Ec Assignment for Microbiology Essay Example for Free

Ec Assignment for Microbiology Essay 1) First, the urine sample container should be labeled accordingly. Urine samples and transport containers should be free of any particles or anything that may interfere with the sample. The sample should be in a secure container with a leak resistant lid; this will also prevent exposure to the person handling the sample while also protecting the sample from being contaminated. It is important to not reuse any specimen container to insure that the sample is in a sterile environment and is not at risk from being contaminated. Nurses can encourage the patient to wash their hands before and after they provide the sample. The patient can also be advised to replace the lid on the specimen as soon as the sample has been collected to keep contaminates from getting in the sample. Nurses should explain that these steps will ensure the most accurate results. Nurses should also follow protocol to avoid contamination. Nurses should wear gloves at all times and wash their hands regularly. Urine should be stored properly as to avoid any additional growth of bacteria. (Becton, 2004) 2) This protocol is for samples analyzed in a doctor’s office or for a routine laboratory culture that were midstream samples for urine culture or for urinary tract infections. Negative macroscopic screened urines do not routinely require microscopic examination of urine sediment. Microscopic examination of urine sediment may be warranted when macroscopic examination is positive for blood (Hb), protein (greater than a trace), nitrite, leukocyte esterase, turbidity, or glucose concentration greater than 55mmol/l. Choices for urinalysis are urine culture only, Macroscopic microscopic if dipstick positive, Macroscopic urine culture if pyuric or nitrite present, Macroscopic dipstick, Microscopic, or special case. (Association, 2011) 3) The most common symptoms of a urinary tract infection are pain or burning feeling during urination, feeling of urgency to urinate, altered appearance of the urine, pain or pressure in the rectum for men or in the area of the pubic bone for women, and only passing a tiny amount of urine even when the urge to urinate is strong. (Net, 2011) Edith is more susceptible to a urinary tract infection because she is a female. Women have shorter urethras therefore it is easier for bacteria to enter the urinary tract. Men are much less likely than women to get UTIs and when they do it is often related to another underlying medical condition, such as kidney stone or an enlarged prostate. (WebMD, 2005-2012) 4) Cipro is short for ciprofloxacin. Ciprofloxacin is an antibiotic that is used to treat bacterial infections. Ciprofloxacin belongs to the fluoroquinolone class of antibiotics. Cipro stops the multiplication of bacteria by inhibiting the reproduction and repair of their genetic material. (Net, ciprofloaxin (Cipro, Cipro XR) drug class, medical uses, medication side effects, and drug interactions by MedicineNet.com , 2012) 5) Clindamycin inhibits protein synthesis by reversibly binding to the 50s subunit of the ribosomal thus blocking the transpeptidation or translocation reactions of susceptible organisms resulting to stunted cell growth. (LLC) 6) Most antibiotics are taken in a pill form and they can kill many of different strains of good bacteria in the digestive tract. A common complaint of taking antibiotics is stomach upset and diarrhea. Eating yogurt while taking antibiotics may help prevent some of the discomfort of antibiotic use because yogurt is made from milk and fermented with live cultures of the same types of bacteria that are normally present in a healthy digestive tract. Continuing to eat yogurt several days after discontinuing the antibiotics may help to replace good bacteria in the intestines. (Strong) 7) The warnings in using Clindamycin include but are not limited to diarrhea, colitis, and pseudo membranous colitis. These symptoms can persist for several weeks after discontinuing the use of the antibiotic. (A.D.A.M.) 8) The bad bacteria, that can cause diarrhea in people taking antibiotics, are called C difficile and its numbers are normally kept at low levels by the healthy flora in the gut. When a person is treated with antibiotics and the amount of healthy bacteria is decreased, C difficile may begin to multiply and produce a substance that is toxic and can cause diarrhea. This is known as pseudo membranous colitis. (About.com) The Clostridium difficile bacteria are normally present in the intestine; however, it may overgrow when antibiotics are taken. The bacteria release a powerful toxin that causes the symptoms. The lining of the colon becomes inflamed and bleeds, and takes on a characteristic appearance called pseudo membranes. (A.D.A.M) 15) C. difficile often relapses because it passes through a life cycle in which the actively dividing form transforms itself into the spore stage. Spores are inert and metabolically inactive, so they do not cause disease. At the same time though spores are very tough and are hard to kill even with the most powerful antibiotics. (Publications, 2000-2012) 16) A nonsocomial infection can be spread by cross-infection (from one patient to another), endogenous infection (a patient’s own flora), or environmental transfer (an object being used on a patient that is already contaminated). A patient’s risk may be increased due to age, decreased immune resistance, underlying disease, and therapeutic or diagnostic interventions. (Broaddus, 1997) 17) Clostridium difficile was first described in 1935 as a component of the intestinal flora in healthy newborn infants. The active role of C. difficile in human disease was not recognized until the 1970s when it was identified as the causative agent of pseudo membranous colitis. Additional studies demonstrated that C. difficile-associated disease encompasses a range of disease severity from colitis to toxic megacolon.

