International business Essay Example | Topics and Well Written Essays - 1500 words - 8

International business - Essay Example For example it was the company that dictated for the international market, what it needed to buy from Apple. Again, the international market did not have much choice in becoming the first users to new types of products. That is, Apple used the international market of offload most of its older products so that it could make way for new products to be introduced into the American market (Robertson, 2011). With the coming of Steve Jobs however, this approach changed as the international market was actually put at the centre of the company’s inventions and innovations. That is, instead of giving the international market what the company wanted to offer, there was enough research to know and understand the needs of the international market together with what the American market wanted. This way, the inventions that were made such as the iPod were made to meet the international demands. It is not surprising that with Steve Jobs at Apple, the company could now boast of a global marke t, where it is reported that nearly twice as many people outside the U.S were employed when the iPod was invested as those employed in the U.S (Freeland, 2011). In essence, the company positioned itself to take advantage of globalization. Once the global positioning was guaranteed through the approach to innovation which was research-led, Apple started developing very quickly. More to the company’s own approach to innovation was the technology based platform that Apple was offered as part of globalization to enhance its business growth. For example Bhagwati (2004) reported that the advent of electronic commerce (e-commerce) peaked around the early 2000s, making it easier for the company to be connected to the international market through the internet. As the elements of e-commerce provide, the company did not necessarily have to have a lot of offices across the globe before it could sell to the international market. Rather, a

The Rise of China And Its Positive Impact On the Trend In World Essay

The Rise of China And Its Positive Impact On the Trend In World Politics - Essay Example This essay stresses that the global economic framework that exists with 5the principle function of financial supervision was created in 1974 by the G7 nations in which China is a partisan member. The framework is the Basel Committee on Banking Supervision (BCBS) China is able to contribute positively to the trends in world politics through the observation of the various governing rules and standards that dictate its engagement with institutional bodies and other key industrial players. Voluntary standards imposed on minimum capital rules derived from banks aim to correct challenges ND problems of high leveraged loans instabilities occurring in transnational markets between banks, competitive inequality problems and â€Å"race to the bottom† regulatory. This paper makes a conclusion that China has been seen to adopt the Badel Capital Adequacy Accord that is referred to as Basel 1. The G10 countries decide to adopt the principle that required the member states of which China is inclusive to have an 8% holding capital that was measurable of their overall risk-weighted assets. Big global banks challenged the Basel 1 framework and sort for an internal risk model that was going to facilitate the competition that existed among the global industrial players. It therefore led to the formation of a reviewed framework Basel 2 that defined the mechanisms of market self-regulations. However, the new regulation only favored the high economic powe4rs and the developed countries gained less from the rule.

