Statment of purpuse for MBA school Personal Statement

Statment of purpuse for MBA school - Personal Statement Example The MBA prepares a student in the field by motivating one to use and develop analytical decision-makings which are very useful for employers because such preparation demand less assistance from other employees. Creative skills are also developed while one analyses a situation and develop solutions to the problem posed and the ingenuity of how it is resolved can measure an individual’s ability to look into strategies that are commendable. Consequently, the person is now trained to be self-reliant and would not always need other people’s attention to himself rather could be trusted to be able to complete a task without much assistance. As the title of the course suggests, entrepreneurship is one of the paths that one is developed, being given information that would be virtually important to this endeavor, not to mention being updated with the latest business trends. Effective communication, presentation and negotiation skills are also deemed important in the current compe titive business world and the MBA prepares a student to such through intensive training not only in theory but especially through immersion to the tasks and business people through ‘on the job’ training programs.

Economics and Contemporary Issues Essay Example | Topics and Well Written Essays - 1750 words

Economics and Contemporary Issues - Essay Example Behind this struggle, health care costs are skyrocketing, and two primary reasons for the increase find their roots in these same two groups. Life expectancies in the country are getting longer, and the aging boomers will require more health care for longer periods f time. Funding for the existing government health care systems is declining due to the same reasons that Social Security is facing implosion. More citizens receiving benefits are fewer citizens are paying into the system. The simple equation f higher demand -plus- lower funding -plus- longer lives -equals- higher costs. Secondly, the poor, uninsured and illegal immigrants who can receive health care at any hospital are creating increased drag on a system that is already suffering. Every hospital in the country will treat any person entering its emergency wards. If the services are not paid for, the loss is applies to the bottom line, and costs increase throughout the system. A third reason for the push for Universal healthcare is the pragmatic belief that in the long run it will reduce healthcare costs in general. If preventative care is available to everyone from birth, the result will be less-costly healthcare needs in people's later years. Early preventative measures also lessen the magnitude f epidemics; when more people are immunized and have access to treatment, disease cannot spread so easily. (University Wire, 2001) Former US Surgeon General C. Everett Koop recently stated: "I think I am right when I write that all Americans have the right to healthcare," Koop said. "If we agree that there is a right to healthcare, then we are also agreeing that someone must provide these rights," he said, noting that the right to healthcare is different than some other constitutional rights because it incurs a monetary cost on society. (Anand, 2000) Two year ago, in a survey f medical- school faculty and administrators published in the New England Journal f Medicine, 57 per cent said they like a single-payer universal healthcare system over either fee-for-service or managed care. Indeed, more and more doctors are now keen to work in coalitions where they learn from and fight for the needs f those whom they have traditionally considered inferiors or adversaries. (Gordon, 2000) As a result, when President Clinton ascended the podium, and declared that universal healthcare is a right which Americans shared, no one questioned where the money would come from to fund such a huge expansion f the federal bureaucracy. This has become the clearest argument for universal healthcare, the right f all people to receive healthcare, in the form f physician visits and pharmaceuticals, regardless f their socioeconomic status. (University Wire, 2001) A person who is poor should not be precluded from the benefit f healthcare simply because he or she cannot afford it. Boomers perceive universal health care as another program to benefit them, and the poor / uninsured thought they were looking at a savior. The core question to answer, however, is not whether healthcare coverage is a right or not. The costs f health care are skyrocketing, and the needs f the population are increasing. The question is: What is the most effective means f bringing down