Cross-Cultural Perspectives Essay Example for Free

Cross-Cultural Perspectives Essay The Coca Cola Company, the world’s largest multinational beverage manufacturer and corporation, operates bottling plants and sells its products in more than 200 countries across the globe (The Coca Cola Company, 2014). Coca Cola’s massive global presence requires the organization to understand the different cultures of its many host countries; the laws within each country; and the business norms, styles, as well as practices of each country it conducts business operations in. The company has developed and implemented numerous policies, regulations, and guidelines for its suppliers, operation management, and employees in its various host countries. But, all of this detailed undertaking to address transparencies in the corporation’s supply chains throughout the world did not stop its El Salvadoran bottling and manufacturing plant’s management from purchasing refined sugar from a mill which used child labor. According to Human Rights Watch (HRW), up to one third of the workers on El Salvador’s sugarcane plantations are under the age of 18, with many starting to work in the fields between the ages of eight and eleven (HRW, 2004). Even though, the national and international child labor authorities prohibit minors under the age of 18 from performing hazardous or harmful work, plantation owners define these young children and teenagers who work with their parents as â€Å"helpers† instead of the workers they actually are (Veracity, 2006). The above paragraph represents one of the many cross-cultural issues facing Coca Cola and the myriad of other multinational organizations interactions outside the United States. In these various host countries having your children working beside you is considered common cultural practices; it provides additional income for the family’s survival because the poor state of many of their country’s economy (such as El Salvador) allows these injustices to continue. Regardless, of why these children are working in the sugarcane fields, and the fact that Coca Cola does not actually purchase its  refined sugar directly from the plantations, the company is in direct violation of its own â€Å"Guiding Principles for Suppliers to Coca Cola Company† policy. The policy states that, â€Å"Suppliers will not use child labor as defined by local law,† but Coca Cola fails to extend this policy one step further in the supply chain to include the supplier’s supplier of raw material (Veracity, 2006). So, in the long-term means that the organization is just as socially and ethically responsible for the use of child labor as well as the harm working in the field create as the suppliers and the plantation owners. The Coca Cola formula was invented in 1886 by pharmacist John Stith Pemberton in Columbus, Georgia; and the formula as well as the brand was purchased in 1889 by Asa Griggs Chandler who incorporated The Coca Cola Company in 1892 (The Coca Cola Company, 2014). Throughout its many years of operations the business always demonstrated strong market orientation; exhibited strategic decision making processes; and took actions to attract, satisfy, and retain customers. All of these positive actions have just added to company’ s advantage and profitability over competitors in the beverage industry, which is why they are number one in the world. Nevertheless, as the organization began to expand its operations into more and more host countries around the globe it has been involve with quite a number of misconduct and questionable unethical behavior. As a result, these legal and ethical problems have had an impact on the corporation’s financial performances, investor trust, and reduced its sales levels. Today’s Coca Cola Company is now engaging in an operation to rebuild its brand image and credibility, improve its sells, and reinforce its reputation by developing and implementing stronger company ethical and social responsibility throughout its entire global marketplace (The Coca Cola Company, 2014). There have been a number of events other than child labor in El Salvador where Coca Cola has been involved and held accountable in unethical behavior. In Colombia, Turkey, and Guatemala bottling plants the company has been accused of hiring paramilitary mercenaries to assassinate, torture, and coerce workers, their family members, and union leaders as they attempted to unionize to protect workers from unfair treatment and abuse by the host countries’ employers. These incidents sparked an campaign entitled, â€Å"Stop Killer Coke†, and a 2009 PBS documentary filmed by German Gutierezz and Carmen Garcia entitled, â€Å"The Coca-Cola Case†Ã‚  to reveal the company’s practices to consumers around the world (Huff, E. A., 2010). Of course, Coca Cola denied the allegations against the company and its bottling partners, where cleared of any wrong doing in the foreign courts. When the case was brought to the United States, Coca Cola fought and succeeded in having its name removed from the lawsuit (Huff, E. A., 2010). Another ethical and social responsibility issue the company encountered, actually there are two environmental issues concerning the depletion of groundwater and polluting of water in India. Coca Cola operates 52 water intensive bottling plants in India using 3.8 liters of freshwater to generate a liter of carbonated drink. While in the Southern Indian village of Plachimada in Kerala state groundwater along with loca l wells dried up forcing residents to rely on water supplies trucked in daily by the government due to persistent droughts, and the company’s bottling plants. In the rural Indian state of Uttar Pradesh where farming is the primary industry the residents have been experiencing similar conditions, only the government is not supplying enough water for the crops. As a result of the groundwater depletion situations the business is not only responsible for the loss of livelihood and hunger for the many citizens across India, but the creation of thirst. In 2003, the other issues of polluted water were discovered near the Kerala and Uttar Pradesh bottling plants. Sludge containing high levels of cadmium, lead, and chromium was given to farmers as free fertilizer to tribal farmers who lived near the plants, but the need for fresh water was overlooked by Coca Cola. As a side note, an Indian nonprofit group tested 57 carbonated beverages made by both Coca Cola and Pepsi at 25 bottling plants were found to be contaminated with between three and five different pesticides (The Corporation, 2009). Although, the organization denied creating the problems, the Indian government ordered Coca Cola to shut down one of its $25 million plants. The organization then thought long and hard about its corporate social responsibility (and lost revenue); and decided to improve their business practices in the local communities, reduced the water usage by 34%, started rainwater harvesting, and returned substantial amounts of water to depleted aquifers. They also stopped distributing sludge, joined with the Indian government to develop additional solid waste disposal sites, and began treating the water used to make soft drinks with activated carbon filtration (The Corporation, 2009). Coca Cola conducted all of these improvements to regain the trust of the local communities and the Indian government. But, my question would be, why not practice these ethical and corporate responsibility policies from the beginning? As