Cultural Implications of a “Brave New World”

Aldous Huxley’s â€Å"Brave New World† relates a fictional society in which freedom is dead, morality is forgotten, and man’s future is bleak indeed. His work employs many parallels that can be drawn to society’s culture today, possibly even serving as a prediction of the future 500 years from now. With that said, a close look will be taken into several of Huxley’s themes within a â€Å"Brave New World† to best determine the impacts of his fictional society in regards to current cultural trends, and trends for the future. Huxley’s â€Å"Brave New World† is set far into the future, in 632 AF, or 2540 AD.Plotted in this extreme, Huxley has liberated himself from any confines of modern literature and opened up the doors for a future entirely of his making, with his own rules, and own utopian predictions. For, written in 1931, Huxley was essentially inventing a society some 600 years into the future, one in which he has created a â €˜negative utopia’— [a society] in which utopian dreams of the ‘old reformers’ have been realized, only to turn out to be nightmares† (Booker, 16), which, with the Utopian books of his time, was his very intention.With that said, Huxley’s work should be â€Å"read primarily as a warning against runaway capitalism and as an anticipation of coming developments in Western consumer society† (Booker, 20). Further, in a direct parallel from Huxley’s work to modern society, capitalism could, very easily, take the same turn in an attempt to create a better, more stable economy. The story itself is a frightening version of the future that could be, all the while containing social and cultural issues of the early 1900’s.The cultural impact of the Industrial Revolution alone highlights a major theme within the work that the world is moving at too fast a pace for survival tempered by the loss of intellectual individuality. In Huxle y’s world, reproduction has no use as it is easier, and more economical, to essentially create new individuals via a hatchery process. Sex is no longer the means for reproduction but has been relegated the role of pleasure, where any man can have any woman, and there are no relationships based upon such intimacy.There are no emotional ties to family, loved ones, or friends, and death is accepted as the natural cycle of life, not to be mourned, but not really to be thought about either. Huxley’s world is separated into a large caste system: with Alphas, Betas, Gammas, Deltas, and Epsilons. In this society, the upper-castes are given more time in the hatchery to develop intelligence and physical prowess, whereas the lower castes are essentially poisoned to have lower intelligence and lesser physical endowment.Huxley’s employment of these plot conditions marks his greatest theme: that of the loss of individual identity. In his â€Å"brave new world,† people are mere products of creation, relegated into their castes, who live out their lives as they are supposed to, never questioning, never wondering, never living. With this basis, Huxley initiated the â€Å"reinforcement of desired behavior by reward rather than by punishment† (Fjellman, 3), with the â€Å"[prediction] that we might be tamed instead by desire and pleasure† (3).Then, perhaps for balance, Huxley introduces the character of Bernard Marx, a psychologist and an Alpha Plus. Despite his caste rank, Bernard is an outcaste in their society, based mostly on his physical condition, which socially marks him as a lower caste because of his smaller size. Bernard, of course, falls for a Beta Plus, Lenina, who is so far in the societal doe that she cannot even question her own actions and is tormented by her â€Å"friends† for not being promiscuous enough.As for Lenina, Huxley â€Å"reserved especial bile for the female of the species, whose presence provokes eve n more heated rhetoric† (Higdon), and her character the ultimate parody of the female species. Further, Huxley â€Å"offers a remarkably sexist vision which suggests—if it does not outright say—that only Alpha men are capable of being unhappy, of being unorthodox, of being rebels. Only once, in a remark by Mustapha Mond, does the work suggest that women can become as troublesome to the State as men and suffer exile for their unorthodoxy† (Hidgon).This rebel nature and ability to see the world for the reality of what is can be seen â€Å"through the actions and thoughts of its four male rebels: Bernard Marx, Helmholtz Watson, John the Savage, and Mustapha Mond—each of whom has been driven in one way or another to question and to rebel against the not-to-be-questioned values of the Fordian/Freudian world of 632 A. F. Each of these men has wandered dangerously far into unorthodoxies that threaten the community, identity, and stability of the World Sta