The Arch of Constantine Essay Example for Free

The Arch of Constantine Essay The Arch of Constantine has stood as one of the triumphal symbols in Rome, along with the Triumphal Arch, and the Arch of Titus. It was in 313 A. D, when Emperor Constantine the Great established what is known as the largest arch in Rome, situated near the Colosseum. Through the structure, the reliefs, and the mixture of historic scriptural decoration, the Arch of Constantine communicates a manipulative message of Imperial power. In addition, it is in the Formalist approach: consisting of line, shape and other various features, as well as the Marxist approach: which deals with the manipulation of art by the ruling class and conveying of social messages, that we can witness this message of Roman imperialism. Firstly, in its formalistic attributes, the monument holds a definite symmetrical appearance, consisting of three openings with the middle opening being the center of focus, as it is the largest of the three. As for the arch itself, it is made from pure marble with an evident repetition in components of four: from the columns, to the medallions, and also the Dacian statues on the attic of the monument, which were taken from the time of Trajan. As well, the rest of the arch is lavished with decorations of the original reliefs as well as the reliefs of other emperors from earlier monuments like Hadrian, Trajan, and Marcus Aurelius. In turn, the combinations of both old and new reliefs show the history of the Roman military campaign as well as the conflicting mixture of styles and traditions in Rome. When looking at the Arch from an Marxist approach, we can acknowledge its strategic placement in the city of Rome. In turn, we can read the reasoning in the placement of the monument when the theory of Marxism is understood as dealing with the struggle of the working class as well as the alienation of the ruling class. Being situated near the Colosseum and acting as a gate into the Palatine Hill, the Arch allows much public accessibility while the reliefs on the monument remind the public of the achievements and historical events in Rome. However, what is most evident is the constant reminder of the Emperor’s authority, a manipulative message that is perhaps repeated through out the whole arch. In furthering this, the monument was a glorious by pass in commemorating Constantine for his victory over Maxentius, his rival. However, it is also through this Arch that the Roman army travels to enter into battle, as well as returning home in victory. Besides the formal structure of the arch, the reliefs decorated upon it also impose a great notion on the power of the state. Reliefs all around the Arch display a record of military campaigns, conquest and Constantine’s personal qualities. Many of the reliefs are even reused from monuments of earlier emperors, such as the two-framed panels on the attic, originally found on a monument of emperor Marcus Aurelius. Another example is the Dacian statues situated in between the framed panels, while they were originally from a Trajanic monument. These reused imagery were all chosen to demonstrate the success and the official military role of the emperor. By doing so, Constantine hoped to gain some of the same honour and recognition as the earlier emperors did. In addition, the Arch consists of â€Å"Victories†, who are statues of powerful women with wings. Their symbolism is likewise to their name, suggesting to the viewer of Rome’s great success in battles won. In this way, Constantine uses these well-recognized, iconographical figures to interpret ideas to the people of Rome. However, besides the message of conquest, two longer panels are found under the medallions on both sides, illustrating the emperor’s influence on the people. The first panel, known as oratio, shows Constantine giving a public speech in the Roman Forum, suggesting leadership and guidance in the emperor. Within this panel, great emphasis is used to lead the viewer’s focus on none other than Constantine, as heads of Romans are generally turned to face the speaker. The second panel, called donatio, displays the emperor distributing money to the public, also showing the emperor’s influence on the people, and even his ability to provide for Rome at his own expense. In furthering these two panels, it is intriguing to find that the head of Constantine is missing in both pieces. This is due to the fact that his head was made of a different, perhaps finer marble and after time, has disconnected with the rest of the piece. However, despite the renewing of earlier monument figures, the reliefs on the Arch of Constantine no longer follow the same naturalistic styles but have become more abstract and formal. Losing the classicality of former monuments, the heads of individual figures are enlarged and stubbier, while their poses are more repetitive, and their carving is flatter. Yet through out many of the reliefs, the message stays the same, showing the emperor has the sovereign, triumphant one, who dominates in each scene. Furthermore, it is the formalistic attributes of the shape and structure of the arch, as well as the Marxist approach in the mixed reliefs that shape the Arch of Constantine as an icon of imperial power. In addition, much of these aspects that shaped the Arch can be seen in many structures in our world today. As well, the way we read these images can be applied to our modern structures, discovering the hidden agendas and implications in the piece. Likewise, facilities such as the White House or a courthouse can be seen with the same principles as icons of power and control as well as order. Other examples include the no longer existing World Trade Centers, which were the iconographical symbols of capitalism. As well, facilities like many schools and universities display the pride and control of the school staff through posters, banners. We are sometimes reminded of the achievements and respective position of the school as we enter its front doors. Similar to the Arch, these structures literally influenced the public, as people are bound to come in contact with them, walk pass them or even through them. Even sport arenas can be seen in the same light, as many stadiums display their historical success and victories or even legendary leaders. It is clear that the usage of formalistic structure and iconographical imagery, in the light of Marxism, is still relevant today. From propaganda, to commercial advertisements, to authoritative visuals, we are confronted in equally similar ways everyday.