more and more organizations are utilizing the opportunity of transitioning into multinational operations, they will have to research how business is conducted, the local laws, as well as the government policies and operation methods of every host country they wish to operate in. Then they will have to incorporate and implement all of their ethical and corporate social responsibility they employ in their home country universally throughout the entire business operation. Creating a unified culture that will adhere to a high level of business behavior in all global operations, respecting all of the local workforces’ cultures and traditions, and eliminating the use of any unethical values or behaviors from home and abroad. References Huff, E. A. (2010, May, 22). Coca Cola’s Murderous Record of Anti-Union Activity Exposed Retrieved from http://www.naturalnews.com/028844_coca-cola_html. The Coca Cola Company (2014). Retrieved from http://www.coca-colacompany.com/our-company. The Corporation (2009). Ethical Issues Concerning Coca-Cola in India. Retrieved from http://imaginecorporation.blogspot.com/ethical-issues-concerning-cocacola-in.html Veracity, D. (2006). Coca-Cola, Human Rights and Child Labor Retrieved from http://www.naturalmatters.net/article.asp?article=1301cat=219

A Look At Daniel Defoes Robinson Crusoe English Literature Essay

A Look At Daniel Defoes Robinson Crusoe English Literature Essay Daniel Defoes Robinson Crusoe (1719) is regarded as the most notable forerunner of the English Novel or to some extent the first English Novel. It was written at the beginning a century that witnessed great changes in the economic order. The cognoscenti have dealt with the character of Robinson Crusoe, bringing out several points of view. The motive of this piece of work is to study Crusoes philosophy about trade, religion and non-Europeans in its historical background. These three facets of Crusoes personality are inherently connected with each other and are thus fundamental to an appreciation of Crusoes mindset and character. His disposition towards dealings and religion is prompted by realistic considerations. He capitalizes on non-Europeans and is backed by spiritual beliefs in his discriminating treatment. The next consideration of the three main aspects of Crusoes nature will help us to grasp his character and inform us of the prevalent trends of the Eighteenth Century. Right from the beginning, Crusoe appears to be a star-crossed navigator and tradesman, however his ambitions are not impeded by shipwrecks and captivity. He is not the archetype of a man who could be impelled to abandon his Marxist principles by bad luck; contrariwise these misfortunes and his defencelessness tend to become a driving force. Robinson has the personality of a well-bred dealer whom setback or hardship does not break but whose perseverance and composure are magnified. Such mischance adds to his wisdom and predisposes him to future challenges. He never omits any scope for investment and commerce. In Brazil, besides exploring other opportunities for making money, he cautiously inspects the land, the plantations, and the regulation of the country. Crusoe undoubtedly inherited his methodical and businesslike way of living from his natal home in York. To put down roots as a planter in Brazil, it is needed to acquire property and obtain an allowable license. He makes profits on the situation and starts out to contemplate future prospects as a prosperous planter. Crusoe is the only one who survives from the hapless shipwreck. Although the craft is filled with water, he takes all the useful items to the island. He dwells on this remote island thanks to his remarkable shrewdness. His living the supervision of the resources on the isle and his discrimination in the dreariest details of everyday life are germane to his mercantile interests. Albeit he calls money a Drug and nasty, sorry, useless Stuff he does not get rid of it but rather encases it in a piece of canvas and preserves it for the future. Robinson Crusoes life as a dynamic trader arises out of his arrival in Lisbon after having spent more than twenty-eight years on the island. It is as though he were leading off a new life from scratch inquiring about the state of his plantation in Brazil and aiming at renewing his old trade contacts. He discovers that his plantation is still thriving and earns from its profits over five thousand pounds in sterling silver. Thenceforth, he disposes of his plantings and takes up residence in England. Crusoes feeling about nature is likewise practical. He exploits the island exclusively for his own subsistence and satisfaction and feels no aesthetic gladness form its magnificent scenery. He just fusses about the improvement of his land and has no leisure to notice that the island provides a beautiful landscape. Crusoes sole pleasure comes from examining his goods: I had everything so ready at my Hand and that is was a great Pleasure to me to see all my Goods in such order and especially to find my Stock of all Necessaries so great. He always pleaded for his freedom when he was on the Island of Despair. But after his deliverance, and on getting back home, he is not inclined to overlook the investment he has made in the island. Apart from his nostalgic association for him, the island is linked to his commercial motives. He writes: Besides this I shard the island into parts with em, reservd to myself the Property of the whole, but gave them such Parts respectively as they agred on; and having settld all Things with them, and engagd them not to leave the Place, I left them there. Crusoes penchant for mercantilism proves to be surprisingly realistic and precautionary; his thrifty investments have brought him a substantial coming back. He is an affluent tradesman and his adventures represent the virtues of individualism and absolute economic, social and intellectual freedom for the individual. Despite the recurrent religious cogitations in Defoes story, we are aware that it would be inaccurate to take the purpose of the novel or even its central theme as being pious in nature. Intuitively assessed, the book looks secular, more instantly and more steadily concerned with a mans earthly fulfillment than with his duty towards the Providence under the guidance of religion. After returning to England, Crusoes comparison of himself to the biblical character Job in chapter XXIX displays much about how he gives his martyrdom religious meaning: I might well say now indeed, that the latter End of Job was better than the Beginning. It is impossible to express here the Flutterings of my very Heart when I looked over these Letters and especially when I found all my Wealth about me; for as the Brazil Ships come all in Fleets, the same Ships which brought my Letters brought my Goodsà ¢Ã¢â€š ¬Ã‚ ¦ . Like Job, whose religious devotion was gauged by God through the deprivation of family and wealth, Crusoe is dispossessed of his money while nonetheless pledging allegiance to the Deity. In a similar way, the protagonists pride in escaping the middle Station is a mark of Greek mythology in which the characters suffer from hubris and are therefore scourged by their sin. His fathers dictum sounds like a prophetic statement for Crusoes predicament: Boy might be happy if he would stay at Home, but if he goes abroad he will be the most miserable Wretch that was ever born. He unremittingly ponders over his connection with the Lord throughout the novel