Micro and Macro Management Essay Example for Free

Micro and Macro Management Essay Macro Management In a simple definition management is the person or persons who control or direct a business or other enterprise. However, management is much larger than just one person or small group of people. Management is also the practice of handling, supervision, direction, and control (www. dictionary. com). It is much larger than one person, or even a small group of people; management is everywhere. We use management in all aspects of our daily lives, whether it is organizing an event, or handling a purchase order. Management must be arranged through multiple levels in order to be successful, beginning with micro management, eventually its way up the ladder to macro management. Micro and macro components are the core make up of every business, each possessing different qualities and characteristics that form the overall building blocks to success. During the training of a new employee, most businesses use the micro-management process to provide the guidance and tools the employee needs to become successful with that business. Micro management is used my supervisors to observe and control the work of their employees. It involves giving employee smaller tasks, while they monitor and assess the work being done (www. dictionary. com). Micro management is often used in the beginning of any business or establishment; basically, you need to start somewhere. In the opening of a new business, guidance will always need to be offered from cooperate offices to ensure a clean transition in the opening process. Once a business is established, management will in turn micro manage their employees; guiding them through the procedures and responsibilities the company requires. Because micro managing involves supervisors overlooking the tasks their employees are undertaking, often times it is thought of as an unenthusiastic tactic. Through the eyes of an associate, micro managing can be de motivating, in turn creating doubt and lack of confidence in the workplace. Even though micro managing is used as an introductory tool, it can be drawn out for a longer duration of time. Distrust, skepticism, and uncertainty are typical feelings an employee may experience if their supervisor is abusing the method of micro managing. The role of manager is an important position of supervision in any organization. The supervisor/manager plays a key function, in the day to day needs of the organization, by finding a balance of work efficiency and managing personnel. This balance becomes even more prevalent when assigning projects or interacting with subordinates. This paper will analyze several aspects or pitfalls, managers could find themselves involved in; and will identify methods used to overcome these situations when supervising subordinates. The position of manager holds many responsibilities in an organization; those responsibilities range from dealing with requests from upper management and servicing employee’s needs, and while seeing to theses responsibilities, the manager still has to supervise the overall direction of his or her department. The multiple tasks a manager must operate within, requires the manager to be flexible and

The Implication Of Nigerian Democracy History Essay

The Implication Of Nigerian Democracy History Essay Abraham Lincoln in his immortal Gettysburg address may have defined democracy as government of the people, by the people and for the people, but anybody with eyes on either side of the nose of course knows that the late great president of the United States did not have the Nigerian brand of democracy in mind when he formulated that definition. What passes for democracy in Nigeria has nothing at all to do with people. It is quite simply government of ghosts, by ghosts, and for ghosts. A situation where 150 million Nigerians cannot set eyes on their so-called president for 100 days and counting sums up the vast ghost town that the land has been turned into via the grossly abused name of democracy. A secret society is what democratic practice in Nigeria has been turned into. The ruling Peoples Democratic Party (PDP) is quite adept at using the word people to deceive people. But some Nigerians are effectively wising up to the fact. For instance, in the recent re-run gubernatorial election in the rebel state of Anambra, when the PDP cried Power to the people! the real people ran away to Peter Obis All Progressives Grand Alliance (APGA) leaving only ghosts to vote for the PDP! Not even Professor Maurice Iwus Independent National Electoral Commission (INEC) could account for the fingerprints of the secret ghosts that massively voted for the PDP in that election!   It is in the character of this spooky practice of democracy that Nigeria now boasts of two half-presidents. In the abracadabra sense of the more you look the less you see there is the invisible president that nobody sees and the acting president who as his title implies merely acts, an ordinary actor just like that funny man Mr. Ibu of Nollywood! Not even the best writers of magical realism or science fiction can configure the phenomenon of Nigerias two half-presidents. It is against this phantasmagoric background that a body that calls itself the Isekiri, Urhobo and Isoko Democratic Union issued a release that runs thus: The chaotic melodramatic farce enacted at the Nnamdi Azikiwe International Airport, Abuja, by military personnel on Wednesday, during the reurn of our ailing President Umaru Musa YarAdua from his 90-day absence without leave (AWOL) can best be described as a dance macabre. That a whole President sneaked into his own country in an ambulance and was hurriedly transferred into another ambulance and taken straight to Aso Rock, without informing the Acting President, speaks volumes about the relentless nefarious activities of the infamous cabal that has held the nation to ransom since the President took ill and was flown to Saudi Arabia. The open and naked show of brute force exhibited by military personnel, who chased and horse-whipped innocent Nigerians from the vicinity is another testament that our nascent democracy is being held ca ptive by a tiny but powerful cabal.  Ã‚  Ã‚  Ã‚     As is the case in the mafia, Acting President Goodluck Jonathan has just been remotely controlled to administer the oath of secrecy, aka Omerta, on his ministers. It is now a democracy of speechlessness, just like in any other secret cult. Minister of Information and Communication Professor Dora Akunyili who had been quite communicating on the incommunicado of the sitting president that necessitated the acting president caper has thus been silenced, much to the applause of the cabal on the jugular of Nigeria. The feudal juggernauts claiming to represent the North are not entirely pacified as they are insisting that the Nigerian cosmos must come apart if poor Dora does not resign her post and apologize to the feudal lords. Shout Up North! ye brethren!   Dora who defers to the Blessed Sacrament as a Catholic in doing her beat will soon understand that nothing is sacred or blessed in the cultic inferno of the PDP, the quintessential secret society. It all amounts to a family affai r of man-eat-man-or-woman! As it is written in the Bible and put to song, How can we sing the Lords song in a strange land? The PDP is to all intents and purposes a strange land to personages like Dora and Jonathan. They have been told in no uncertain terms that they do not belong. What with the coffle of the PDP telling Jonathan to his face that he should not dream of contesting the 2011 presidential election! The hoary witches and wizards of the coven of the PDP have spoken! This nonsense has lasted for far too long. If there were to be a proper national election in Nigeria I daresay that the PDP can only place a poor third as happened in Anambra State. It is only the secret society code that the goons of the PDP are using to hoodwink Nigerians with their idle talk of the largest party in Africa. With the current situation of two half-presidents superintending over the affairs of the hapless nation, the time is nigh to strike at the very portals of their secrecy and open up the Nigerian society for good. The initiative of marching on Aso Rock as enunciated by the Save Nigeria Group (SNG) is a great first step. Lets all join the crusade. The presence of a distinct civilian police force, militia, or other paramilitary group everywhere may mitigate to an extent that it could intimidate this democracy. Opponents of gun-controlled regime have cited the need for a balance of power in order to enforce the civilian control of the military. Politicians who personally lack military training and experience but who seek to engage the nation in military action may risk resistance of being labeled chicken-hawks by those who disagree with their political goals. The consolidation of democracy is not simply a problem of more or lesser military prerogatives; the high level of military prerogatives there is a moral quest to reduce such privileges. For all these, members of the professional ex-military chiefs, their serving colleagues  Ã‚   and their non-uniformed supporters were participating in Nigerias nascent democracy. They stage bureaucratic bargaining process of the states policy-making apparatus; engaging in regulatory support and at the same time, attempt to restrict the policy options of elected officials when it comes to military matters. Since Nigerias 1999 recovery from authoritarian rule, members of the police and military were not constitutionally prohibited from voting. Other significant law did not bar organizations advocating the overthrow of the government from participating in the political process .These measures, however, were implemented too late to prevent the militarys multiple incursions into Nigerian politics. History shows that the main reasons why democratic systems of government are overthrown are military: conquest or military coup. Strong defense is required to prevent or deter conquest, but a strong military can increase the threat of military coup, so a delicate balancing act is required. Consequently alliances with other democratic countries seem to play a crucial role as well as internal constitutional checks on the military. This paper analyses the evolution and maintenance of democracy from the perspective of the impact of military considerations. Insurgency arguably has been the greatest threat to Nigerias fledgling democracy. The activities of the JTF and the Niger Delta militants produced domestic anarchy, which directly challenged the govern ­ments legitimacy. This in turn led to the national state of emergency and the draconian governmental countermeasures cited earlier in the human rights portion of this work.   