Reflection on Teamwork and Gender

Reflection on Teamwork and Gender Introduction As the only male in a group of four female working on a presentation, the learning experience gained reflectively looking back was invaluable. How I got on in the working process while engaged in the completion of this presentation represented a process of understanding the difference in dynamics of working within a group situation whereby my initial impressions of the progress being made differed from the manner in which each individual approached the situation. The following will offer a reflection on this situation. At first, I felt as if I was the only one actively engaged on the project, gauging that the others were being flippant in their approach. Tavris and Wade (1984, pp. 71-73) offered some insight into this as they advise that men are more aggressive than women. They point to the example that this difference is detectable as early as age three when children start playing with one another (Tavris and Wade, 1984, pp. 71-73). Their analogy stated that little boys from the start show more physical aggression, play aggressive, have fantasy aggression and utilize verbal aggression (Tavris and Wade, 1984, pp. 71-73). This, they point to is the male aspect of winning, which means getting started earlier and taking over (Tavris and Wade, 1984, pp. 71-73). Fay and Tokarczyk (1993, pp. 78-79) developed my understanding further in adding that women approach work in a different manner, as they are more social beings. Dale and Lynne Spender (1986, p. 32) dismiss the mythical talkativeness of women ind icating that in mixed sex conversations that women only talked ten to twenty percent of the time gauging their situation. They added that women, after feeling comfortable in a group setting will then set about the task at hand, however, they have privately thought about the problem and have definitive ideas and approaches to discuss when that time arrives (Spender and Spender, 1986, pp. 34-35). Lunneborg (1990, p. 21) offered the following insight to this start of the project situation that I seemingly was so preoccupied with. She states that women tend to spend time gathering and thinking more about the information aspects in singular fashion, gauging the situation against their own personal skills and formulating approaches as they consider what they either know or have gleaned from other members of the group (Lunneborg, 1990, pp. 23-28). These dynamics helped me to understand that my learning style was simply too male oriented to at first take in the significances of how women approach problems and solutions. I learned that the first thing I should have done was approach the first session as an introduction to my co-workers, asking for inputs on how to set about the presentation as a group process, instead of feeling that I was the only contributor. Novarra (1980, p. 51) advised me that women manage in a less academic fashion. They, women, are â€Å"†¦ accessible, unstuffy, informal, direct in getting to the point, spontaneous, averse to wrangling, sympathetic and not long winded or pompous†. Nickles and Ascroft (1981, pp. 206-207) referred to the foregoing style as ‘beta’. They, women, utilize power for the good of the group as opposed to the individual, and that good management represents sensitivity in the creation of a work environment that fosters growth and learning (Nickles and Ascroft. 1981, pp. 206-207). They offered additional insight in that ‘Beta’ power cares more about the quality of work life and uses flexible schedules, job sharing and the decentralization of authority (Nickles and Ascroft. 1981, pp. 206-207). Leaders are not needed at the top of the hierarchy in making decisions, as it is a shared process. Howe (1975, pp. 127-171) advised me that women are more democratic, egalitarian and cooperative. In working with men, or in this case a male, women tend to slow things down to create a pace that reflects thinking and sharing. She added that women have an alternative view of power that is based upon sisterhood, and that in a group situation the usual first steps in the process entail an informal discussion as the parties get to know one another for later interaction as opposed to the male method of the big dog taking over and letting other things fall into place. As I saw the collective approach take hold later in the process, the understanding I gained after the fact made me better understand the dynamics of working with women and how my initial impressions were male based. The difficulty I felt I had in maintaining group focus was my male approach as opposed to the reflective and group sharing approach women utilize to address working situations, which are similar in context to their approach of problems in any form. Conclusion The apprehension I experienced in working with a group of four females taught me that there are differing ways in which the approach to a working situation can be handled. As the only male member I thrust myself into thinking into feeling that I needed to take charge, even though I held back on that action. Upon reflection, that was a wise choice as the group dynamics later showed me that the work at hand was being handled, but in a different manner than I was accustomed to. The lack of individual conflicts, the overall courteousness of the group, and the process of producing the piece was an enjoyable and productive session. My feelings of getting a late start did not account for the accelerated pace of development as a team whereby ideas, solutions and contributions flowed naturally without power struggles, thus shortening the time frame to get things accomplished. In retrospect the entire experience enabled me to take away from the process a new set of techniques and understandings with respect to group dynamics that was not just applicable to women, but groups of any gender composition. My concerns regarding being the only male in the group were facets of my own imagination as the females did not and were not focused on gender differences, they were focused on meshing the group into a cohesive unit, whereby the synergy would be greater than the parts. Bibliography Fay, E., Tokarczyk, M. (1993) Working Class Women in the Academy. University of Massachusetts Press Howe, F. (1975) Women and the power to change. McGraw Hill Lunneborg, P. (1990) Women Changing Work. Bergin and Garvey Nickles, E., Ashcroft, L. (1981) The coming matriarchy. Seaview Books Novarra, V. (1980) Women’s Work, men’s work. Praeger Spender, D., Spender, L. (1986) Scribbling sisters. Camden Press Tavris, C., Wade, C. (1984) The longest war: Sex Differences in perspective. Harcourt Brace Jovanovich