and how much God is penalizing him for his wicked Days. Halfway through the novel, Robinson, after a long rumination on whether religion allowed him to murder without warning or provoking the cannibals on the island, ends by observing that they might kill him. His observation is: Religion joyned in with this prudentialà ¢Ã¢â€š ¬Ã‚ ¦me. Religion has a way of concurring with the protection and comfort of Defoes fictional character. As we said previously, Crusoes maiden imprudence is going off to sea without his fathers consent, which is viewed by him and is considered to be so viewed by us, as deliberate insubordination to God, that these calamities are meant to lead him into remorse for his offence and into the pardon and kindness of God, and that his ultimate prosperity is a proof of Gods care for him. Despite the dramatic events, Crusoes temperament does not seem to alter, even if he is in a state of sin or of repentance. The necessity of repentance is a key element in the novel. The Preface indicates the moral and religious dimensions of the story, which states that Crusoes travelogue is published to instruct others in Gods wisdom and the importance of repenting ones sins: The Story is told with Modesty, with Seriousness, and with a religious application of Events to the Uses to which wise Men always apply them to the Instruction of others by this Example, and to justify and honour the Wisdom of Providence in all the Variety of our Circumstances, let them happen how they will. Crusoe needs compunction most when he is told from the fiery angelic figure that comes to him during a feverish hallucination and says: Seeing all these Things have not brought you to repentance, now you shall die. He believes that his major sin is his rebellious behaviour towards his father, which he compares to a biblical reference: I have been in all my Circumstances a Memento to those who are touched with the general Plague of Mankind, whence, for ought I know, one half of their Miseries flow; I mean, that of not being satisfyd with the Station wherein God and Nature has placd them; for not to look back upon my primitive Condition, and the excellent Advice of my Father, the Opposition to which was, as I may call it, my original Sin. It is akin to Adam and Eves defiance of God, which may suggest that Crusoes exile from civilization symbolizes Adam and Eves expulsion from Eden. According to Robinson, contrition consists of acknowledging his desolation and his complete reliance upon the Lord. A main part of the plot of the novel relies on the fact that Crusoe is shipwrecked on the island as Gods way of bringing him to repentance and redemption. On several occasions in the novel, Defoe achieved a kind of grandeur of vision; in which the might and majesty of God are praised: à ¢Ã¢â€š ¬Ã‚ ¦I had now brought my state of lifeà ¢Ã¢â€š ¬Ã‚ ¦next to miraculous. Here the Puritan sense of the grace of God for an unworthy sinner is well-expressed. It is unlikely that a hypocrite would pen these lines. If the intensity of religious belief appears less in Defoe and the concern with substantial success greater than in the works of his puritan predecessors, that intensity of feeling is yet anything but missing. This may seem the mark of a hypocritical religious belief, despising the wealthy yet labouring to achieve them, but to the Puritan, there is nothing contradictory in this. The most unpleasant leitmotiv in Defoes novel is the way Crusoe behaves towards non-Europeans. The fact that his attitude is very repulsive arouses our interest, for it assures us to understand the foundations of British Imperialism that were being laid at when the novel was written. There is no possibility but that the opinions expressed by Crusoe are those of the author as well. We know enough of Defoes own political career as an agent of the Prime Minister who made the treaty endowing Great Britain with its slaving rights, Sir Robert Harely, to be certain he was in concord with British policy. Moreover it is obvious that Defoe is manifesting his casual sense of superiority to non-Europeans, as shown by his readers sympathy, even to the point of making native humour one of the interests of the novel. We shall consider four aspects of Robinson Crusoe before trying to come to some conclusion: the jocular use of language to characterize non-Europeans; the prejudice practiced by Crusoe; Crusoes belief that other peoples should work for him; and his reflections on nationality. The first part of the demonstration seems innocuous, but it is not. The problem lies in the fact that both Xury and Friday speak very bad English indeed. Concerning Xury, the thing that may surprise us is that he speaks English, because we are told that Crusoe had no fellow-Europeans to communicate with while he was at Sallee. We should expect that he and his fellow slaves would speak Turkish or Arabic or Berber, some language that is used in the Maghreb. Nevertheless Xury speaks bad English in conversing with Crusoe. As for Friday, he could not utter a word in English before meeting Crusoe. Yet, his English is no better than Xurys, even after some three or four years of continual conversation in English. Despite this, other foreigners, from Europe like the Portuguese sea-captain, speak completely good English. Now the vernacular is one mark, a most meaningful sign, of the equivalence between human beings. That Defoe presents Xury and Friday thus, making funny use of their defective English, has the insidious effect of making us perceive them as somehow inferior to Crusoe and to Englishmen in general. The second thing to clarify is another token of Crusoes discrimination. In the episode where Crusoe, after having decided not to interfere in the cannibalistic customs of the Indians on the island, changes his mind on the spur of the moment and does interfere, the reason of his intervention is that one of the victims is a European. This could be abstractly justified, on the basis of Crusoes concept of nationalities. Still, this would be too insubstantial to account for the strength of Crusoes reaction. Fridays pronouncement that one of the victims is a European fired all the very Soul within him. He was filled with Horror at the very Naming of the white bearded man, whom he saw vividly was a European, and had clothes on. Such a fact clearly unfolds Crusoes real sympathy for Europeans, whatever he might say in calmer moments. The coming idea we have referred to is not easy to elaborate. We can pay attention to the fact that Crusoe is never disposed to acknowledge a relation on equal terms with non-Europeans. He purposely strives for appearing to them awe-inspiring and assumes, as a matter of course, that they should be willing to offer up their lives for his privilege. Lastly, the fourth aspect to expound is that Crusoes concept of nationalities, though not racist, seems to be prejudiced against the bulk of native peoples who are seen as evil and deserving of Gods punishment. It is true that he leaves it to God to punish them, but the expression of the theory is meant to limit our empathy for them. In the following paragraph Crusoe goes on to observe: à ¢Ã¢â€š ¬Ã‚ ¦we did not know by what Light and Law these should be condemned; but that as God was necessarily, and by the Nature of His Being, infinitely holy and just, so it could not be, but that if these Creatures were all sentenced to Absence from himself; it was on Account of sinning against the Lightà ¢Ã¢â€š ¬Ã‚ ¦.

