. 1). For the nursing profession these threats include the following sources: nurse to nurse, patient to nurse, relatives to nurse, other health professionals to nurse. WPV happens in all healthcare settings, however some units are known to have higher incidences than others. One healthcare setting that isRead MoreThe Effects Of Workplace Violence On The Workplace1799 Words   |  8 PagesViolence in the workplace can happen to anyone at anytime, anywhere that is possible. Everyone is not safe from workplace violence, which is why we need to identify and prevent this from happening. Violence can cause a significant amount of fatalities and injuries throughout the entire United Sates. Nearly 2 million Americans are affected by assaults and violent acts by people in the workplace. Workplace Violence could also damage someone’s trust and the sense of security while working with othersRead MoreThe Effects Of Workplace Violence On The Workplace1501 Words   |  7 Pagesin the rate of workplace violence in private-sector hospitals by 110% (2016). Workplace violence, which consists of physical and psychological abuse during work or on duty, has been an increasing problem in the healthc are industry. Workplace violence occurs in all types of healthcare settings such as hospitals and nursing homes and includes violence from patients, visitors, invaders, and coworkers. Although many states, including California, have laws preventing workplace violence, there is no federalRead MoreThe Effects Of Workplace Violence On The Workplace1154 Words   |  5 Pages Introduction Workplace violence is defined in the OHSA as the exercise or attempted exercise of physical force by a person against a worker, in a workplace, that causes or could cause physical injury to the worker, or a statement or behavior that it is reasonable for a worker to interpret as a threat to exercise physical force against the worker, in a workplace, that could cause physical injury to the worker(ecentennial reading). ). It can happen at or outside the working environment