Group Assignment Essay Example for Free

Group Assignment Essay A group is a collection of three or more people who interact and attempt to influence each other in order to accomplish a common purpose. The purpose of a group or team may range from preparing a new advertising campaign, to sharing information informally, to making important decisions, to fulfilling social needs, or just coming up with a solution to help a friend in need. Groups are a fundamental structure for accomplishing a wide variety of human tasks. I love working in groups because they give you a chance to work together with new personalities and new, refreshing ideas. The only time I dont like working in groups is when there are people who aren’t willing to put the effort they could and posses, into the work assigned. During our last two classes we were separated into groups of six and given different topics which we were supposed to come up with solutions for. For the most part my group worked very well together on the first topic. We had great communication, and everyone was able to share their opinion on the matter. I believe that our group showed all of the characteristics of a healthy group, and if I had to do future group work I would most definitely choose to work with that group again. We showed interdependence which is the relation between two or more people and how their relationship directly affects the other. First, we started off by explaining the topic to the group again, than we each took turns going around in the circle and explaining how we each felt about the subject. After each person was done, the group took turns asking that person about questions about their view of the subject trying to take in everybody else’s opinions as well as our own and taking them into consideration instead of just throwing out someone else’s idea. I believe we all held each other accountable as well; making sure that everyone was conforming to the group’s norms and working together towards the group goal. No one interrupted anyone else. We made sure that everyone had a chance to speak their mind without being criticized or looked down upon because of the way they were thinking. We took everyone else’s thoughts and put them together to come up with what we believed to be a good solution for the topic that we were given. I was in a group with Sonny and I believe that he took the leadership role within the group. He was the most vocal, and the person who got others to speak their minds. I also think that my role within the group was that of a supporter. I was encouraging different members of our group whether their ideas were accepted by the group, or dismissed. I have always been afraid or nervous of working in groups during class because I usually don’t know any of people in my group, but working in a group with unfamiliar people is better because none of those people have a bias opinion about you. You can speak your mind without having to hear somebody else criticize your opinions or thoughts. In conclusion, I believe working in groups is an easy and efficient way to come up with well thought out, plausible solutions for many different situations that you might not be able to come up with on your own or with just one other person. These past two days have given me a more broad understanding of groups, and how to participate in one.