te† (Higdon).From this basis, Bernard is the first male character to begin his rebellion when he realizes that there is something very wrong within their society—that everyone has been given â€Å"memories† from the hatchery based on subliminal suggestions and not actual events. Moreover, many critics refer to this rebel nature as Huxley’s â€Å"response to early cinema†¦[it] was far-reaching in its implications, recognizing cinema’s stimulation of the body as well as the mind and imagining cinema's potential to be either an instrument of social and political reform or a medium of cultural degeneracy† (Frost).Indeed, Huxley considered music a powerful medium, once writing that â€Å"‘the darkness of the theater, the monotonous music induce in the audience a kind of hypnotic state’† (Frost), exactly like Huxley’s soma does to the characters. Further, Huxley’s narrative form â€Å"[shows] the individual i n society, serves to heighten the sense of his helplessness and vulnerability† (Ferns, 132). Moreover, Huxley’s world â€Å"is an unsettling, loveless and even sinister place. This is because Huxley endows his ‘ideal’ society with features calculated to alienate his audience.Typically, reading BNW elicits the very same disturbing feelings in the reader which the society it depicts has notionally vanquished – not a sense of joyful anticipation. [Huxley himself] describes BNW as a ‘nightmare’† (Pearce). Indeed, Huxley writes in his Forward that his work is â€Å"a book about the future and, whatever its artistic or philosophical qualities, a book about the future can interest us only if its prophecies look as though they might conceivably come true† (Huxley, ix).For his part, Huxley avoids any real technological advancements (like computers, aviation, or even the evolution of the automobile) within â€Å"Brave New World,â₠¬  instead focusing on the evolution of the human being and the social cultural advancements that 600 years into the future might bring. More, Huxley writes that the â€Å"only scientific advances to be specifically described are those involving the application to human beings of the results of future research in biology, physiology, and psychology† (ix-x). Indeed, in choosing this form, Huxley has created a society that could exist in the very near future—and not one 600 years distant.Further, â€Å"it is only by means of the sciences of life that the quality of life can be radically changed†¦the people who govern the Brave New World may not be sane†¦but they are not madmen, and their aim is not anarchy but social stability. It is in order to achieve stability that they carry out, by scientific means, the ultimate, personal, really revolutionary revolution† (x). With this epiphany, Huxley made, for the first time, a purely utopian society in which it is not the technological advances that relegate the future of mankind, but it is mankind themselves who make it for themselves, for the good or for the bad.And it is this ideal that makes a frightening assumption for the future of mankind. 500 years into the future, surely Huxley’s world could come into fruition, but, in an even more frightening realization, Huxley’s world could come into society slowly, and within a period of decades, the current society, in an attempt to create a more safe and stable life for its inhabitants, could instead transform into the dystopian world predicted in a â€Å"Brave New World. † Overall, Aldous Huxley, in a â€Å"Brave New World† demonstrates a dystopian future in which mankind is subjugated by the very essence of being human.Where pleasure is a form of reinforcing punishment and sex is nothing more than an activity of the popular. The future that Huxley predicts is, in reality, a truth that every society may yet face . For, in removing the technological advances that mark many utopian works, Huxley has given the story over to human nature itself. And, in every future, there lies a culture where stability is the goal—and in that ideal, a â€Å"Brave New World† is not so far advanced, after all. Works Cited. Booker, Keith M. The Dystopian Impulse in Modern Literature: Fiction as Social Criticism. Westport, CT: Greenwood Press, 1994. Fjellman, Stephen M.Vinyl Leaves: Walt Disney World and America. Boulder, CO: Westview Press, 1992. Frost, Laura. â€Å"Huxley’s Feelies: The Cinema of Sensation in Brave New World. † Twentieth Century Literature, 52. 4 (2006): 443+. Higdon, David Leon. â€Å"The Provocations of Lenina in Huxley’s Brave New World. † International Fiction Review, (2002): 78+. Huxley, Aldous. Brave New World. New York: Bantam Books, 1958. Ferns, Chris. Narrating Utopia: Ideology, Gender, Form in Utopian Literature. Liverpool, England: Liverpool U P, 1999. Pearce, David. â€Å"Aldous Huxley: A Brave New World. † (2008). BLTC Research. 26 June 2009 .