Bach; Brandenberg Concertos Essay -- essays research papers

The Brandenburg Concertos   Ã‚  Ã‚  Ã‚  Ã‚  One of the most profoundly inspired and masterful composers in history, Johann Sebastian Bach (1685 – 1750), was born into a musical family in Eisenach, Germany. Born into a musical family his father, Johann Ambrosius Bach, was a talented violinist, and taught his son the basic skills of string-playing. Another relation, the organist at Eisenach’s most important church, intructed the young boy on the organ.   Ã‚  Ã‚  Ã‚  Ã‚  In 1695, Johann Sebastian was orphaned; he went to live with his older brother, Johann Christoph, in Ohrdruf. Johann Christoph was a professional organist, and continued his younger brother’s education on that instrument, as well as on the harpsichord. After several years in this arrangement, Johann Sebastian won a scholarship to study in Luneberg, Northern Germany, and so left his brothers tutelage.   Ã‚  Ã‚  Ã‚  Ã‚  A master of several instruments while still in his teens, Johann Sebastian first found employment at the age of 18 as a violinist in a court orchestra in Weimar. Soon after, he took a job as an organist at a church in Arnstadt (1703-1707). Here, as in later posts, his perfectionist tendencies and high expectations of other musicians – for example, the church choir – rubbed his colleagues the wrong way, and he was embroiled in a number of hot disputes during his short tenure. In 1707, at the age of 22, Bach became fed up with the lousy musical standards of Ar...

Cross Cultural Negotiations :: essays research papers

Cross cultural negotiation is one of many specialized areas within the wider field of cross cultural communications. By taking cross cultural negotiation training, negotiators and sales personnel give themselves an advantage over competitors. There is an argument that proposes that culture is inconsequential to cross cultural negotiation. It maintains that as long as a proposal is financially attractive it will succeed. However, this is a naà ¯ve way of approaching international business. Let us look at a brief example of how cross cultural negotiation training can benefit the international business person: There are two negotiators dealing with the same potential client in the Middle East. Both have identical proposals and packages. One ignores the importance of cross cultural negotiation training believing the proposal will speak for itself. The other undertakes some cross cultural training. He/she learns about the culture, values, beliefs, etiquette and approaches to business, meetings and negotiations. Nine times out of ten the latter will succeed over the rival. This is because 1) it is likely they would have endeared themselves more to the host negotiation team and 2) they would be able to tailor their approach to the negotiations in a way that maximises the potential of a positive outcome. Cross cultural negotiations is about more than just how foreigners close deals. It involves looking at all factors that can influence the proceedings. By way of highlighting this, a few brief examples of topics covered in cross cultural negotiation training shall be offered. Eye Contact : In the US, UK and much of northern Europe, strong, direct eye contact conveys confidence and sincerity. In South America it is a sign of trustworthiness. However, in some cultures such as the Japanese, prolonged eye contact is considered rude and is generally avoided. Personal Space & Touch: In Europe and North America, business people will usually leave a certain amount of distance between themselves when interacting. Touching only takes place between friends. In South America or the Middle East, business people are tactile and like to get up close. In Japan or China, it is not uncommon for people to leave a gap of four feet when conversing. Touching only takes place between close friends and family members. Time: Western societies are very ‘clock conscious? Time is money and punctuality is crucial. This is also the case in countries such as Japan or China where being late would be taken as an insult. However, in South America, southern Europe and the Middle East, being on time for a meeting does not carry the same sense of urgency.