The Enduring Appeal of the Horror Genre

The Enduring Appeal of the Horror Genre What is your topic? Question? Sub-questions? (Not too many!) Hypothesis? What specific issues associated with your topic do you want to investigate (making sure they are capable of being investigated within the constraints of the MA calendar)? What sorts of data will you need to adequately address each of these issues? Why will this data help you in particular? From what sources (places, human subjects, texts, cultural phenomena?) will you obtain this data? How will you obtain the data? (Documentary search? Interviewing? Questionnaire? Observation? Media production? Reflection on practice?) How do you intend (in general terms) to record, manage and analyze this data? What analytical models and theories will you draw on? What will your timetable be month by month? Introduction: answers the ‘so what? question, convince reader you need to do this Literature Review: Contextualises your research. Answers the question:  Where do I fit? Research questions determined. Methodology: Determines the nature of your study design and the  methods you will use. Include how you approach the subject, methods, why, ethics, how you analysed data. Results, discussion, analysis: combined or separate, can be guided by questions Conclusion: Draws everything together and answers your research  questions. Discusses limitation and future work. HORRORS ENDLESS CYCLE: AN INVESTIGATION INTO THE ENDURING APPEAL OF THE HORROR GENRE IN THE NEW MILLENNIUM. INTRODUCTION: The horror genre has deep roots in the classical studio era. Yet in important ways it also looks ahead to the post-classical period, a period of reduced levels of film production and correspondingly weakened genre identities. As a fantasy genre, horror departs in significant ways from the prevailing canons of representation in the classical Hollywood style, whether one takes that mode to be a form of realism or of melodrama. Horror has an identity as an unrespectable genre for an undiscriminating juvenile audience (or an audience that has its mind on other things), with strong roots in exploitation cinema, that has only fairly recently emerged as an attractive genre for large scale production at major studios. Finally, it has attracted significant critical attention in recent years, and in each case theories of postmodernism and – which is not always the same thing – currents in postmodern theory have played an important part in reconceiving the genre for audiences and film-makers alike. This critical interest is, I argue, related to the relative weakness in both cases of traditional semantic/syntactic matrices of generic identity, leading to a protean aspect that is well suited to exploiting marketplace currents and trends. That horror takes its core generic material from the body, both engines of contemporary critical enquiry and popular cultural debate has confirmed its relevance. (Barry Langford, Film Genre: Hollywood and Beyond, 2005) Why choose to live in fear? Today we get up, go to work, come home, watch TV and go to sleep. To combat the monotony we chase the death rush by other means, as perilous as base or bungee jumping, or as sanitised as roller coasters and theme parks, while for most the simple thrills of the horror movie are more than enough to satisfy and provide a little taste of fear. Thats just one theory. Another is that we watch horror movies because they offer us a challenge – to look fear and death in the face and survive the ordeal. The ascendance and growing popularity of horror cinema since the new millennium is certainly a fascinating trend in contemporary society, and one which is long overdue an in-depth and objective analysis. Through researching the appeal of the horror genre I shall look into the social and political climate into which these movies fell over the last ten years, and discuss the merits of the movies themselves or, in some cases, lack of them. (Marshall in Carolyn, 2008). The horror film, throughout its shady, rebellious history has earned more money than respect. Though these days there are film festivals, websites, books, magazines, Masters theses, and even film distributors devoted entirely to the consumption of the dark side of entertainment, the mainstream media and self-appointed intelligentsia of pontificators cluck their tongues and blame the fall of society on these nasty little gutter-dwellers we call our own. In truth, the horror film may be the best mirror of the worlds zeitgeist we have, reflecting, rather than creating, the ills and crises of the planets collective psychology. Its been said before and it bears repeating that horror is to cinema what rock and roll is to music: rude, abrasive, pushy and anti-establishment. No wonder, then, that it is so embraced by the young. What better way to break away from parental chains than to blast distorted guitars on the stereo, and revel in disemboweled damsels in distress on the widescreen plasma? The young are immortal, right? And who can blame them for gathering tribally in front of the Cineplex screens to cheer on the latest adventures of the newest teen-gutting horror franchise star? They know its not real, that they are thumbing their noses at mortality. Yes, deep-seated fears are faced on the screen, from a safe distance, allowing the audience to safely play tag with what scares them. A good horror movie has all the elements of a good drama: creative storytelling: compelling characters placed in relatable plots, an artists point of view. But a really good horror movie, the best horror movie, can take you far beyond: it can take you to a place youve never been, a shadowy chamber of the mind outside of your worldly experience, with story twists and turns that will make you squirm until the lights come on and you emerge victoriously from your two hours in the dark. A great horror movie can be a revelatory experience. A great way to take societys pulse is through the arts and entertainment of the time. And the horror film makes a great thermometer. As I intend to examine in this study, a national or global health is particularly well represented by its fright films. At times of political upheaval, war, depression and recession, the horror cycle runs to a particular high. Adam Simons remarkable documentary, The American Nightmare, about the horror boom of the 1970s arising out of the international upheaval that surrounded the war in Vietnam. Is a terrific examination of how one relates to the other. But as we close in on the end of the new millenniums first decade, we find ourselves in another long-lasting terror boom in a post 9/11 world. Obviously, most of these films are not artistic reflections of social strife, or the primal screams of the mad artist who paints in blood. As they have, with everything else that makes money, the corporate kings have co-opted the popular cycle on their own terms. Where brilliant artists contribute excellent and exciting new ventures, the screens are also littered with the latest iterations of franchises nobody asks for, but are easy to market. In recent years, its been far easier for an industry that isnt interested in or has any understanding of the horror genre to take familiar titles, and remake and sequelise them until the law of diminishing returns proves itself, and they move on to the next title. There are great horror films being made today amidst the dross. But its not quality thats being discussed here, though it obviously plays a part. Its that there is a new and ravening audience for the spilling of blood. Again, theres nothing new about this: filmgoers filled the cinemas during the Depression to see the Frankenstein monster toss an innocent little girl into the pond, to see Count Dracula sup on the blood of lovely blondes; during World War II, Frankensteins monster met everyone from the Wolf Man to Abbott and Costello, and Universal cranked out one monster fest after another, while a quiet, well-real producer named Val Lewton churned out intelligent, atmospheric shockers for RKO; in the 1950s, when the Cold War and Air Raid duck-and-cover drills were the order of the day, nuclear tests gave birth to the giant ants of Them, the humungous grasshoppers of The Beginning of the End, and the radioactivity-breathing Japanese dragon beast of Godzilla; the early sixties turned i nternal, with human monsters like Norman Bates infesting our souls and killing on behalf of the sexual battle within the newly blossoming psychological terror train; the Vietnamese apocalypses were brutal, fed as they were by nightly news imagery of burning bodies and human torture, in a toe-in-the-water test of loosening censorship that led to a free-for-all; the eighties were all about cheap: no stars, gore effects and creative kills being the entire raison dà ªtre for a horror films existence; the complacent, Wall Street frivolous 1990s were mostly in a horror lull, but ended with a bang of excellence with films like Stir of Echoes, The Sixth Sense and The Blair Witch Project. In the new millennium, a new generation of filmmakers is finding its voice, raised on ubiquitous film courses in high school and beyond, computers that provide in-home editing and sound mixing, mobile, high definition cameras that lead everyone to believe they can be the next John Carpenter. But it is ingenuity that best raises the profile among hordes of wannabes, as well as a point of view. The world, under the shroud of George W Bush, Tony Blair and their brethren, is dangerous, complicated and nervous. And the boom of horrific storytelling, even when controlled by the mass-media collective out to squeeze every last buck out of it, will reflect a world on edge in its unforgiving mirror†¦ at least until the next cycle. (Garris in Carolyn, 2008) In the first section, Configuring the Monster, I will explore the key themes of the genre; the main issues and the debates raised, and engage with approaches and theories that have been applied to horror texts. This theoretical background will be presented via the modernist context within which early horror texts evolved. This brief description of the generic development of the horror film will thus provide a review of its fundamental preoccupations, especially through a discussion of a variety of psychoanalytic and gendered readings. This first part also includes a case study that reviews indicative patterns of readings of horror texts across different age groups that are interesting in terms of the progression of spectator involvement with horror film. In the second section, Consensus and Constraint 1919-1960, and the final section, Chaos and Collapse 1960-2000, I will further address the chronological evolution of the horror film, looking upon particular historical periods. This analysis will consider the role of both traditional myth and gothic literature in early cinematic representations of horror. Post-war developments are then viewed in terms of the revisiting of these generic formulae. The more contemporary transgression of boundaries of permissible gore and pathological states are then considered through a discussion of the work of postmodern auteurs reworking the genres field of operation and its consistent cycling. Inevitably in a work of this length, many complex arguments will be rendered briefly and simplistically, and many important observations reduced to description and generalistion. This is not a disclaimer; rather it is an encouragement for other researchers to pursue further lines of enquiry and to address the genre anew from a personal, informed perspective. (Wells, 2000)