Perform a close reading of any passage or short chapter

The Grapes of Wrath, examining its use of theme, setting, tone, figurative language, allusions, etc. By Angela-Stanton The Grapes of Wrath not only criticizes the socio-economic problems provoked by capitalism, but advocates (moral courage) as the answer to conflicts and hostilities. In Chapter 29, Steinbeck emphasizes that although nature's omnipotent power of destruction Is beyond human control, moral courage can sustain hope and faith In life.This theme is successfully achieved in this short but significant intercalary heaper through the effective use of figurative language and diction, leading to the memorable ending in Chapter 30 where Rose of Sharon selflessly suckles the dying man. The narration paints a Blvd setting of the destitute land. The clouds, wind and rain are personified as the destructive forces of nature. The gray clouds are march[long] In from the ocean'.The aggressive verb ‘march' presents the military nature of the clouds, foreshadowing how this strong arm y overpowers humans and land. Contradicting auditory images describe the wind that ‘swished in the bush' and ‘roared in the forests'. The auditory verb ‘swished' depicts the swift, stealthy action of the wind as It passes the bush; whereas the contrasting auditory verb ‘roared' reminds us the wind has a violent Impact on the land. The adverbs ‘fiercely and silently' are oxymoron describing how the wind overwhelms humans brutally without announcing its arrival.Rain is also personified as it Whipped the shining water and Whipped up the surfaces [of the fields]'. The repetitive use of the relentless verb Whipped' illustrates the rain's physical force and portrays it as a powerful tormentor of land and humans. The action of the rain and Its Impact on the land are emphasized by the parallel structure the streams and the little rivers edged up to the bank sides', worked at willows and tree roots', ‘bent the willows deep in the current' ‘cut out th e roots of cottonwood' and ‘brought down the trees. This parallel structure consists of phrases starting with a powerful verb that inflicts misery on a ‘victim', emphasizing the pervasive Impact of the unceasing rain. Personification is extended to the description of the land. Initially, the earth is ‘drink[inning] the rain' when the rain only consists of ‘small drops and a steady beat'. This personification depicts the rain's essential role as a nourishing provider for life. Then, the rain intensifies and the earth ‘[whisper] under the beat of the rain' and the streams ‘[thunder] under the churning freshets'.This parallel structure Juxtaposes the earth and the streams using contrasting auditory verbs, displaying the earth as a thunder[inning]' streams. The earth's changing reaction to the intensifying rain from drinking to whispering alludes to the rain's volatility reigning over the vulnerability of the land. This insinuation extends to nature i n general, implying that nature is precious which controls the well-being of humans and land. The narration also explores the severity of the rain's impact on the migrant workers.The water ‘[fouls] the ignition wires' and ‘[fouls] the carburetors' of the cars. This parallel structure emphasizes the extensive destruction with the use of active voice placing Water' as the subject, suggesting that despite their level of technology and utility, the cars are inevitably destroyed. Although the migrants want to escape from this hostile environment, their cars Wouldn't start because the wires were shorted' ND ‘if the engines would run, deep mud engulfed the wheels'.The use of the ‘if' conditional structure indicates that there is no workable solution to combat the flood. All these details in the narration establish the people's dire situation since their last resort, that is migration, is destroyed by the rain. The narrative