Who Is To Blame For Our Actions :: essays research papers

Assumption of Risk: Who is to Blame For Our Actions The doctrine of "assumption of risk" clearly defines the responsibility of all voluntary actions taken on by individuals, independent of the inherent risk or danger involved with such actions. Are we only to assume responsibility for the positive outcomes of our actions, without also accepting the negative outcomes as well? Most individuals only claim responsibility in cases in which they are fully responsible for their actions. Living within a country which houses a large amount of private enterprise, we often find ourselves relying on outside help. In many occasions we, the individual seeking assistance, hold the power to choose which avenue of help will be taken. In these cases in which we have the choice, should we not also be held responsible for the outcomes of our decisions, especially in cases in which we have been pre-warned about any inherent risks or dangers? For example, When we take it upon ourselves to drive on a private road, smoke cigarettes, work for a mining company, or fly on a discount airline at our own volition, do we tacitly consent to take responsibility for any outcome these actions may hold? The "assumption of risk" doctrine seems to ignore the fundamental obligation of entities to ensure their natural goals. The distinguishing factor in deciding responsibility in faultless cases which call on the "assumption of risk" doctrine is the control held by individuals after the situation has begun. In accordance, companies such as discount airlines and cigarette companies must take on the responsibility of completing their duties, while individuals who chose to work in a mine or drive on a private road must accept the responsibility of their actions to do so. All airlines hold the responsibility of transporting their customers from a point of origin to a previously designated destination. The person who agrees to buy a discount airline ticket, which warns to "fly at your own risk," is entitled to receive the minimum service of transportation provided by the airline. The individual traveler should assume no other benefits other than transportation. The airline company claims this act of transportation to be its goal of services rendered. Independent of difficulties which may arise in completing this goal, the airline may not alter the basic duty which it is contractually obligated to perform. The airline tacitly consented to perform this basic duty the moment they began transporting individuals for an accepted payment. Once an individual has boarded the airplane they render all control over their safety to the accepting airline which holds the minimum responsibility of returning the individual back to a state of safety once their

Assess How Martin Gaite Takes on the Task of Confronting Recent History Both Aesthetically and Ethically in El Cuarto de Atras.

Assess how Martin Gaite takes on the task of confronting recent history both aesthetically and ethically in El cuarto de atras. El cuarto de atras is Carmen Martin Gaite’s first post-Franco novel. Encompassing two very distinct genres, it is a fantastical novel, whilst in the same framework, a realist memoir of a woman growing up in post-war Spain. Through the use of the fantastic mode, the author approaches the real social history of the Civil War and post war period.This essay, will explore how Martin Gaite confronts this recent history, illustrating the hostile political environment of her youth and the anxiety it engendered. Through aesthetic techniques, particularly the fantastic mode, the novel facilitates a recollection of memories, which for many, were tarred with pain and anger. What we discover is that Martin Gaite’s intended purpose for her novel is not direct criticism of the fascist regime, but rather she aims to capture the collective memory of a generatio n, a memory which is often difficult to yield.To begin, it necessary to understand Martin Gaite’s decision to write her novel in this way, by gaining a sense of the climate of opinion which prevailed among the leading writers at the end of Franco’s rule, the time when Martin Gaite wrote El cuarto de atras. One of her contemporaries, the influential Juan Goytisolo, published an essay in 1967, which criticises the insipid realistic literature that was written in post-war Spain. He warns that Spanish novelists seem to have lost the ability to smile, despite belonging to a literary tradition that can draw on Cervantes and Larra.Goytisolo claims that, preoccupied with fighting Franco with words, he and his contemporaries have failed to serve either their cause or the wider interests of literature itself. In his essay, he writes: Digamoslo con claridad: las generaciones venideras nos pediran cuentas, sin duda, de nuestra actual conducta civica, pero no tomaran a esta en cons ideracion si, paralelamente a nuestra responsabilidad moral de ciudadanos, no manifestamos nuestra responsabilidad artistica como escritores.No basta, en efecto, reclamar la libertad: tenemos que probarla desde ahora con la autenticidad y responsabilidad de nuestras obras (Wood 2012: 48). Martin Gaite acknowledged and responded to this need for a new form of literature that did not rely solely on politics and realism. On November 23, 1975, the day that Franco died, she set out to write El cuarto de atras. Her novel would focus on two main literary goals; Firstly, to write a social history of the post-war era and secondly to write a fantastic novel.The novel is narrated by a woman called ‘C’, similar to Martin Gaite herself, who tells the story of an unexpected visit by a mysterious man, in the middle of the night. He has come to interview her. During their night-long conversation, the interviewer encourages the narrator in her recollection of her past. During the course of the conversation, the two protagonists notice that in the corner of the room, there is a pile of papers, which continues to grow. At the end of the novel, we learn that this stack of pages comprises the novel itself, even entitled ‘El cuarto de atras’.Their conversation has produced a novel. This powerful metafictional image of the written manuscript of the novel appearing within the novel itself creates a sense of participation amongst her readers. In the final pages, when the protagonist picks up the manuscript, we suddenly become aware of the novel we hold in our hands, and see it now as a mere artefact, the product of the conversation to which we have been aesthetically participating. The mystery behind this metafiction helps in establishing the ‘fantastic’ genre of the novel.Todorov gives a three-part definition of the fantastic genre, all three met in El cuarto de atras, ‘the reader considers the fictional world as real, the reader and the n arrator