Opponents of the movement for democracy in Nigeria have sought to undermine it by on the one hand casting aspersions on the competence of the people to judge what was best for the nation and on the other condemning the basic tenets of democracy as un-Nigerian. There is nothing new in Third World governments seeking to justify and perpetuate authoritarian rule by denouncing liberal democratic principles as alien. By implication they claim for themselves the official and sole right to decide what does or does not conform to indigenous cultural norms. Such conventional propaganda aimed at consolidating the powers of the establishment has been studied, analyzed and disproved by political scientists, jurists and sociologists. But in Nigeria, distanced by several decades of isolationism from political and intellectual developments in the outside world, the people have had to draw on their own resources to explode the twin myths of their unfitness for political responsibility and the unsuitability of democracy for their society. As soon as the movement for democracy spread out across Nigeria, there was a surge of intense interest in the meaning of the word democracy, in its history and its practical implications. More than a quarter-century of narrow authoritarianism under which they had been fed pabulum of shallow, negative dogma had not blunted the perceptiveness or political alertness of the Nigerian. On the contrary, perhaps not all that surprisingly, their appetite for discussion and debate, for uncensored information and objective analysis, seemed to have been sharpened. Not only was there an eagerness to study and to absorb standard theories on modern politics and political institutions, there was also widespread and intelligent speculation on the nature of democracy as a social system of which they had had little experience but which appealed to their common-sense notions of what was due to a civilized society. There was a spontaneous interpretative response to such basic ideas as representative government, human rights and the rule of law. The privileges and freedoms which would be guaranteed by democratic institutions were contemplated with understandable enthusiasm. But the duties of those who would bear responsibility for the maintenance of a stable democracy also provoked much thoughtful consideration. It is natural that a people who have suffered much from the consequences of bad government should be preoccupied with theories of good government. But the conscious effort to make traditional knowledge relevant to contemporary needs was not confined to any particular circle it went right through Nigerian society from urban intellectuals and small shopkeepers to doughty village grandmothers. Why has Nigerian with its abundant natural and human resources failed to live up to its early promise as one of the most energetic and fastest-developing nations in Africa? International scholars have provided detailed answers supported by careful analyses of historical, cultural, political and economic factors. The Nigerian people, who have had no access to sophisticated academic material, got to the heart of the matter by turning to the words Zik spoke on the four causes of decline. In the process, the interim government could be able to concentrate on reviving the economy as well as restoring fundamental rights and liberties of the Nigerian people including the restoration of democracy through general elections. To that end, the international community must continue to apply both economic and diplomatic pressure on Nigerias military junta. This is to ensure that the junta does not end up doing what juntas are wont to do: make grand promises about restoring democracy without the slightest intention of relinquishing power to the democratically elected representatives of the people. A Historical and Qualitative Perspective Nigerias armed forces have undermined the democratic processes by either leading or directly supporting every Nigerian coup dà ©tat except one-the coup of 1995, in which civilians overthrew a military dictatorship . Surprisingly, it is not democratic elections, but the coup dà ©tat that has proven to be the most prevalent means of Nigerian transfer of government For instance, during the 1999 military to civilian rule elections, some Nigerian police officers with their Army counterparts seized polling stations, threw out candidates polling agents and stamped the ballots themselves. Critics also pointed to a lack of impartiality shown by the INEC and a failure to curb the widespread misuse of state funds by pro-military parties. There was limited time allotted for electioneering, and election rallies by anti-militarized parties were frequently banned or disrupted. The state owned media blatantly promoted the views of the military government view, and some opposition party activists were even gunned down. Complaints made to the Independent National Electoral Commission (INEC) were ignored. At several polling stations in Port Harcourt and Lagos supporters of the military-backed candidates took control of proceedings, threatened the local observers with violence and prevented their entry into polling booths, as they tampered with the ballots. Ballots were stolen, fake ID cards were in circulation, and many postal ballots were found in unauthorized hands. At some polling stations in Wuse inside Abuja (FCT), indelible ink was missing, allowing some voters to cast more than one vote. At other locations, polling stations were changed at the last minute, or valid electoral lists were missing thus preventing legitimate voters from casting their votes. Many voters complained that their names had been omitted from the electoral lists even though they had voted in the previous elections and had not changed residence. Others complained that when they arrived at polling stations they were told that their votes had already been cast. In Abeokuta and Minna no responsible authority knew where a particular polling station was. The reforms now being championed by the Obasanjo Presidency touch the military services as vitally as they affect civil society. Among the civil populace the reforms are meant to benefit those who prefer to work for a living and not live on government patronage. By the same token, the new order is also designed to favour soldiers who would rather face their profession and define their career path in terms of excellent military service rather than political adventurism. The present dispensation affords us an opportunity to reflect on issues that are germane to the institutional coherence and operational readiness of the nations fighting forces. As Nigeria continues to undergo challenging transitions in various facets of life, key national institutions are required to build up their internal structures, capacities and processes towards defending the young democracy with courage and patriotism. The Nigerian military remains a vital national institution in this regard. It must be helped to restore those core values of cohesion, hierarchy, discipline, esprit de corps and respect for constitutional order that are the hub of professionalism. An investment in military professionalism is an investment in democracy. Under rogue military regimes, Nigeria literally missed out on opportunities for the professional development of its armed forces. It is time once again to build up our military into a formidable fighting force. The death squads, linked to state structures either through active participation or tolerance, reached such a level of control that they went beyond the level of an isolated or marginal phenomenon to become an instrument of terror, which systematically practiced the physical elimination of political opponents. Many of the civilian and military authorities in power during the 1990s participated in, promoted and tolerated these groups activities. In spite of the fact that these still latent clandestine structures have not recently made their presence known, they could be reactivated at any time that those in high levels of power were to apprise that a dirty war could be resumed in Nigeria. Since these death squads constituted the element that destroyed any remaining vestige of a state of law during the armed conflict, Nigerian government should not only assume an alert and resolved attitude to prevent their resurgence, but also solicit international aid for their total and absolute era dication. In this process, two factors have become clear: first, some political parties accept and defend the ideal of a protected democracy, in which the armed forces have a significant role in the political system. Second, a characteristic of civil-military relations in the Nigerian democracy has been the generation of informal mechanisms to resolve central issues related to the military autonomy. The second way to analyze preferences is to focus on the level of elite unity about the role of the armed forces. Unified elite that rejects military intervention in politics may inhibit military intervention in politics, while a fragmented elite may permit the creation of anti-democratic coalitions between the armed forces and some sectors of civil society.   The Nigerian political transition began in 1998 when the principal parties opposing the dictatorship (Christian democrats, Activists, Radicals, and sundry agreed to participate in a constitutionally mandated plebiscite in which people had to decide whether Abachas government should continue for another eight years. Since that time, the political discourse of the transition has been dominated by some political principles that all actors have accepted, including the military actors. These principles are basic ideas that served as guidelines during the period of transition and later, during the establishment of democracy. Respect of the institutional framework. Although opposition parties rejected the Constitution that was imposed in 1993 by the military dictatorship, they accepted the framework it established. Therefore, the new democratic government had to apply norms that it had rejected in its program. For instance, IBBs government did not agree to the constitutional provision that permitted the commander-in-chief of the armed forces to remain in charge for eight additional years, but democratic authorities had to accept this constraint because it was part of the Constitution they swore to respect in 1993.Political leaders knew that citizens wanted a peaceful transition. Stability was (and still is) a central goal in the first and second democratic governments. As we will see later, the principle of stability often has been more important than other objectives such as justice, accountability, or responsibility. In conclusion Nigerian commanders in the United Nations (UN) peacekeeping mission in Liberia and Sudan have been linked to corruption. Their activities have ranged from black marketeering and running prostitution rings to actively abate it. Continuation of these practices within the ECOMOG peacekeeping mission worries this government, who fear that such behaviour could jeopardize the success of such mission in future. Clearly, the battle for democracy in Nigeria has not been won. It will take all the resourcefulness of the Nigerian people to overcome the crafty machinations of Nigerians military and sections of the clerical elite who have thrown their weight behind insurgency. For real democracy to take hold in Nigeria not only will the people of Nigeria have to fight the internal enemies of democracy, they will also have to overcome the crushing power of the military godfathers, who cynically subvert or stymie moves towards genuine democracy in Nigeria. REFERENCE: L.Chinedu Arizona-Ogwu Founder; Nigeria4betterrule, Writes from Oyigbo; Rivers State Nigerias democracy still fragile, US insists By Agency reporter, Published: Wednesday, 7 Apr 2010.