Analysis of The Ending of Jacobs Wake Essay -- Papers

Analysis of The Ending of Jacob's Wake The ending of a play can be one of purpose, one that leaves you with a sense of completion and fulfillment. In the play â€Å"Jacob’s Wake† the ending was, to say the least, odd. I didn’t really get a sense that the ending belonged to the play. The whole time during the play I was waiting for things to turn around in the family, then all of a sudden the ghost came into play. Though I wasn’t much of a fan of the whole play, I did think the ending could have been done a little better. I thought the ending was trying to portray how things were going to be turned around and that the family was going to work together. Having said this, I think the ending that the director said he was going to leave the play at would have been worse. If the play ended where Rose threw the glass at Winston, I would have left the play completely disappointed. Throughout the whole play, it was the same redundant story line where basically family members would argue. I wouldn’t have felt that I had seen the ending if nothing seemed to change. I felt that even though the ending seemed to just come out of the blue, that it did put things together. All of the brothers and the father pulled together to save the ship, which seemed to symbolize how they actually did care about each other, and wanted to change their way of life. I also felt that until the ending the Skipper never really had a meaningful part, yet the play was supposed to revolve around him. The ending, when the S kipper’s ghost appeared, made me feel for the first time in the play that he had an important part. It made me see that he was the head of the family and that he would guide the family. I thought that the ending finally put some meaning... ... see that the only character that was trying to make things better, Brad, was so tormented that he committed suicide. I didn’t leave the play with a sense hat I learned something from it. The play for me just seemed to carry on into this long path of unhappiness. I would have felt better if something, such as the death of Brad, would have changed the characters’ attitudes. Little seemed to make these characters see that they lived in a destructive household. I did not particularly like the ending, but I do think that it was maybe trying to portray what I was hoping to see. At least the ending did have a change of pace for the play, but I thought that it was just too out of place. I think an ending that was a little more defined or true to life would have suited the play better, and left the audience with a better outlook on the play or even life in general.

Nicaragua :: essays research papers

Nicaragua The area of Nicaragua is 50,193 sq. mi. The Nicaraguan highlands, with a elevation about 2000 ft, cross Nicaragua from the northwest to the southeast. Several mountain ranges, the highest of which, the Cordillera Isabelia, reaches an elevation of more than 6890 ft, cut the highlands from east to west. In the west is a great basin, or depression, containing two lakes, Nicaragua, the largest in Central America, and Managua. The two are connected by the Tipitapa River. A chain of volcanoes, which are a contributory cause of local earthquakes, rises between the lakes and the Pacific coast. In the east, the Caribbean coastal plain known as the Costa de mosquitoes (Mosquito Coast) extends some 45 mi. inland and is partly overgrown with rain forest. The four principal rivers, the San Juan, Coco (Wanks), Grande, and Escondido, empty into the Caribbean. The natural resources of Nicaragua are primarily agricultural. Deposits of volcanic material have enriched the soil, which is extremely fertile. About half the land is covered with forests. The country has some deposits of gold, silver, and copper. About 77% of the Nicaraguan population is mestizo (people of mixed white and Native American descent), about 10% is white, and the remainder is Native American (4%) and black (9%). The population of Nicaragua is 3,745,000, yielding an overall density about 75 per sq. mi. Approximately 60% of the population is concentrated in the western part of the country, and more than 55% is urban. Political Divisions and Principal Cities Nicaragua is divided into six regions and three special zones. Managua, with a population of 682,100, is the capital and commercial center. Leà ³n is an important religious and cultural center. Granada is the terminus of the railway from the main port of entry, Corinto, on the Pacific coast. Spanish is the official language of Nicaragua. Nearly 90% of the Nicaraguan people are Roman Catholic; most of the remainder are Protestant. As in other Latin American countries, the culture of Nicaragua reflects Spanish cultural patterns, influential since the colonial period, combined with an ancient Native American heritage. Nicaraguans hold many colorful celebrations to commemorate local saints' days and ecclesiastical events. The marimba is extremely popular, and ancient instruments such as the chirimà ­a (clarinet), maraca (rattle), and zul (flute) are common in rural areas. Dances from colonial times survive, as do fine examples of architecture. The coast of Nicaragua was sighted by Christopher Columbus in 1502, but the first Spanish expedition, under Gil Gonzà ¡lez Dà ¡vila, did not arrive until 1522; it established several Spanish settlements. A second conquistador, Francisco Fernà ¡ndez de Cà ³rdoba, founded Granada in 1523 and Leà ³n in 1524.