share a hesitation over whether or not what they perceive derives from commonly-held definitions of reality, and no allegorical interpretation of the unexplainable is advanced’ (Brown 1987: 41). Throughout the novel, the narrator mentions Todorov and quotes several times from his works. The narrator literally stumbles over Todorov’s book at the very start of the novel and later on, she spills water on the book, in doing so, making it more real.She even comes across a note she made when finishing reading the book, promising that one day ‘voy a escribir una novela fantastica’ (p 27). By the end of the novel, when she picks up the manuscript entitled ‘El cuarto de atras’, we realise that this is in fact, the fantastic novel which she promised she would write. The following description constructed by Todorov himself indicates why Martin Gaite decided to use the fantastic mode in her novel: ‘The supernatural thereby becomes a symbol o f language, just as the figures of rhetoric do, and the figure is, as we have seen, the purest form of literality’ (Brown 1987: 153).As well as heightening the creativity of her realist memoirs, Martin Gaite depends on the fantastic genre to uncover certain truths, which lie in hidden memories. Explaining, ‘cuando se traspasa esa frontera entre lo que estas convencido de que es verdad y lo que ya sabes si es verdad o mentira, puede ser posible todo’[1], it is apparent that in using the fantastic, mixing reality with mystery, she makes possible the difficult task of confronting painful, distressing memories experienced during the Civil war in Spain. The fantastic genre of El cuarto de atras is actually determined by the interviewer, the â€Å"man in the black hat†.The mystery of this nocturnal visitor remains unresolved and we finish the novel not knowing if his visit was real or dreamt-up by the narrator. From his very arrival, a fantastic apparition mater ialises, with the huge cockroach on the stairway, whose eyes, she will later note, exactly resemble his. ‘With its monstrous appearance [†¦ ] the insect summons the reader to anticipate the unknown. While the insect is described in detail, the man whose entry follows is not’ (Brown 1987: 151). The absent description of this character is one of several unresolved ambiguities of the novel, taking us in to the territory of the fantastic.It is in this territory and through her conversation with this ghostly character, that the narrator is able to recall her memories. The narrator realises that her difficulty in writing the memoir was due to the fact that she wanted to recapture more than just facts, ‘lo que yo queria rescatar era algo mas inaprensible, eran las miguitas, no las piedrecitas blancas’ (p. 120). With the image of white pebbles and breadcrumbs, a symbol from Perrault’s stories, we learn that she grasps how the truth about history, identi ty and collective memory, is made up of fragments, like pieces of a puzzle.Acting as her conscience, the interviewer certifies this in saying ‘tendria que aprender a escribir como habla’ (p. 120). This reflects Martin Gaite’s view that historical narrative does not suffice if and when constructing a novel which successfully approaches such a painful past. For the narrator, rather than assisting her, facts and historical data have acted as an obstacle. Martin Gaite creates a fantastic memoir, with dimensions of both reality and mystery, allowing the readers to find some form of escapism in her novel. As Robert C.Spires notes, the fantastic ‘frees both writer and reader from a one-dimensional, cause and effect, view of existence’ (1984:120). This creative release, which Martin Gaite seeks in her employment of the fantastic, hints at Spain’s sudden release from the Franco regime. In a further metafictional reference, the narrator explains how, si nce her childhood, she has experienced a form of escape through literature and fantasy. In her composition, as a child, of a novel revolving around a mythical island called Bergai, she demonstrates her desire to escape the strict silence of the regime.By declaring her own search for freedom through literature, Martin Gaite hopes that her novel will encourage the freeing of unspoken memories that her own generation has been hiding. The very title of the novel and the plurality of it’s meaning, indicates Martin Gaite’s desire to liberate memories. The narrator recalls how, ‘El cuarto de atras’ was the place where she used to play as a child, enjoying its freedom to develop her creative imagination. With the war, ‘el cuarto de atras’ begins to be appropriated by adults to store ‘articulos de primera necesidad’ (p. 157).The narrator explains, ‘hasta que dejamos de tener cuarto para jugar, porque los articulos de primera necesida d desplazaron y arrinconaron nuestra infancia, el juego y la subsistencia coexistieron en una convivencia agria de olores incompatibles’ (p. 160). ‘Politics seemed to be part of the adult world and the changes brought about by war seemed like rules for an unexplained new game’ (O’leary and Ribeiro de Menezes 2008:114). Her description reveals her imagination, yet at the same time, serves to depict the ways in which the war impeded on such basic aspects of everyday life.Through her innocence as a child, she does not politically criticise the war, but instead, discusses its inconveniences on her life as she grew up. The plurality of meaning that surrounds ‘El cuarto de atras’ surfaces in a further description of this space: ‘me lo imagino tambien como un desvan del cerebro [†¦ ] separado [†¦ ] por una cortina que solo se descorre de vez en cuando; los recuerdos que pueden darnos alguna sorpresa viven agazapados en el cuarto de at ras, siempre salen de alli, y solo cuando quieren, no sirve hostigarlos† (p. 83).In the novel, the task of pulling back the curtain is undertaken by the interviewer, as it can be perceived that his role is to help the narrator reveal hidden memories. This task of confronting past experiences is not an easy one, as it can un-surface deep fear and anger. ‘It must be remembered that government repression was a formalised expression of the psychological mechanisms adopted by a people whose horror had to be assuaged’ (Brown 1987:162). In establishing the mode of the fantastic, Martin Gaite pulls back the curtain on past realities, and in doing so, captures collective memory.The novel gives a realistic account of life as a child growing up in Spain in 1930’s and 40’s. The narrator points out that Franco came to power when she was only nine years old and she speaks openly about the effects the Civil War had on her. She recalls personal experiences such as h er uncle’s murder because he was a Socialist and the imprisonment of her friend’s parents because they were ‘Rojos’. Her recollections originate from her perception of them as a child, for