Implementation of charts regarding hand washing

Implementation of charts regarding hand washing The importance of antiseptic hand washing has been recognised for over 150 years (Macdonald A, 2004). It is estimated that 300,000 patient annually suffer from hospital acquired infection in UK which can result in a prolong stay in hospitals. It also increases the morbidity and mortality rate in UK (NHS Trust UK). it is accepted that hand gel is the most effective antibacterial hand washing agent and its use can reduce the spread of infection, including MRSA (Macdonald A, Teare L, Pratt RJ, 2004). So, I want to implement hand gel and charts regarding hand washing in my nursery to prevent infection in neonates. In my essay, I describe my change, why it is rational, leadership types, role of partnership, my partners and implementation of my change. To institute this change Kurt Lewins (1951) three steps of change model is used. This essay will present the three stages of change process which includes, unfreeze, change and refreeze and leadership theories, conflict management, and partn ership used to implement the change. Babies born in hospitals in developing countries are at increased risk of neonatal infection due to cross infection in nurseries. In a major review, neonatal infection rates of infection were reported 3-20 times higher than those reported for hospital born babies in industrialised countries (Zaidi AK 2005). Neonatal infection is estimated to cause 1.6 million deaths or 40% of all neonatal death in developing countries. Neonatal mortality rate under first 28 days of life are as high as 40-50 per 1000 live births in many of the poorest part of the world. Infection is the major cause of neonatal death in developing countries (Lawn JE et al, 2004). In our nursery, we documented that there is a disappointing level of hand hygiene. This is due to increased workload and shortage of time. So, my change can prevent the cross-infection when we use the hand gels in nursery. According to Daft (1994), all change is planned and positive and seems to ignore the possibility of unplanned and potentially negative change. However Mullins (1996) defined change as planned is intended to be positive and arise from the need to respond to new challenges and opportunities (Mullins, 1996). Organisation change may be linear or discontinuous. In the present stage nurse in our hospital follows the old pattern of hand washing. They touch another baby without proper hand washing. This is increasing the risk of cross infection. Anti septic hand washing is a crucial aspect in health care. The main barrier for this is lack of resources and support from hospital administration. The existing set up will always result in increased infection rate in neonates. So, antiseptic hand washing and use of hand gel will reduce infection rate. So I planned to put posters and hand gels in my nursery. I plan the change process by using Lewins (1951) model to install this change. Conflict com es naturally when a change is implemented, because people are not willing to change. Conflict is a natural result of self-interest behaviour. (Kirsch, 1988) Conflict is defined as a clash or struggle that occurs, when a real or perceived difference exists in desires, thoughts, attitude, feeling, or behaviours of two or more parties. Conflict can be internal or external. It can be positive or negative. There are three types of conflict. These are intrapersonal, interpersonal and intergroup. Intrapersonal conflict means inside or internal to an individual. Intrapersonal conflict refers to the tension or stress within individual as a result of unmet needs, expectation, or goal. A change in health care setting can create both stress and opportunity for organizational growth and expansion. Some nurses are disagreeing with the change and some welcome it for better patient care. Change management is art of influencing people and organisations in a desired direction to achieve an agreed fut ure state to the benefit of that organisation and its stakeholders. (Cameron and Green, 2003) Influence is an essential factor in establishment of plan. It helps to gain co-operation from colleagues, listen you effectively and accept you as a good leader. A number of models can be used to model a change management process. A popular model is Kurt Lewins force field analysis. A force field analysis is a useful tool to understand the driving and resisting forces in a change situation as a basis for change management. This technique identifies forces that might work for the change process, and forces that are against the change. Lewins model suggests that once these conflicting forces are identified, it becomes easier to build on forces that work for the change and reduce forces that are against the change (Cameron and Green, 2003). The difficulty is the assessment of strength or duration of a force, particularly when the human dimension is considered. To introduce the change from the existing system, I made a well defined plan. I made a plan by using Lewins model. It can help in the unfreezing stage of the existing system to make the participant aware about, what it is meant for? Plan consists of following things; the need of change, its importance, how it will works? How can it will beneficial for employees and patients? As per the Lewins (1951) theory, first process for making a change from the existing situation is to unfreeze the present system. For better outcome, we have to rely on the team rather than depending only on individuals. When a new idea is introduced into an existing system the conflict may arise from every side of the system. Because people always fear from change for many years. Although, it seldom brings about some failure such as losing money and being unsuccessful. Generally change can create new opportunities. It is known that change can enable people to have more successful and happier lives. So when any c hange is implementing, problems arises. The problems may either be internal or external. The internal problems include time, money, lack of co-operation from staff, organizational policies, availability of staff and others. On the other hand, an external problem includes availability of funds and support from organization. So, for change I implement three stages of Lewins model. Change is a planned, designed, purposeful attempt. Firstly I unfreeze the present situation by telling the staff about the dissatisfaction of the situation, which creates condition for change to be implemented. Adequate time is needed for the gradual introduction of new ideas, along with information that can serve as positive motivation for those who are going to be affected by the change. Information should include reason why a change is needed and how the organization and individual will benefit from it, because infection rate is higher in neonate in these days. The second stage of change process is moving, characterized by a cognitive redefinition of how group goals can be met based on new understanding. The primary activity during moving is re-education. Determining the specific programs needed. Ideally, the second stage does not begin until a roadmap checklist is complete. There is supporting evidence that the proposed change is purposeful, specific, integrated, time sequenced, adaptable, and cost effective and has approval. I impressed the staff with the positive aspect of change. This will help me to get success in my change. A report of project should provide information to avoid problems during implementation of the plan. The second stage requires organising and mobilising the resources required to bring about the change. The third stage of the change process is refreezing. It occurs when there is consistent evidence that the new practice is stabilized, integrated, and internalized by the staff. The third stage involves embedding the new ways of working into the organization. Information regarding posters are given to staff. The availability of hand gel is also sure for staff all the time. Fear of unknown change always causes anxiety among the staff. It can be overruled by using planned change which put a positive impact to improve effectiveness. As the change process progressed, it became evident that a thorough analysis of current resources and various dimensions of organisational change should be carried out (Johnson, Scholes and Whittington, 2005). There is a clear plan for launching and executing t he change at a local level. My plan is to implement visual display with A3 size colour posters that emphasised the importance of hand cleaning, particularly hand disinfection and performance feedback. The literature review by Teare (1999) also support my plan. This type of implementation was done in one UK hospital and is successful. I discussed my plan with sister-in-charge, supervisors, administrative staff, senior staff nurses, junior staff nurses and health care work. The NHS Modernisation Agency Improvement Leaders Guide (DOH, 2004) stresses the importance of taking into consideration the human aspect when planning a change project. Similarly, Walton (1999) argues that change initiatives should be thought through and planned as far as possible taking into account the psychological bonds that staff forms with their work groups and their organisation as a whole. It follows then that no precautions had been taken to address resistance to change. Johnson, Scholes and Whittington, (2005) state that there should be a clear communication plan to state how information about the change project will be communicated inside and outside the organisation. In my plan of change the driving force include provision of adequate knowledge for the staff regarding the plan, improvement in patient care, improvement in knowledge regarding antiseptic hand washing, opportunity for more autonomy. For the implementation of the change I selected afternoon of Tuesday and Friday. Because the nursery is not too much busy in these days. And all staff of nursery is present. So I identified that will be the appropriate time for implementing the posters and knowledge will be provided regarding use of hand gels. I will discuss with the sister-in-charge regarding my plan. And I got permission from the hospital administration. For implementing a change, there is a need of leader. A leader is a person who rules or guides or inspires other. A clinical nursing leader is one who is involved in direct patient care and who continuously improves care by influencing others (Cook, 2001). Leadership is not merely a series of skills or tasks; rather, it is an attitude that informs behavior (Cook, 2001). In addition, good leadership is consistent superior performance with long term benefit to all involved. So, I requested all nurses in the nursery to help me in implementing posters in nursery. Leade rs are not merely those who control others, but they act as visionaries who help employees to plan, lead, control, and organize their activities (Jooste, 2004). Hand gels should be provide to the staff and information regarding use is also given to the staff. Staff can put the hand gels bottles in pockets because the bottles are flat one and easily put in pockets. So, nurse should use the hand gels before touching any baby. Posters are implemented in nursery and the common areas. This can make the nurses aware about the proper hand washing and use of hand gels. for implementation, there is a need of leadership. Leadership has been defined many ways in the literature. However, several features are common to most definitions of leadership. For example, leadership is a process, involves influence, usually occurs in a group setting, involves the attainment of a goal, and leadership exists at all levels (Faugier Woolnough, 2002). There are several recognized leadership styles. Autocratic leaders set an end goal without allowing others to participate in the decision-making process (Faugier Woolnough, 2002). Bureaucratic leadership occurs when a leader rigidly adheres to rules, regulations, and policies. Participative leaders allow staff to participate in decision-making and actively seek out the participation of those involved. This type of leadership allows team members to feel more committed to the goals they were involved with formulating (Faugier Woolnough, 2002). Laissez faire leadership leaves employees to their own devices in meeting goals, and is a highly risky form of leadership. A mo re effective form of leadership