In What Ways Have Large Business Organizations Changed Essay Example for Free

In What Ways Have Large Business Organizations Changed Essay In what ways have large business organizations changed in recent decades? Large business organizations have changed in recent decades in a few ways. Some of this ways are that are not always a conventional bureaucracy, they are more open and flexible, the technology used, and the political and economic trends are always changing. Plus there are others, but I’m going to elaborate on the one I had mentioned. In the past organizations had use a conventional bureaucracy approach (the pyramid), where it is a top-down flow. The upper level manager would give instructions to be carried out, and the lower level workers would carry out the instructions. But now days it is a more open and flexible place to work; where instructions are carried out by all members of the organization. And unlike the bureaucracy approach, the open and flexible approach gives the decision making to most or all members of the organization. There has defiantly been a significantly change in the department of technology over the decades. The technology used in the past was files, records, telephones, and fax machines. Now we use computers, the Internet and Web, e-mails, and mobile devices. The connection to the Internet and the Web has even changed over the years since we started to use them. Instead of being a steady passed organization and society that we once was we have quickened are pass to our now fast past world on the go at ever moment. The trends of economy and politics play a role in the organization’s environment, such as the outside factors of an organization that can affect the operation of business. This would include the current events, available workforce, technology, and other organizations. And as the times change, the resources changes with it. Couple decades ago the times where good for what it was, but now days, with the recession times are good for some and not good for others. The recent layoffs, foreclosures, and natural disastrous, in the past few years has not helped a lot, but we are coming back together.

William Faulkners A Rose for Emily Essay -- William Faulkner Rose E

William Faulkner's "A Rose for Emily" â€Å"A Rose for Emily† by William Faulkner is set in a small Southern town during the post-Civil War era. The story revolves around the strange and tragic events of Miss Emily Grierson’s life. At first glance, Emily seems like a lonely woman with little self-confidence and low self-esteem that seems to stem from her upbringing by her father. There seemed to be some kind of abuse by her father and the fact that she had seemed to have lived such a sheltered life. She was brought up thinking that nobody was good enough for her. Her father had even shunned away his own family. Emily was turned into quite an odd character due to this type of upbringing. Emily’s love was controlled by her father, a man that was respected and of high class in the community. After her father passed away, Emily tried to act as if it never happened, and she was actually going to keep her father in the house. It was though she did not want to be alone and she was willing to live with her father’s corpse for company. The town’s people almost had to resort to law and force the issue when Emily finally broke down and came to the reality that her father had to be buried. Emily was a reclusive woman hopelessly clinging onto the ways of the Old South but the town around her was growing with the times. One day when Emily meets a Yankee, Homer Barron, and falls in love with him. Homer was part of the construction company that was responsible for the new building a... William Faulkner's "A Rose for Emily" Essay -- William Faulkner Rose E William Faulkner's "A Rose for Emily" â€Å"A Rose for Emily† by William Faulkner is set in a small Southern town during the post-Civil War era. The story revolves around the strange and tragic events of Miss Emily Grierson’s life. At first glance, Emily seems like a lonely woman with little self-confidence and low self-esteem that seems to stem from her upbringing by her father. There seemed to be some kind of abuse by her father and the fact that she had seemed to have lived such a sheltered life. She was brought up thinking that nobody was good enough for her. Her father had even shunned away his own family. Emily was turned into quite an odd character due to this type of upbringing. Emily’s love was controlled by her father, a man that was respected and of high class in the community. After her father passed away, Emily tried to act as if it never happened, and she was actually going to keep her father in the house. It was though she did not want to be alone and she was willing to live with her father’s corpse for company. The town’s people almost had to resort to law and force the issue when Emily finally broke down and came to the reality that her father had to be buried. Emily was a reclusive woman hopelessly clinging onto the ways of the Old South but the town around her was growing with the times. One day when Emily meets a Yankee, Homer Barron, and falls in love with him. Homer was part of the construction company that was responsible for the new building a...