Macbeth-gloomy Indeed :: essays research papers

Is the Shakespearean play â€Å"Macbeth† a gloomy play full of darkness and evil? Every way you look at this play it seems very dark and gloomy, whether from a historians point of view, an actors, a casual reader of plays, etc. Three of the main features that add to the dark and evil feel of this play are the atmospheric scenery, the homely and repugnant characters and the homicidal hot-headed back stabbing. The scenery depicted in this play is very gloomy indeed. This gloomy scenery would fit the time period in which this play roughly takes place in. Three very intricate parts of this play happen on a â€Å"moor†(Act1,sc1 & Act1,sc3 & Act4 sc1). In the first act, first scene the witches first meet on a barren , gloomy landscape (Moor). The second time they are on the moor where they begin their shit disturbing. The third time they give Macbeth some more information, about his dark demise. Weather adds to the â€Å"gloominess† of this play. The quote â€Å"Hover through the fog and filthy air† (Act1,sc1) really gives gloomy mental picture. Even the most de-sensitized person can understand how a violent storm is gloomy. This quote, â€Å"As whence the sun’gins ... shipwracking storms and direful thunders break.†(Act1,sc2), tells of one such storm during the battle in the beginning of the play. Storms, battles, that’ll make anyone a â€Å"gloomy Gus†. Lightning is a very gloomy sort of deal because with lightning there is rain and dark clouds and its scary. In this play there are a lot of scenes where lightning and thunder is the weather of choice by Shakespeare (Act1,sc1 & Act1, sc3 & Act3, sc5 & Act4,sc1). The lightning is always present when the witches are involved in a scene. â€Å"Macbeth† comes complete with rather gloomy looking roles like the witches. Banquo explains how horrid these witches look in this quote, â€Å"By each her choppy finger laying upon her skinny lips : you should be women, and yet your beards forbid me to interpret that you are so.†(Act 1,sc3). Women with beards?...... gloomy indeed. And if women with beards weren’t gloomy enough there are old fat ladies in â€Å"Macbeth†. The quote â€Å"...the rump-fed ronyon cries†(Act1,sc3) which tells of a fat old lady. Also, back then no one bathed, and a mixture of fat old ladies (and men) who don’t bathe, would ruin even the most utopian of days. Besides looks, the mysterious power that the witches possess is considered dark.