may be situational leadership. This is where the leader switches between the above styles depending upon the situation at hand and upon the competence of the followers (Faugier Woolnough, 2002). There is a difference between theory and style of leadership. According to Moiden (2002), theory represents reality, while style of leadership is the various ways one can implement a theory of leadership the way in which something is said or done. Organizations should aim for a leadership style that allows for high levels of work performance, with few disruptions, in a wide variety of situational circumstances, in an efficient manner (Moiden, 2002). Similarly, there is a difference between management and leadership. Managers plan, organize and control, while leaders communicate vision, motivate, inspire and empower in order to create organizational change (Faugier Woolnough, 2002). Outhwaite (2003) cites definitions of transactional and transformational leadership as posited by Bass in 1990. Transactional leadership involves the skills required in the effective day to day running of a team. However, transformational leadership involves how an integrated team works together and the innovativeness of their approach to the work (Outhwaite, 2003). For example, a leader can empower team members by allowing individuals to lead certain aspects of a project based on their areas of expertise. This will encourage the development of individual leadership skills. In addition, leaders should explore barriers and identify conflicts when they arise, and then work collaboratively with the team to resolve these (Outhwaite, 2003). Furthermore, the leader should remain a part of the team, sharing in the work, thus remaining close to operations and being able to understand the employees perspective (Outhwaite, 2003). I have studied all types of leadership and found that transforma tional leadership is good for my implementation. Because this leadership involves all staff and is an effective for health care sectors. One group of authors described the use of transformational leadership by Magnet hospitals (De Geest, Claessens, Longerich, Schubert, 2003). This leadership style allows for instilling faith and respect, treating of employees as individuals, innovation in problem solving, transmission of values and ethical principles, and provision of challenging goals while communicating a vision for the future (De Geest, et al., 2003). Transformational leadership is especially well-suited to todays fast-changing health care environment where adaptation is extremely important. This leadership style is positively associated with higher employee satisfaction and better performance. These, in turn, correlate positively with higher patient satisfaction (De Geest, et al., 2003). One way to facilitate change using transformational leadership involves the use of action learning (De Geest, et al., 2003). Leaders use directive, supportive, democratic, and enabling methods to implement and sustain change. The effects of such leadership will radiate to better outcomes for both nurses and patients. Transformational leadership focuses on the interpersonal processes between leaders and followers and is encouraged by empowerment (Hyett, 2003). Empowered nurses are able to believe in their own ability to create and adapt to change. When using a team approach to leadership, it is important to set boundaries, goals, accountability, and supports for team members (Hyett, 2003). Transformational leadership is seen as empowering, but the nurse manager must balance the use of power in a democratic fashion to avoid the appearance of abuse of power (Welford, 2002). Respect and trust of staff by the leader is essential. So I choose democratic leadership and communicate with other staff about the change implementation. I described everything to them and gave them work according to their ability. The posters are made by the junior staff. And plan was made to display the posters in the different areas of nursery and common areas with senior nurses. SO, nurse leaders should have knowledge of man agement, communication, and teamwork skills, as well as some background in health economics, finance, and evidence-based outcomes (Mahoney, 2001). Personal qualities desirable in a nurse leader include competence, confidence, courage, collaboration, and creativity. Nurse leaders should be aware of the changing environment and make changes proactively. Leaders who show concern for the needs and objectives of staff members and are cognizant of the conditions affecting the work environment will encourage productivity (Moiden, 2003). In doing this, it is important that a philosophy of productivity is established. After communication, now I implement the posters and hand gels in nursery. The posters were put on the area where maximal visibility occurs during work and during transit within the nursery. The subject on the posters is, cross infection, hand carriage, hand hygiene, hand disinfection and hand protection with gels. The partners are senior nurses, sister-in-charge, supervisors, junior staff nurses and health care assistants. Individual bottles of hand gels were distributed in large amount to nursery. Health care workers are also encouraged to carry a bottle in the pocket. A newly design flat bottle are made to put in pocket. So, staff is educated about hand hygiene to prevent infection in neonates. Senior management should provide funding to implement this change. And they also gave the permission of permanent use of nursery walls for poster display. According to Jooste (2004), three things that are essential to leadership are authority, power, and influence. Effective leaders of toda y should use more influence and less authority and power. It is more important to be able to motivate, persuade, appreciate, and negotiate than to merely wield power. Three categories of influence for nurse leaders to use in creating a supportive care environment. These include modeling by example, building caring relationships, and mentoring by instruction (Jooste, 2004). In addition, Jooste lists five practices fundamental to good leadership including inspiring a shared vision, enabling others to act, challenging processes, modeling, and encouraging. For example, a leader may challenge others to act by recognizing contributions and by fostering collaboration. Recognizing contributions also serves to encourage employees in their work. Team leadership moves the focus away from the leader towards the team as a whole (Jooste, 2004).Focus group data from a study of implementing change in a nursing home suggests that nurses want a leader with drive, enthusiasm, and credibility not mere superiority (Rycroft-Malone, et al., 2004). Further, focus group members identified qualities desired in a leader facilitating change. This person should have knowledge of the collaborative project, should have status with the team, should be able to manage others, take a positive approach to management, and possess good management skills (Rycroft-Malone, et al., 2004). Conclusion: The health care environment is constantly changing and producing new challenges that the nurse leader must work within (Jooste, 2004). Leadership involves enabling people to produce extraordinary things while being faced with challenge and change (Jooste, 2004). While management in the past took a direct, hierarchical approach to leadership, the time has come for a better leadership style that includes encouragement, listening, and facilitating (Hyett, 2003).This requires nurses to be better equipped with analytical and assertiveness skills (Welford, 2002). Transformational leadership is ideal for todays nursing practice as it seeks to satisfy needs, and involves both the leader and the follower in meeting needs (Welford, 2002). It is also flexible allowing the leader to adapt in varied situations. The leader accepts that things will change often, and followers will enjoy this flexibility. Thus both nurses and patients will benefit. The avoidance of hierarchy and the ability to work in new ways helps organizations put resources together to create added value for both employees and consumers (Welford, 2002). Further, use of transformational leadership allows team nurses to enhance their role as teacher or advocate (Welford, 2002).

The Immortal :: essays research papers

THEIMMORTAL  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  By:me n ur .............  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  I read the book called the immortal by Christofer Pike. The story takes place in an island Greco in Greece. It is a great island and is mostly for tourism. But near that island about 5 miles away from Greco is a sacred island of Delos which attracts many tourists. It is sacred because its very old and there are prehistoric ruins everywhere on it. But the main reason it is sacred is because many believe Zeus the all powerful god was born there.  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  There are 4 main characters. Two at the start and than there are two more. The two girls who are coming to the island to have a great time are Helen and Josie. They are best friends. Josies dad is a writter of movies in Hollywood and her parents are separated but she lives with her dad. Helen comes from a middle class family with not close to as much money as Josie dad has but her parents do everything they can to keep her happy. Helen also visited the island last summer. Then later in the story the are joined by two guys who they meet in a bar. They are Tom and Pascal. Tom is an English boy who goes to Oxford. Pascal is a French guy who is Toms very good friend. They both come to the island every year to work and catch some pretty girls. There are a whole lot of beaches and even nude beaches all over the island. They all start going out Tom with Josie and Helen with Pascal.  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  The conflict of the story I think was man VS man because at the end they found out who each of them were for real. It turned out that Josie was a goddess of good and Helen was a goddess of bad. Helen did try to kill Josie and Tom but Josie saved Tom but died herself. So I think the conflict was between Helen and Josie so that makes the conflict be man VS man. Josie found out about her so called best friend that she was a bad person who killed Josies privoous boyfriend and killed her. Josie found that out to late to do any thing against it.  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   I think that it was a great book like every single book by Christofer Pike. But I think what liked the most was his decriptions of everything.

Chaucer and the Catholic Church :: essays papers

Chaucer and the Catholic Church The Catholic Church, which governed England, Ireland, and the entire Continent of Europe, had become extremely wealthy by the late fourteenth century. The cathedrals that grew up around shrines to saint’s relics were incredibly expensive to build. The amount of gold that went into decorating them surpassed the riches in the noble’s chest. Moreover the boxes used to hold the relics were more jewel-encrusted than the kings crown. In a Century of disease, plague, and scarce labor, the sight of a Church ornamented with unused gold seemed unfair to the people. Considering the Churches great display of material wealth, it suddenly seemed hypocritical for them to preach against greed. There is a two way process where the Church has an influence on the society and the society influences the Church. This is because it is the people from the society who make up the Church. Those same people became the characters the Geoffrey Chaucer used in The Canterbury Tales. In the general prologue, various pilgrims are introduced, a Nun, a Munk, and a Friar, all remarkable figures of the Church. They represent distinct areas of Christianity, with some holding to strict worship of Christ and others clearly disobeying the laws. As the prologue continues, more characters are introduced, a Summoner and a Pardoner who represent the corruption of the Church. The Summoner is unlawful, unfaithful to the Church and engages in un-christian like behaviors, such as having sexual relations with prostitutes. While the Pardoner is a dishonest person who shows no doubts about passing off false items as the relics of saints. Basically conning people of their money by making them believe that they have sinned and need to buy pardons.