perspective shifts from one adverse predic ament to another, creating a prevailing sense of inevitability to escape from the disaster. The migrant workers ‘splashed out through the water' to towns, country stores and relief offices to seek help and shelter.The verb ‘splashed' portrays the workers' desperate attempt to survive which is further intensified Their suffering is further intensified by the parallel by the structure to point out how they ‘beg for bread', ‘beg for rotting vegetables' and ‘steal when they [can]'. The fact that they are begging for these basic provisions reveals their desperate attempts at survival shows the inevitability of their fate. Then, the narration focuses on the specific individuals' reaction towards the flood. In the Wet hay of leaking barns', babies are born to Women who [pant] with pneumonia'.This situation is a contrast to the hopeful expectations of new life. Instead, these babies are born to intense suffering, sickness and death. Meanwhile, old people Ã¢â‚¬Ë œ[curl] up in the corners and [die] that way. This symbolic act underscores their need for consolation and security, regressing to their fetal position before death. The fact that the disaster has affected both stages of life reflects the scope of misery, aggravating the despondent tone which prevails the narration. This tone is accentuated through the repetitive use of the conjunction ‘And'.This manipulation is intentional, conveying that difficulties are accumulating and both humans and land cannot escape from this disaster. The greatest fear amidst the catastrophe is the lack of work. This concern is accentuated by the two sudden, choppy paragraphs ‘No work till spring. No work // And if no work– no money, no food. ‘ These are hopeless complaints of the migrant workers. The abruptness, along with the repetition of ‘no work, highlights the workers' dire financial situation. Since their hope for work is shattered, they are too feeble to sustain their struggle for survival.This fear is intensified by the use of effects, ‘no money, no food'. The pause seems to imply the reluctance of the workers to acknowledge the consequences of unemployment. There is a change of tone when the migrants' fear turns into wrath. The turning point is introduced by the short sentence ‘Theme's horses— we're men. ‘ This bitter comment demonstrates the men's realization of their ill-treatment and worthlessness when compared to the horses. Realizing such an injustice, they ‘[gather] together' and ‘anger [takes] its place' instead of fear. The gathering empowers them to combat hostility actively instead of suffering helplessly.This unity reflects Steinbeck proletarian ideology that men can generate surprising power collectively in brotherhood. It tends to advocate that moral courage is the answer to conflicts and hostilities. The change of tone is most prominent at the end of the chapter when hope and relief is conveyed through the color of ‘pale green' in the ‘hills' and tiny points of grass' in the ‘beginning of the year'. This sudden change of color from gray to green creates a hopeful rebirth, suggesting that between the state of hopelessness and hopefulness, the only powers that can sustain humans through all adversities is moral courage.This turning point rekindles readers' faith in life and is vital to their understanding of the final message conveyed in Chapter 30 through Rose of Sharon. Overall, chapter 29 portrays the adversity of nature and underscores the conflict between nature and men. Together with the hopeful, symbolic ending, it brings out the theme that even though nature is omnipotent, it can be counteracted by moral courage. If humans remain individualistic, they become powerless. However, if humans are unified, they can benefit from the mutual support and bonding of brotherhood, which is the driving force that beautifies and prospers humanity.