Mary Shelley novel ‘Frankenstein’ Essay

Once, Victor completes his creation of the being he finds him to be very repulsive and he feels it is impossible to love such a ‘ thing ‘, ‘ His yellow skin scarcely covered the work of muscles and arteries beneath; his hair was of a lustrous black and flowing†¦ but these luxuries only formed a more horrid contrast’. Instead of staying to understand why and how his experiment went so drastically wrong, or to take care of his creation, he runs away from his responsibilities with fear ‘ one hand wrenched out, seemingly to detain me, but I escape and rushed down stairs†¦ ‘ During Victors encounters with his creation he treats his creation with disrespect and hatred even though it was he who created this monster. Victor feels his creation is disdain and malignant, he also feels that his creatures ‘ ugliness rendered it almost too horrible for human eyes ‘. During this time Victor is very childish in his opinions as he insults his creation ‘ it ‘ hasn’t done anything wrong. But on the other hand, his creation tries to be civilized and reasonable. Victor tries using his intelligence to fight against the creature, as the creature defeats him in any imaginable physical aspect. But Victor underestimates the creature’s true intelligence and understanding of life; the creature returns the fire back to Victor with his own degree of intelligence. This situation soon turns to Victor becoming seriously immature and irresponsible, as he tries to incorporate a verbal battle into the damage relationship between them unlike the creature who tries to civil. Initially Frankenstein’s creature is seen as aggressive and violent but this is only shown in the eyes of Victor Frankenstein. The creation is no portrayed a thoughtful and caring creature but this is overshadowed by his aggression which he only uses to emphasise is want for a father figure and a friend, so he looks to Frankenstein, his creature. Because of Frankenstein’s rejection the creature becomes more and more bitter and rejected and as a result becomes more violent and aggressive which is his way of portraying hatred towards Frankenstein. At this point of the novel the creature created by Frankenstein acts more adult-like than Frankenstein himself. I feel that Frankenstein should take responsibility for his own action and consider the consequences, and then reflect on these consequences, but he totally rejects the creature because of its appearance. The creation has learnt a lot of advanced knowledge in a short space of time, and has become more lingual than his creator, which shows that the creature could live alone in the world but it just needs a companion or a father figure to help him on the way. Victor’s tragic fate is sealed by his growing obsession to destroy his creation because of all the hurt it has caused him in the latter stages of the novel. As Victor’s obsession to destroy the monster grows he begins to have a role reversal as he becomes the outsider and the creature becomes the supremely intelligent one, now he experiences all the misery and hatred that the monster felt after he rejected him. This change is quite ironic as the creature and Victor switch roles. This ironic change also shows Frankenstein how he treated people at this time from this Victor learnt a very important lesson ‘ Treat others as you would like to be treated yourself ‘. This change now begins to change Victor’s perspective on life, as he starts to feel guilty for what he has put his creation through, the torture and rejection. The guilt has now been emphasised by the hatred of Frankenstein of him self and his hatred of the creature. In conclusion the tragic fate of Victor Frankenstein is brought about by his own careless actions. Mary Shelley is showing us that the causes of Victor’s death were down to himself and his own actions. Victor’s careless pursuit of scientific knowledge is partly to blame for his fate as he never, until his monster was created thought about the consequences. Victor’s overstepping of human boundaries by defying God and going against nature is also partially to blame as, he again never considers the moral issues surrounding the recreation of people. Finally the main point of his fate was caused by his inability to love what he has given to live. Frankenstein only sees his creation for its inhuman looks and physical appearance, instead of the creature’s personality and feelings; he only shows a one-dimensional view of the monster. Mary Shelley has given the novel a hidden message, this message is trying to put across the dangers of pride and egotism, as in the novel Victor feels that when he recreates life he will become world famous. The second message of this novel is that the careless use of science can become dangerous. Frankenstein not considering the consequences of his action is showing this careless use of science. Mary Shelley does not criticize this act of creation, but Victor is unwilling to accept responsibility, for his deeds. His creation only becomes a monster because of its rejection from humans and especially Victor Frankenstein. Show preview only The above preview is unformatted text This student written piece of work is one of many that can be found in our GCSE Mary Shelley section.