Gwen Harwood Analysis Essay

In â€Å"The Violets,† the persona experiences a transition from childhood innocence to experience, sparking the process of maturation. This idea of childhood innocence is a Romantic ideal, and the process of growth that one experiences from this state of innocence to adulthood takes place when the persona learns about the inevitability of time. The dialogue, â€Å"Where’s morning gone?† is representative of this realisation, with the rhetorical question reflecting the child’s confusion at this stage of life when one is innocent and unburdened by certain mature knowledge. Also, the noun, â€Å"thing,† in the emotive lines, â€Å"used my tears to scold the thing that I could not grasp or name that, while I slept, had stolen from me,† refers to time and its namelessness symbolises the fact that it is abstract and unreturning, and incomprehensible to a child. This is what makes a child innocent and, Romantically invested; this is what Harwood is shown to value through her poetry. The emotive word, â€Å"tears,† and the dramatic verb, â€Å"stolen,† further exemplifies the harsh realities that accompany maturation and signify a loss of innocence. In these lines of the third stanza, there is a tone of sadness and despondency as the persona comes to terms with what the inevitability of time means for one’s life: that, regardless of when the process of maturation begins, one’s time is always limited. As Harwood’s poetry deals with the significant universal themes of personal growth, maturation and loss of innocence In addition, the persona’s experience of maturation is reflected in the growth of the violets and other natural references, further demonstrating the Romantic influence within this poem. Throughout the poem, there is an extended connection between nature and humanity, a connection which once manifested as a Romantic ideal. In the third stanza, set in the past, there is a description of the violets as â€Å"spring violets in their loamy bed,† with the descriptive terms, â€Å"spring,† and, â€Å"loamy,† creating imagery of youth and rejuvenation, reflecting the persona’s also youthful state at this time.  This is contrasted with the first stanza, set in the present-tense, where the violets are described as â€Å"frail,† and, â€Å"melancholy,† in the context, â€Å"I kneel to pick frail, melancholy flowers,† and invest the poem with notions of decline, representing the inevitability of the growth and aging of all life, human or non-human. In this stanza, the persona is also older, and so, the imagery of the violets reflects the growth and change of the persona. Furthermore, the persona’s acceptance of growth and decline, and therefore the persona’s process of maturation is represented by the natural reference to â€Å"dusk,† another Romantic reference, in the context, â€Å"dusk surrendered pink and white to blurring darkness.† The descriptive term, â€Å"blurring,† which is symbolic of blurring the line between acceptance and rebellion against the inevitabilities of life, marks the point when maturation begins as the child decides to accept this. Also, the descriptive colours, â€Å"pink and white,† carry connotations of softness and calm, reflecting the persona’s experience of solace after the transitional period of growth into maturity. The time of â€Å"dusk,† is also symbolic of wanning life, again, Romantically connecting nature and humanity as they share the same inevitable life cycle. Memories: In â€Å"The Violets† Harwood connects the power of memory with Romantic ideals to reveal the futility in resisting the unstoppable cycle of life. You may have noticed that throughout the poem, there is a motif of the violets. These flowers are an element of nature, an entity of high value to Romantics, and they are symbolic of remembrance and memory. The violets are presented in the poem’s present-tense introduction, â€Å"I kneel to pick frail, melancholy flowers.† Through the descriptive words, â€Å"frail,† and, â€Å"melancholy,† nature becomes a reflection of humanity, as the violets, which, in this case, carry a tone of weakness and decline, mirror the state of the persona at this time. This idea that all life, including both nature and humanity, inevitably faces degradation is highlighted when this present-tense description of the violets, a Romantically valued aspect of nature, is contrasted with the past-tense description in the idealised memories of the persona. Within these memories, which are identified through a structural indentation, the violets are described as being â€Å"spring violets in their  loamy bed,† with the descriptive terms, â€Å"spring,† and, â€Å"loamy,† creating imagery of youth and rejuvenation, and again acting as a reflection of the persona’s condition and age. Just as nature experiences a cycle, as does humanity, and, through a Romantic perspective, this exemplifies the idea that is the force of nature cannot overcome the trials of time, then neither can other forms of life. This realisation is represented through a contrast in the past and present states of life, demonstrated through the power of memory, and leads to an acceptance of the inevitable life cycle which is propelled by time. In â€Å"The Violets,† it can be seen that within the stanzas that portray memories, there is evidence of Harwood’s religious faith, demonstrating the power with which Harwood invests this theme. In the childhood memory of the persona, her mother-like figure likens to Christian images of the Virgin Mary who often held purple violets, and which were symbolic of her humility in confronting the ending of life. This is because the violets, in terms of this religious iconography, symbolise mourning, foreshadowing the death of Christ, and therefore the inevitable suffering and death of humanity. This connection between religious faith and past memories emphasises the importance of memory from a religious perspective, reminding the reader that even Biblical figures experienced the grief associated with death. Throughout the poem, there is a motif of light, specifically, references to â€Å"lamplit presences,† a metaphor for memory. This idea of â€Å"light,† conn ects to Biblical images of Christ, who was believed to be â€Å"the light of the world,† and to give, â€Å"the light of life.† This is an allusion to the ‘eternal life,’ and, in conjunction with her past memories, this motif of light lightens the burden of looming death. Through memories of the violets and maternal relations, Harwood highlights religious undertones to facilitate the acceptance of dying through the power of memory, an important theme in Harwood’s poetry. Death: â€Å"The Violets† is invested with anxieties about death and aging, and Harwood projects the theme of death onto nature and its cycles, a Romantic ideal. Elements of nature, specifically the violets, are described as â€Å"melancholy,†Ã‚  and, â€Å"frail,† in the context, â€Å"I kneel to pick frail, melancholy flowers.† These descriptive words represent the degradation of life which accompanies time. The time of day, â€Å"dusk,† another Romantic reference to nature, is, in a way, connected to the persona, as it is a time of transition, much like the status of the child who experiences the transition from fearing and fighting her approaching demise, to accepting the inevitability of time. When â€Å"dusk† is referenced in the context, â€Å"dusk surrendered pink and white to blurring darkness,† it becomes a metaphorical representation of the persona succumbing to death, emphasised by the descriptive term, â€Å"blurring,† whi ch is symbolic of blurring the line between acceptance and rebellion. The descriptive colours, â€Å"pink and white,† carry connotations of softness and calm, reflecting the persona’s experience of solace after the transitional period. The time of â€Å"dusk,† is also symbolic of wanning life, Romantically connecting nature and life. Harwood explores the notion of dying and how crucial it is to accept this. Harwood was highly religious and this is revealed through her poetry, particularly in â€Å"The Violets,† which deals with themes of death and explores the transience of time. Harwood presents her audience with funerary imagery. For example, the oxymoron, â€Å"ashes and loam,† in the description, â€Å"flowers among ashes and loam,† is suggestive of traditional funerary rights, referencing the â€Å"ashes to ashes† custom, and the idea of dirt being thrown on a coffin, with the noun, â€Å"flowers,† also being symbolic of placing flowers at a grave. By connecting religion and death, Harwood uses her faith to console herself about age and decline. When the child of the poem experiences the revelation of the powers of time, which she, symbolic of her childhood ignorance and innocence, refers to metaphorically as, â€Å"the thing I could not grasp or name,† she becomes distraught, and cannot undo what she has learnt. This alludes to the Biblical â€Å"Tree of Knowledge,† with the information being irreversibly gained, and causing sorrow, represented through the emotive words, â€Å"tears,† and, â€Å"scold,† in the metaphor, â€Å"[I] used my tears to scold the thing,† with, â€Å"the thing,† again symbolising time. Harwood reflects the need to understand and accept the process of aging as it is essential for well-being. Through religious references to death and aging, Harwood comments on the inevitability of facing decline and  degradation. Relationships: Harwood demonstrates a value of relationships, and, â€Å"The Violets,† influenced by Romantic ideals, demonstrates the idea that relationships assist one with the revelation that humanity is fleeting. Throughout the poem, filial bonds are surrounded with connotations of warmth, comfort and consolation. When the child first discovers that the day has escaped her, her mother attempts to console her, â€Å"she†¦carried me downstairs to see spring violets in their loamy bed.† The references to birth and innocence, through the metaphor, â€Å"spring violets in their loamy bed,† not only reminds the audience of the transience of youth, a reference to the Romantic value of childhood innocence, but, when in conjunction with the verb, â€Å"carried,† highlights the role of family in understanding and accepting this fleetingness. The embedded section of the final stanza presents a Romanticised, idealised memory of family and connection. Harwood describes the image, â€Å"my father†¦with tenderness stroking my mother’s goldbrown hair.