Urinary Tract Infection: Epidemiology, Pathophysiology, Diagnosis and T

Introduction The urinary tract makes and stores urine, which is one of the waste products of the body. Urine is made in the kidneys and travels down the ureters to the bladder. The urethra in a male is about 8 inches (20cm) long and opens at the end of the penis. The urethra provides an exit for urine as well as semen during ejaculation (Urology Health, 2014). Normal urine is sterile and contains no bacteria. However, bacteria may get into the urine from the urethra and travel into the bladder, causing an infection. A bladder infection is known as cystitis and a kidney infection is known as pyelonephritis (Elsevier, 2010). The focus of this paper is to present Mr. Lane’s case study of Urinary tract infection; mention pertinent labs, diagnostic tests that were done to obtain the diagnosis and the outcome. There are various factors that cause Urinary tract infection. The factors that lead to the development of the infection will be discussed. This paper will describe the epidemiology, pathophysiology, and the treatment options that were considered to manage the infection. Epidemiology/ Demographics Urinary tract infections (UTIs) are responsible for more than 8.1 million visits to physicians' offices per year and about five percent of all visits to primary care physicians. Approximately 40 percent of women and 12 percent of men will experience at least one symptomatic urinary tract infection during their lifetime (Sanchez, Gupta, & Hitler, 2012). Urology Health (2014) reveals that among persons over age 65, bacteriuria affects men and women roughly equally (approximately 40%), with the majority of infections being asymptomatic. Routine screening and treatment has not been found to decrease morbidity or mortality in this... ... Journal of Adult Nephrology 15(11), 862-868. McPhee, S., & Papadakis, M. (2013). Current Medical Diagnosis & Treatment. San Francisco, California, United States of America: McGraw Hill & Lange. Rahn, D.D. (2010). Assessment and Management of patients with Urinary tract infections: contemporary management. Urologic Nursing, 28(5), 333-341. Sanchez, G.G., Gupta, K., & Hiller S. (2012). Managing Uncomplicated Urinary Tract infection: A Multidisciplinary approach for uncomplicated cases. Infectious disease of America. 70(1), 3-10. Urology Health (2014). Urinary Tract infection. Retrieved Tuesday, April 29, 2014 from http://www.urologyhealth.org/urology/index.cfm?article=47 Williams, L. (2013). Urinalysis: New Technologies, New potential. Retrieved April 29, 2014 from http://www.mlo-online.com/articles/urinalysis-newtechnologies-new- potential.php

How does Dickens present his views on education in hard times? :: Free Essay Writer

How does Dickens present his views on education in hard times? Hard times is set in the 1840’s in the North of England. It’s set at a time when Britain is changing dramatically because of the Industrial Revolution, which is mainly affecting this part of Britain. This revolution moved much of the work from the country into towns and cities, and small cramped villages were built around the factories and mills to house the workers. Dickens novel ‘hard times’ was set during this time. Dickens uses many techniques throughout the novel to show his views on education to his readers, the first of which is to create different characters, some of which contrast each other in different ways . Two of such Characters are Sissy Jupe and Bitzer. They differ in the ways they have been taught and the ways they see the education system. Bitzer is a model student, he has always strictly followed the system and been taught exactly how the system requires him to be taught. He is shown as lifeless and colourless, ‘the boy was so light-eyed and light-haired that the self-same rays appeared to draw out of him what little colour he ever possessed.’ This gives the effect that he has been drained of life and everything else but facts. When asked, Bitzer describes a Horse as a ‘Quadruped’ and ‘graminivorous’ and gives endless facts about the animal. Although this description is very factual and impressive, the use of long complex words and the amount of facts show that he has simply been taught these facts, and probably has never even seen a Horse. Sissy on the other hand does not understand how to factually define a Horse when asked, this is because she has been brought up with Horses all her life and they are too familiar and important to her just to be described in facts. This is one way that Dickens tries to show to his audience that this type of education is wrong, the teaching of bare facts limits the imagination of the student and a more practical way of teaching, like Sissy has had, would help the children understand the facts that they are being taught, instead of just learning them. Dickens also shows the characters of some of the staff at the school to make his views known. Mr Gradgrind is the first to be introduced, from the onset Dickens portrays him as ‘squared’ , both in his appearance and character, he reveals little about him apart from the fact he is rigid, and has little individuality. This is emphasized by the repletion of ‘square’ and ‘speaker’, and by this he is shown to