Gone with the Wind and Feminism

Gone with the Wind and Feminism Posted by Miriam Bale on Sat, Mar 13, 2010 at 1:38 PM [pic] Molly Haskell, author ofFrankly, My Dear, will introduceGone with the Wind at Film Forum on Sunday afternoon. Gone with the Wind plays this weekend in Film Forum’s Victor Fleming festival, but is it really a Fleming film?Uber-producer David Selznick is the most consistent author, and Selznick doppelganger George Cukor directed a significant amount of scenes, giving this domestic war film some moments more delicate and subtle than anything else in Fleming’s oeuvre (and after macho Fleming was brought on replace the openly gay Cukor at Clark Gable’s urging, the â€Å"women’s director† went on to coach Vivien Leigh and Olivia de Havilland on weekends, at their insistence, throughout the shoot); and Vivien Leigh gives a scarily mercurial performance in almost every scene, owning the film entirely.At the time of the film’s release, Frank Nugent in the New Y ork Times wrote, â€Å"Is it the greatest motion picture ever made? Probably not, although it is the greatest motion mural we have ever seen. † It’s a mural made by many hands, and the esteemed critic Molly Haskell’s latest book, Frankly My Dear: Gone with the Wind Revisited does a fabulous job of parsing out the contributions.She reveals nuggets like Howard Hawks’ supposed uncredited contribution in rewriting some of the dialogue in the last section, the battle of the sexes showdown between Rhett and Scarlett, which helps make sense why this particular section feels like an entirely different film from the historical romance of Part 1. Another uncredited writer was F. Scott Fitzgerald; Haskell's digging suggests that what he eliminated from the film may be as important as what anyone else contributed.She also describes writer Ben Hecht maintaining as a point-of-pride that he had never nor never would read the mass-market epic romance on which the film wa s based—so Selznick and Fleming stayed up all night on a diet of speed and peanuts acting out the story for him (with Selznick as Scarlett and Fleming playing Melanie). Haskell’s book also focuses on the one-hit-wonder novelist Margaret Mitchell, telling the ascinating history of this flapper-turned-frumpy matron who rebelled against her serious, feminist southern belle of a mother by becoming a connoisseur and practitioner of frivolity as an art. As Mitchell’s background might suggest, Gone with the Wind is a complicated universe for a feminist to tackle. And yet this is exactly the sort of conflicted, non-PC and pre-Second Wave world of women that Haskell has consistently celebrated and examined through films, serving a unique and crucial role in American feminism.As Haskell describes this position in connection to a 1972 panel she took part in on women in film, in which Gloria Steinem deplored the scenes in Gone with the Wind of Scarlett O’Hara squeeze d into a corset and Haskell then rose to defend that character as a courageous survivor: â€Å"Both of our reactions were in their own way, right.But this difference of perspective was also an early augur of the fault lines in feminism or perhaps a necessary split focus: between those predisposed to see and proclaim signs of the victimization of women in a benighted world now progressing toward enlightenment and equality and those inclined to be heartened by the contradictions—the women in the past (both real and fictional) who’d held their own in a chauvinist culture, who’d subverted the norms and gained victories not always apparent through a literal reading of the plot. Of course, just as Gone with the Wind is both tricky and rich personal territory for a southern-raised feminist like Haskell to examine, it is also difficult—even in coverage this brief—for a black feminist like myself to look at honestly. Gone with the Wind is unarguably, painf ully racist, yet extraordinarily valuable for examining just how and why.The film displays insipid white stereotypes in some of the minor characters as much as it does obscenely destructive black ones, and yet the main characters Rhett and Scarlett seem to exist outside of this orbit, beyond expectations of both gender or race; identification with these two characters is widespread and complex, by all races. Just as Selznick’s Duel in the Sun inspired Laura Mulvey to overhaul her views on female identification, GWTW is ripe for looking at where racial identification splits and falls in this film, even after Haskell’s sharp, thorough and artfully written book has covered so uch intellectual and historic territory. Haskell will be on hand at 3pm screening at Film Forum on Sunday to introduce this problematic and fascinating piece of film history. She’ll also be signing copies of her book, a coup of single-work film criticism that is highly intelligent, personal an d never relies on jargon or cliches. Besides her unique and crucial role in American feminism, Haskell is also one of the best writers on film in America, and both as a critic and stylist she’s only getting better. Molly Haskell’s Feminist Take on Gone with the Wind y Melissa Silverstein on March 2, 2009 in Books Molly Haskell is the shit when it comes to writing about women’s films with a feminist perspective. There is no one better. Her book From Reverence to Rape: The Treatment of Women in the Movies is one of the best books about women in film and it was written in the 70s. (There is an a[pic]dditional chapter that covers the 70s and 80s in the paperback. ) That just goes to show you how few books have critically looked at this issue (from a non-academic perspective. Haskell has taken on one of the most beloved films Gone with the Wind in her new book Frankly My Dear which is out now. The book has gotten stellar reviews and including in the NY Times this wee kend. Haskell’s argument is mounted on feminist principles that at first glance seem antithetical to a film widely regarded as prefeminist fluff. She contends that â€Å"themes centering on women† are â€Å"always an inferior subject matter to socially conscious critics of literature and film. † After 70 years of â€Å"GWTW† bashing, a creditable critic finally says, â€Å"Not so fast! Haskell gave up regular reviewing in the early ’90s, leaving criticism that seriously examined the big-screen image of women and the popular representation of female social roles to go underground — into academic studies where abstruse, tenure-seeking jargon is used to rebuff popular taste. That makes â€Å"Frankly, My Dear† all the more remarkable. It’s Haskell’s feminist perspective that provides insight into a movie most academics won’t touch and current critics dismiss. She disentangles the film’s qualities from the conf ounding issues of misogy ­ny, racism and intellectual snobbery.

Mental Health Services On Campus - 2673 Words

Imagine living with a mental illness that affects your everyday life but has no physical aspects to it. Waging a war within your own head and not being able to control your own thoughts or feelings. Millions of adolescence throughout the United States are currently sick, living with a mental illness with no idea how to treat it, or even the idea they are sick. Mental Health services on campus may be the answer to treating the diseases many children are suffering from. Mental health is defined as our emotional psychological and social well-being. It affects how we think, feel and act. Mental health also helps determine how we handle stress, relate to others and make choices. Maintaining healthy mental health is important at every stage of life, from childhood and adolescence and throughout adulthood. People suffering from mental health disorders often see a change in their mood, thinking and behavior. One in 5 Americans adults experience a mental health issue. One in 10 young people experienced a period of major depression. And 1 in 20 Americans lived with a serious mental health illness (Mental Health Myths and Facts). Factors contribute to mental health problems including; biological facts, such as genes or brain chemistry, life experiences, such as traumatic events or abuse, or family history or mental health problems. Positive allows people to realize their full potential, cope with stress of life, work productively and making meaningful contri butions to society (What isShow MoreRelatedMental Health Services On Campus2453 Words   |  10 PagesImagine living with a mental illness that affects everyday life but has no physical aspects to it. Waging a war within ones own head and not being able to control ones own thoughts or feelings. Millions of adolescence throughout the United States are currently sick, living with a mental illness with no idea how to treat it, or even the idea they are sick. 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