† The nouns, â€Å"father,† and, â€Å"mother,† represent these filial connections, while the connotative terms, â€Å"tenderness,† and, â€Å"goldbrown,† invoke sentiments of harmony, warmth and security. Through these connections between relationships and cosiness, Harwood demonstrates the impact of relationships upon accepting the inevitability of death. Harwood’s religious faith resonates throughout â€Å"The Violets,† and exemplifies the comfort and support bought about by relationships. Just as Mary consoled Christ, this poem alludes to the Fall of Man, with the mother figure providing comfort for her child, similarly to Mary. When the child realises the suffering that accompanies mortality, she describes her mother’s role, â€Å"she dried my tearful face as I sobbed.† The verb, â€Å"dried,† is representative of a mother’s care, easing her child’s sorrow about the trials of life. The reference to â€Å"Kedron Brook,† in the final stanza, â€Å"stone-curlews call from Kedron Brook,† refers to Harwood’s hometown, and carries connotations of the family connections which reside there. This is also a Biblical reference, as it connects to the brook of Kedron in Jerusalem. Christ had to cross this brook, and it marks the location where  he made peace with his Father , God. The persona metaphorically crosses her brook of Kedron, and in doing so, makes peace with her parents, who have consoled her, and therefore makes her peace with dying. These universal symbols of religion, in association with family and childhood connections, ease the acceptance of mortality. Artistic Creativity or Passion: N/A â€Å"Father and Child†: Maturation and Growth: In â€Å"Father and Child,† Harwood presents a threshold, defining experience of the persona, making it a transition from innocence to experience. . The opening word of the first part of the poem, â€Å"Barn Owl,† is â€Å"daybreak,† and this foreshadows that the child will experience an awakening which sparks the process of maturation. The persona of the poem experiences a loss of innocence with the discovery of the tragedy of death. Before shooting the owl, the child believes they are the â€Å"master of life and death,† with the noun, â€Å"master,† reflecting the power that the child feels and the ignorance that the child has about the nature of death. This description of the child is later contrasted in the fourth stanza, â€Å"I watched, afraid by the fallen gun, a lonely child who believed death clean and final, not this obscene bundle of stuff.† The emotive term, â€Å"afraid,† represents the change in the persona’s attitude after being exposed to the harsh reality that is mortality. Also, the growth and maturation in the persona is exemplified by the juxtaposition, by way of contrast, between the descriptive terms, â€Å"clean,† and, â€Å"obscene,† which show both the child’s previous ignorance and their new found knowledge. This stanza is invested with religious imagery which further denotes the child’s loss of innocence. The reference to the â€Å"fallen gun,† is a Biblical allusion which symbolises the Fall of Man and reflects the idea that knowledge has been acquired and knowledge is unreturnable. Furthermore, the title of the poem, â€Å"Barn owl,† contains the noun, â€Å"owl,† which is both a religious symbol of death and a symbol of wisdom, foreshadowing that knowledge and wisdom is accompanied by the process of maturation. Finally, the dialogue,  "End what you have begun,† is  an imperative command which refers to the process of maturation and carries with it the idea that maturation is inevitable and must occur as a part of life. In part II of â€Å"Father and Child,† â€Å"Nightfall,† the same idea about growth and maturation is carried through. In this part of the poem, the persona accepts the inevitability of death and therefore completes the process of maturation. The second stanza contains the line, â€Å"since there’s no more to taste,† which is a Biblical allusion to the apple and the Tree of Knowledge in the Garden of Eden, symbolising the fact that there is nothing left to gain from the process of maturation. Romantic references to nature connect the natural world with humanity and demonstrate that growth and the life cycle are inevitable for all forms of life. The natural reference, â€Å"sunset,† in the fourth stanza line, â€Å"sunset exalts its known symbols of transience,† is symbolic of decline and, as referenced, of transience, and this transitional period marks the persona’s transition from innocence to experience which accompanies decline and aging. By extension, the verb, â€Å"done,† in the final lines of the sixth stanza, â€Å"your marvellous journey’s done,† emphasises the conclusion of maturation, which is further highlighted by the lines of the final stanza, â€Å"the child once quick to mischief, grown to learn what sorrows, in the end, no words, no tears can mend.† The verbs, â€Å"grown,† and, â€Å"learn,† represent the maturity and knowledge gained by the persona, with the nameless, â€Å"what,† referring again to the harsh reality of death. Memories and Death: Part I of â€Å"Father and Child,† demonstrates the memory of a defining experience and shows significance due to this moment’s impact on the rest of the persona’s life. This poem is related in the past-tense, as if told as an anecdote, a memory or reflection upon a threshold experience on one’s life. Throughout the first three stanzas of the poem, there is a tone of mischief and playfulness, however, this turns to a tone of lamentation for the remainder of the poem, conveying the power of this memory to bring the shock of the realisation and knowledge about the trauma of death. This memory is so significant because of what it begins; maturation, and because of what it  teaches the persona. The child, stealing the father’s power to take life, sees himself as the â€Å"master of life and death,† a power which the child does not understand, and this is highlighted by the description of the child as the â€Å"wisp-haired judge,† which j uxtaposes, by way of connection, ideas of youth and ignorance. Ironically, the child is breaking both the law of man, and, in a Biblical sense, the laws of God, referred to in the Old Testament: â€Å"Ye shalt not kill,† and, â€Å"honour thy father and thy mother.† The child acts as Eve did in the Garden of Eden, giving into the temptation of the â€Å"horny fiend,† and eating from the Tree of Knowledge. This causes a loss of innocence as knowledge about death is gained, a significant realisation of growing up, and therefore a significant childhood memory. The child wrongfully objectifies the owl, metaphorically labelling it as his â€Å"prize.† The synecdoche, â€Å"punish beak and claw,† further represents this and the fact that the child can only see and focus on parts of the owl, symbolically denotes the fact that that the child is blind to the enormity of what they are about to do. The first three stanzas are invested with a tone of suspense, for example, the line, â€Å"holding my breath,† and, the short, sharp sentence, â€Å"my first shot struck.† This reflects the immensity of the event, and therefore the place of this memory in the child’s life as significant. The visceral imagery of stanzas five and six further exemplifies the horror of the moment and why it has become embedded in the persona’s memory. The verbs, â€Å"dropped,† â€Å"dribbled,† â€Å"tangling,† and, â€Å"hobbled,† are used to describe the actions of the dying owl, and â€Å"the bundle of stuff,† that falls out of its body. These verbs each carry connotations of mess, shock, and revulsion, and, in conjunction with the nouns, â€Å"bowels,† and, â€Å"blood,† the gravity of what the child has done is reflected, and thus becomes a defining memory for the child. Part II of â€Å"Father and Child,† demonstrates the adult life of the persona in â€Å"Nightfall,† and the impact of their defining childhood memory, in which they discovered the truth about death and learn to accept this. Harwood turns to her Romantic ideals to soothe the gravity of knowledge acquired and understand what was learnt in the memory of killing the owl. The persona turns to nature, a Romantic ideal, focusing on images of abundance and fertility to counter the childhood memory of â€Å"Barn Owl,† which is so full of  death. The persona reflects, â€Å"you keep a child’s delight for ever in birds, flowers and shivery-grass.† The nouns, â€Å"birds,† â€Å"flowers,† and, â€Å"grass,† are all elements of nature and carry pleasant connotations of imagery of a peaceful landscape full of life and living things, however, death makes its ubiquitous presence even in the descriptions of nature, â€Å"sunset exalts its known symbols of transience.† Sunset symbolises finality and a conclusion, foreshadowing her father’s deaths, and the reference to â€Å"transience,† highlights the Romantic sensibility that shapes the imagery in the poem, for the Romantic poets were focused on the transience of humanity’s existence. By introducing death into this natural reference, the responder is shown that the childhood memory of the owl’s death has had an impact on the rest of their life, however, it is accepted with the assistance of the solace which is provided by nature. Relationships: Similarly, Harwood shows, through both parts of the poem, â€Å"Father and Child,† that fathers are significant figures in one’s life, acting as a guide through childhood and assisting in the process of maturation. This idea is highlighted by religious allusions. In â€Å"Barn Owl,† Harwood employs a Biblical allusion to the Fall of Man symbolically through the child dropping the gun with which they shot the owl, â€Å"I watched, afraid, by the fallen gun.† This references the fact that the child has now learned the horrible truth about death, with the emotive word, â€Å"afraid,† emphasising the child’s response of shock, and the child’s now new and unreturnable knowledge of death. However, later in this poem, the father arrives, â€Å"my father reached my side, gave me the fallen gun. â€Å"End what you have begun.