example, trips to the bomb shelter are just another game.This innocence and political ignorance of her childhood memories help Martin Gaite to steer away from the blame game and political motives, giving instead, an account of what she experienced and how she perceived things as a child. The compelling image which most effectively achieves this is that of Franco’s daughter. The narrator remembers envying her but also feeling sorry for her. We see her sympathising with Carmencita’s grief as a daughter during the dictator’s funeral. Stating that ‘en mi casa, no eran franquistas’, we learn that the narrator is subtle when probed on Franco himself.Although critique on his leadership is inevitable, she avoids using her novel to directly attac k Franco, but rather to give an account of the effect of his dominance on society. As she watches Carmencita Franco at her father’s funeral, the narrator thinks about what they have in common and realises that they share the same collective memory as women who grew up in a patriarchal society. The novel explores the importance of the ‘Seccion Femenina’ and of romantic fiction to her generation of women. Martin Gaite offers the reader an insight, often overlooked in history books, into the ideological inculcation of women during the Franco period’ (O’Leary and Ribeiro de Menezes 2008: 115). She explains, Todas las arengas que monitores y camaradas nos lanzaban en aquellos locales inhospitos, mezcla de hangar y de cine de pueblo, donde cumpli a reganadientes el Servicio Social, cosiendo dobladillos, haciendo gimnasia y jugando al baloncesto, se encaminaban, en definitiva, al mismo objetivo: a que aceptasemos con alegria y orgullo [†¦] nuestra con dicion de mujeres fuertes, complemento y espejo del varon. p. 85) This description has been structured in such a way as to sarcastically signify what was expected on women during the regime. She is able to look back with humour on the expectations of the society she grew up in. As Brown suggests, ‘Luckily, she learned at an early age that the sentiments of the Fascists ruling party were not those of her own family, and that there was a dichotomy between what was thought at home and what was valued outside’ (Brown 1987: 158).Martin Gaite discretely ignored the inhibitions to freedom imposed by the Government’s restrictions and with the support of her mother, she attended university, surpassing the limited, narrow parameters of women’s lives. However, it is apparent that she was in fact influenced by the social tendencies of the time. Through her references to Hollywood stars such as Garbo, and her vision of the interviewer as the hero of a romantic novel, w e discover that her thoughts and behaviour are influenced by romantic literature and Hollywood glamour.The fantasy of each of these became a reality and something these women were expected to aspire towards as a sort of model of behaviour. Sharing such memories with her reader, providing an insight into the social customs of recent history, collective memory is captured. The narrator explains her difficulty in writing her memoirs because her memories of the war and post-war years are disordered and confused. She describes the post war period as ‘un panorama tan ancho y tan revuelto, como una habitacion donde cada cosa esta en su sitio precisamente al haberse salido de su sitio’ (p. 93).Her desire to write these memoirs arises when she is watching Franco’s funeral. As she watches the funeral procession, she summarises what she recalled of Franco’s dominance in the society she grew up in, ‘Franco pescando truchas, Franco en el Pazo de Mieras, Franco en los sellos, Franco en el NO-DO’ (p. 119). The image of Franco was everywhere. As she watches his funeral, the narrator states ‘el tiempo se desbloqueaba’ (p. 119). ‘Franco’s death set time in motion again, as well as language, thus allowing the author to explore the recent past and personal history (O’Leary and Ribeiro 2008:113).The disorder of time and space, in El cuarto de atras, brings forth a revelation in ethically confronting recent history, establishing a contrast with the imposed order of the regime whose end has inspired this fantastic memoir. As a final point, attention should be drawn to the tension that Martin Gaite creates in her depiction of life in Franco’s Spain. This tension lies between her description of the stasis of life under Franco and the life that she managed to live. During this ‘frozen’ time period, the narrator succeeds in becoming both a novelist and a mother.Despite the limitations, obligatio ns and deprivation of the dictatorship, she recalls how her childhood and adolescence were happy. The juxtaposition between stasis and dynamism is most brilliantly described in her comparison of the Franco dictatorship with that of the game ‘escondite ingles’. Under the threatening eye of the dictatorship, people stood still and froze but behind the back of the regime, when and where they had the opportunity, they strove to run their lives as they pleased. In using a popular childhood game to highlight uch tension, her readers are able to return to their past, focusing not on their pain and anger, but rather on the rhythm of life during this period. To conclude, Martin Gaite’s novel, succeeds in offering a new style of writing when confronting recent history. The complex interaction between reality and fantasy, produces a creative and gripping memoir which attempts to capture the collective memory of a generation. In recalling her memories as a child and depictin g the role expected of women, Martin Gaite provides us with an insight of what it was like to experience life under Franco.El cuarto de atras succeeds as a work that enables us to lift the curtain on painful memories that have been hidden away by so many. The recovery of this memory is a difficult task, but by taking us into the world of the fantastic, these memories can find a path to escape. Bibliography Martin Gaite, Carmen. 2009. El cuarto de atras, (Madrid: Libros del Tiempo, Ediciones Siruela). Adrian M. Garcia, 2000. Silence in the Novels of Carmen Martin Gaite (New York: Peter Lang). Lipman Brown, Jo. 1987. Secrets from the Back Room: the Fiction of Carmen Martin Gaite’ (Valencia: University of Mississippi Press).O’Leary and Ribeiro de Menezes, 2008. A Companion to Carmen Martin Gaite (Woodbridge: Tamesis). Robert C. Spires, 1984. Beyond the Metafictional Mode – Directions in the Modern Spanish Novel (Lexington: Kentucky University Press, 1984). Tzvetan Todorov, The Fantastic – A Structural Approach to a Literary Genre trans. Richard Howard (Ithaca: Cornell University Press, 1975). Wood, Gareth J. 2012. Javier Marias’s Debt to translation (Oxford: Oxford University Press). ———————– [1] Martin Gaite, quoted in Gazarian Gautier ‘Conversacion con Carmen Martin Gaite en Nueva York’, 11.