†Ã¢â‚¬  The positional verb, â€Å"side,† highlights the father’s relationship with his son as one of significance as he is providing support and comfort with the realisation of death, a catalyst for maturation. Also, this second allusion of the â€Å"fallen gun,† with the father picking it up, is symbolic of a father’s assistance and guide through maturation. The dialogue, â€Å"End what you have begun,† is an imperative command which further identifies the father’s strength and teaching role in a child’s life, with this command referencing the fact that the child must continue with the process of maturation as it is a significant aspect of life, however, the father’s presence indicates that  filial relations can help with this process. In the second part of this poem, â€Å"Nightfall,† the persona learns, through their father, the need to accept death, and so concludes the passage of maturation. Harwood describes the father’s acceptance of death, â€Å"you find, with your white stick the path on which you turn home,† the noun â€Å"home,† is a Biblical reference to returning to God in heaven, and, by the father accepti ng that death will come and this will happen, he allows his child to learn that death cannot be stopped, no matter how horrific it is. The poem comments on the success of the father’s role, â€Å"with the child once quick to mischief, grown to learn what sorrows, in the end, no words, not tears can mend.† These final lines of the poem denote the child’s acceptance of knowledge regarding death, conceding, with the aid of a relationship with their father, that death is inevitable, and that a finality of maturation comes with the acceptance of humanity’s transience. These two poems, through religious references, show how one’s relationship with their father can prepare them for the knowledge that accompanies adulthood. Harwood’s poem, â€Å"Father and Child,† also employs Romantic elements and presents the idea that when one progresses from childhood to adulthood, a loss of innocence is experienced, however, through the guidance of relationships, this transition is facilitated and a semblance of innocence may be maintained. Throughout â€Å"Barn Owl,† the owl, an element of nature, is symbolic of wisdom and death, and through the child’s actions of killing the owl, he gains the wisdom and knowledge of mortality, and in doing so, experiences a loss of innocence. Childhood innocence is of specific value to the Romantics, and the father’s assistance in this experience of gaining knowledge of death attempts to ease this loss. The verb, â€Å"leaned,† and the emotive word, â€Å"wept,† in the lines of the final stanza, â€Å"I leaned my head upon my father’s arm and wept,† represents the child’s close filial bond with their father and the comfort that such a significant human relationship can bring. This position of the child leaning on the father, also maintains the child’s youthful and vulnerable persona, symbolising that comfort from a father can maintain at least a skerrick of innocence. In the second part of the poem, â€Å"Nightfall,† the roles are reversed slightly, with the father using his relationship with his child to return to a place of innocence  before death. In the fifth stanza, the lines, â€Å"you keep a child’s delight for ever in birds, flowers, shivery grass,† contain a cumulative list of natural elements, a connection to Romantic values which symbolise the father’s regaining of innocence. This is made possible through his relationship with his child, represented through the metaphor of the â€Å"child’s delight,† existing within nature, and since nature is eternal, according to the Romantics, this demonstrates that innocence can be preserved forever, to be regained before, and to facilitate one’s passage into death. Harwood combines a value of nature with the theme of significant relationships to exemplify their ability in easing the trials and tribulations of life. â€Å"Triste, Triste†: Memory and Artistic Human Expression: Harwood’s â€Å"Triste, Triste,† is influenced by her religious values, and highlights the timeless value of divine moments in which one feels close to God. The juxtaposition of the spiritual and transcendent coital experience represented in this poem is connected with the resurrection of Christ. The Biblical allusion, â€Å"body rolls back like a stone, and risen spirit walks to Easter light,† contains the simile, â€Å"body rolls back like a stone,† which connects the body in the spiritual post-coital moments with the stone in front of Jesus’ tomb. This connection highlights how such experiences can bring one’s spirit closer to God. Also, the reference to a â€Å"risen spirit,† at Easter-time, further connects the persona’s euphoric and transcendent spiritual experience with the resurrection of Jesus, and therefore connects the persona with God. Since religion is still a significant aspect of humanity, â€Å"Triste, Triste,† appeals to a broad audience. From a religious interpretation, the audience is reminded of the power of God over the mundane existence of humans. During the divine experience of the spirit after intercourse, when one is connected with God, the heart, the symbol of one’s physical being has to call the spirit back to the body, â€Å"And heart from its prison cries to the spirit walking above.† The term, â€Å"prison,† is a metaphor for the body and reminds the audience of humanity’s mortality. Harwood uses her religious values to demonstrate the timeless and universal value of divine and transcendent experiences. However, she also concedes  that transcendent moments do not last forever, which is perhaps what makes them so significant. In â€Å"Triste, Triste,† Harwood uses Romantic elements to highlight the inspiration and joy that can be achieved through human creativity, and since everyone deserves this kind of human expression, Harwood’s poem holds a broad appeal. The dialogue in the poem, â€Å"remember me,† contains the emotive word, â€Å"remember,† and references the idea that Harwood is using artistic creativity and expression, values of Romanticism, to preserve a part of herself in the present and future, so that, after death, she will remain and be remembered. This invokes a sense of joy which is required by everyone, especially when reminded of the mortality and transience of humanity, and therefore demonstrates the value of Harwood’s poetry. The final line of the poem, â€Å"to peace in the paradise of sleep,† includes the verb, â€Å"sleep,† which alludes to the notion of dreams, and dreams are a place where imagination and creativity is unleashed, and, in conjunction with the emotive term, â€Å"peace,† exemplifies the idea that solace may be found through artistic creativity and expression. Since creativity is widely valued by society, Harwood’s poetry holds significant and broad appeal. Relationships: â€Å"Triste, Triste,† explores the importance of intense human relationships through the influence of Romantic elements. This poem is filled with romantic physical connections, for example, the post-coital contact of â€Å"eyes against shoulder,† with the positional verb, â€Å"against,† signifying the comfort that can be drawn from a relationship, and from human experience. This idea of intense human experience is a Romantic value, and Harwood invests this into her poetry as a way of idealising life’s defining moments, such as defining relationships. During the coital experience, the persona experienced a transcendent spiritual awakening, another Romantic value. With reference to the soul, the final stanza explains, â€Å"[the spirit] falls from its dream to the deep to harrow heart’s prison.† The metaphor, â€Å"falls from its dream,† reflects the soul returning to the body after such an intense expression of a relationship. During the divine experience of the spirit after intercourse, the heart, the symbol of one’s physical being has to call  the spirit back to the body, â€Å"And heart from its prison cries to the spirit walking above.† The term, â€Å"prison,† is a metaphor for the body and reminds the audience of humanity’s mortality, and therefore of humanity’s fleetingness. However, Harwood demonstrates that relationships can provide solace after this realisation of mortality and of the transience of human life and experience. This is emphasised by the emotive words, â€Å"loved,† and, â€Å"comfort,† in the first lines of the final stanza, â€Å"so the loved other is held for mortal comfort,† which further exemplify the powerful abilities of relationships, as the persona, is comforted after their soul returns to their body. This poem is also invested with Harwood’s religious ideals as she personally valued religion and used her poetry to explain that relationships with individuals can bring one closer to God. The juxtaposition of the spiritual and transcendent coital experience represented in this poem is connected with the resurrection of Christ. The Biblical allusion, â€Å"body rolls back like a stone, and risen spirit walks to Easter light,† is both symbolic of a physical relationship with another human, and of a divine spiritual relationship with God. This allusion contains the simile, â€Å"body rolls back like a stone,† which connects the body in the spiritual post-coital moments with the stone in front of Jesus’ tomb, therefore connecting the persona with Jesus via an intense spiritual relationship. Also, the reference to a â€Å"risen spirit,† at Easter-time, further connects the persona’s euphoric and transcendent spiritual experience with the resurrec tion of Jesus, and therefore established a relationship between the persona and God. â€Å"AT MORNINGTON†: Response about MEMORY: Harwood’s poem, â€Å"At Mornington,† also utilises ideas of memory and Romantic influence to understand the process of life. The Romantics valued the personal experience, and the use of first person within this poem represents the idea of personal and emotional memories. The personal pronoun, â€Å"I,† in the experience, â€Å"I leapt from my father’s arms,† emphasises the persona’s personal memories with nature, with the verb, â€Å"leapt,† reflecting the enthusiastic embrace of nature. This action of carelessly leaping into the  water is symbolic of a child’s ignorance of death, due to innocence and youth, another Romantic value. The personal disposition of the poem allows the persona to emulate her spiritual connection to the divinity of nature. In a memory, signified by a structural indentation, the persona recounts, â€Å"I dreamed once, long ago, that we walked among day-bright flowers.† The use of personal pronouns, â€Å"I,† and, â€Å"we,† again symbolises the Romantic element of personal reflection. The description, â€Å"day-bright,† is symbolic of life and youth, and is later contrasted with â€Å"night;† being representative of death and ending, in the recollection, â€Å"then, as night fell, you said, â€Å"There is still some water left over.† This dialogue, containing the symbolic noun, â€Å"water,† portrays the acceptance of death, through nature, as it provides the semblance that regardless of what age brings, memories, symbolically represented through, â€Å"water,† will always survive. Harwood demonstrates the power of memory to change one’s perception of mortality. Again, â€Å"At Mornington,† like â€Å"The Violets,† is invested with religious imagery, in association with Harwood’s representation of the theme of memory and the important role it plays in life. Water is a repetitive symbol throughout the poem, and when the persona revisits the memory of leaping into the ocean in the poem’s introductory stanza, it appears reminiscent of baptism, a ritual cleansing required before death, returning the persona to a time of innocence and connecting to cyclic ideas. There is also a Biblical allusion to Jesus walking on water, with the persona conceding, â€Å"I remember believing as a child, I could walk on water,† with the noun, â€Å"child,† representing naivety and innocence, again referencing the idea of returning to a time of religious and spiritual purification, with the noun, â€Å"water,† again symbolising memory, and how returning to childhood memories, where innocence and purity manifests, one can spiritually prepare themselves for death. The motif of light, reflected in memories, and in the present, represents the everlasting need of the human condition to return to a time of purity before death, referencing the religious belief of heaven, and providing a semblance of hope and security, facilitating the acceptance of death with the promise of an afterlife. Harwood relates the idea that memory provides a religious education which raises emotions of hope and solace regarding the gravity of death. Response about LIFE, DEATH and AGING: Harwood closely examines the human experience in her poem, â€Å"At Mornington,† and represents the inevitable force of death through Romantic values. There is a motif of water throughout the poem, an element of nature, and of value, and therefore an indicative component of Romantic idealism. For example, the noun, â€Å"wave,† in the recount, â€Å"I†¦was caught by a wave and rolled like a doll,† is representative of the inevitable and overpowering force of nature, time and death, emphasised by the simile, â€Å"like a doll,† which demonstrates the powerlessness of humanity in the face of such a force. The fact that this is a personal reflection, portrayed through the use of personal pronouns, such as, â€Å"I,† is another Romantic element, and highlights Harwood’s idea that everyone must come to terms with the transience of life through the human experience. This idea that the human experience prepares one for death is emphasised by the cumulative list, â€Å"I†¦am rolled in one grinding race of dreams, pain, memories, love and grief.† This list encapsulates the human condition, and Harwood suggests that one experiences these entities with age, and they prepare one for death and enable them to accept the decline accompanied by time. Harwood’s poem, when viewed Romantically demonstrates the power of time and death. Harwood invests â€Å"At Mornington,† with her own religious reliance, and, uses this to demonstrate the theme of death as part of a spiritual cycle. The Biblical allusion, â€Å"as the drying face of land rose out of the earth’s seamless waters,† references the book of Genesis which contains the parable of the Great Flood, meant to cleanse humanity of sin. This allusion refers to preparing one for death, by cleansing their soul. Harwood comments on the spiritual and emotional acceptance that occurs with age and an understanding of death. Also, the metaphorical, â€Å"hand,† in the final stanza, â€Å"I am seized†¦.no hand will save me,† references the ‘hand of God,’ and the fact that God cannot prevent death as it is a part of the cycle of life, and, as a devout Christian, Harwood, and the persona in the poem are reconciled to the idea of death by holding faith in God and the promise of a peaceful afterlife, demonstrated by the emotive word, â€Å"peace,† in the context, â€Å"the peace of this day will shine,† with, â€Å"this day,† symbolising the last day of  life. Harwood comments that religious can assist with the reconciliation of death and degradation. Response about RELATIONSHIPS: â€Å"At Mornington† references Romantic values and demonstrates the theme of relationships as an integral aspect of finding solace in age and decline. The second stanza, containing the noun, â€Å"friends,† in the personal, present-tense description, â€Å"we stand, two friends of middle age, by your parents’ grave,† carries connotations of time passing and causing age and decline. The pronoun, â€Å"we,† and the description, â€Å"middle age,† emphasises that this is a Romanticised, personal experience, invested with a sense of revelation and a nostalgia for childhood innocence, also reminiscent of Romantic values. It also reveals that these â€Å"two friends† have been together throughout their lives, and that their companionship and the fact that they are now facing death together, facilitates their acceptance of death. Romanticism also held a value of the human condition. The couplet, â€Å"we have the wholeness of this day to share as we will between us,† contains the alliterative terms, â€Å"we,† â€Å"wholeness,† and, â€Å"will,† which denote tones of hope, and connection which come about with human relationships, an aspect of the human condition. Through Romantic influence, Harwood demonstrates the mutual comfort that comes from friendship and acts as an antidote to the anxieties surrounding death. Like in â€Å"The Violets,† Harwood’s, â€Å"At Mornington,† is invested with an essence of her religious spirituality which evokes ideas of flourishing relations as a cure to the apprehension of death. The persona recalls walking through â€Å"Brisbane gardens† with a friend, demonstrated by the pronoun, â€Å"we,† and the noun, â€Å"gardens,† in the past-tense recollection, â€Å"we walked among†¦Brisbane gardens.† This venture alludes to the Garden of Eden and the Fall of Man, with the persona walking through the â€Å"garden,† with a friend, referencing Eden, before she and her companion gain the knowledge of what it means to be mortal and experience the Fall, that is the irreversible revelation of the inevitability of death. Also, the lines of the final stanza, â€Å"At your side among the graves I think of death no more,† contain the positional verb, â€Å"side,† the funerary reference of â€Å"graves,† and the  noun, â€Å"death,† in conjunction with the negative terms, â€Å"no more,† to combine ideas of companionship, spiritual well-being and death. This highlights the religious notion that friendship and other relationships are strengthened by religious faith, and bring about a spiritual peace that prepares one for life after death. Harwood’s religion offers her hope of an afterlife, and the idea of companionship following her through life and into death; softens the blow of mortality.

Hard Times: Coketown Essay

In † Hard Times: Coketown† Charles Dickens is assessing industrialization and the effect it had on the people in the towns in which they resided. Coketown seems to be portrayed as a city of work and not anything else. It is put across that the town consists of only fact and nothing else to alleviate the dullness. Charles Dickens is sharing his analysis on the social issues implicated in this town through a narrative that reflects upon the environment. He uses a lot of descriptions and similes to show the implications in which the society is inflicting. For example, the steam engine is constantly going up and down is â€Å"like the head of an elephant in a state of melancholy madness,† (1057). He also uses metaphors like â€Å"it had a black canal,† and â€Å"interminable serpents of smoke† (1057). He is portraying a point that the government in this town is not caring enough about there community so therefore he feels he needs to get the message acros s about how socially unacceptable this is. As he conveys these ideas to the reader he uses representation to give an object human life. An example when he gives an object a human life structure is; â€Å"It was a town of unnatural red and black like a painted face of a savage,†(1057). By doing this he was stressing the importance of how nothing is progressing and the politicians need to take another look at the communities whole social and living structure. He makes inferences on industrialization and the effect that it has like â€Å"the river ran purple† and â€Å"it had a black canal in it† (1057) This is just showing how much out of hand the social concern of industrialization had got to and how pollution had got to a big height. â€Å"It was a town of red brick or of red brick if that would have been red if the smoke and ashes had allowed it,† (1057). This shows how bad the living conditions were getting and he probably felt the politicians in there town were not doing anything to fix these conditions. â€Å"It was very strange to walk through the streets on a Sunday morning, and note how few of them the barbarous jangling of bells that was driving the sick and nervous mad.† (1058) Now he was stressing how the community itself didn’t even know where they fit in as a social foundation. The main problem to Dickens was that the political and social issues of this town were worsening since none was caring enough to change anything. He basically is revealing the mistreatment of industrialization in this society and is implying towards the social disgraces that have occurred. He retorts,† fact, fact fact'† (1058) just to show even more how  dull the lives of the poor became a repeating every day thing. It became the same because it seemed like every day was a desperate day to survive in this new industrialize d world. To me a major social implication made a point in this short story was of a corrupt society that the politicians were more interested in productivity than in the health and happiness of its citizens.