Claudius has been presented in the theatre as a worthy King Essay

Claudius has been presented in the theatre as a worthy King and Polonius as an amiable and sensible father. What is your response to the ways in which Shakespeare presents one of these characters? It is hard to judge the character of Polonius in Shakespeare’s Hamlet, due to the fact Shakespeare presents many of the events not only through Hamlet’s eyes, but the eyes of Polonius’ children and the King, and through these different people he is presented in different ways. However, there is a great deal more to this multi-faceted character in the play, as his presence and actions in the play is of great importance, before and after his death. Polonius is presented in different ways in various stage productions; usually, he is presented as a wise man, and one with great influence upon his son and daughter, Laertes and Ophelia, and of a man highly respected by King Claudius, Queen Gertrude and the people of Denmark. Despite this, he can become a rather comic character, if the company wishes Hamlet to be presented more positively. As Polonius is presented through different productions in different ways, it is difficult to evaluate his true nature. As the play is largely presented through Hamlet’s eyes, it is from him we draw many of our opinions. It is eventually Hamlet that kills Polonius, stabbing him through the arras, and Hamlet who sends him off with such harsh words as â€Å"a foolish, prating knave†; it can be said that he encompasses aspects of this statement, as we see in different parts of the play. However, to be deeply cynical of Polonius is somewhat hard to do. Polonius, in the eyes of Claudius, the Queen, the words and actions of Laertes, Ophelia and the Danish people, and the obediency of Reynaldo give us a more reasoned insight into Polonius. Polonius can be seen as foolish mainly when talking to his servant, Reynaldo, wherein he directs Reynaldo as to how to spy on Laertes. During his speech, Polonius gets wrapped up in his own words, and seems to lose the points he is trying to get across; â€Å"And then, sir, does a’ this – he does – what was I about to say? By the mass I was about to say something. Where did I leave?†; Shakespeare also transfers from blank verse into prose, accentuating Polonius’ loss of grip. However, this may actually be cleverly checking if Reynaldo is listening; the fact he quotes him directly back â€Å"At ‘closes in the consequence’, at ‘friend or so’, / and, ‘gentlemen'† suggests many positive factors. For one, it is a reflection on Polonius’ authority and importance that Reynaldo remains attentive and quotes him back perfectly. Also, if this is a trick, Polonius may feel the matter is so important to his son’s welfare that he needs to test Reynaldo to see if he really is listening so that the surveillance can be perfectly executed. Polonius may be seen to lose his grip in his bouts of prating to the King and Queen in parts of the play too. His speech to Claudius and Gertrude concerning Hamlet’s madness is a prime example of Polonius’ prattling, as we see in his long-winded build up to his conclusion, that Hamlet is mad; Therefore, since brevity is the soul of wit,  And tediousness the limbs and outward flourishes,  I will be brief. Your noble son is mad.†.

A Grain of Wheat Essay

A Grain of Wheat is a novel by Kenyan novelist Ngugi wa Thiong’o. The novel weaves several stories together during the state of emergency in Kenya’s struggle for independence (1952–1959), focusing on the quiet Mugo, whose life is ruled by a dark secret. The plot revolves around his home village’s preparations for Kenya’s independence day celebration (Uhuru day). Former resistance fighters General R and Koinandu plan on publicly executing the traitor who betrayed Kihika (a heroic resistance fighter hailing from the village) on that day. First of all, Ngugi use many characters to express the aim of the story as an African man the protagonist of this story is the loner Mugo, a hero of the British concentration camps where he led a hunger strike and he also tried to stop a village guard from beating a pregnant woman to death. Although he is thought to be a hero through the whole book, he is the traitor of Kihika betraying him to the British in a selfish act to save himself. Also Gikonyo, an ambitious carpenter and business man who’s married to Mumbi. He confessed to taking the oath of the resistance while in a concentration camp, securing an early release only to find that his wife had borne a child with his hated rival Karanja while he was away. another character is Mumbi, the wife of Gikonyo and sister of Kihika. While Gikonyo was imprisoned she slept with Karanja who had been appointed village chief by the colonial power. Also, Karanja, a collaborator with the British and widely suspected to be the traitor who betrayed Kihika. In addition toKihika, a resistance fighter who conquered a police station and killed the hated District Officer Robson before being caught and hanged after being betrayed by Mugo. and John Thompson, an early British settler and administrator of Thabai, who believes in the ideals of colonial imperialism and persecutes black Africans. A Grain of Wheat is about the events that lead up to the Kenyan independence, or Uruhu. The setting is a Kenyan village. When the characters Gikonyo and Mumbi get married, are in love and just started their lives, Gikonyo is sent to detention. When he comes back after six years, Mumbi had his rival’s child. They cannot find the words to talk about the past, and a wall is created between them. Mumbi’s brother gets captured and hanged and after loads of events, the town realize that the one they thought to be the hero, was actually the betrayer.

Internet Piracy

Internet Piracy has become a worldwide phenomenon. In the U. S. alone more than 100 songs are downloaded every minute. With this growing problem, 3 main groups suffer. The recording artist suffers financially, the RIAA (The Recording Association of America) also suffers financially and finally the downloader suffers if caught. This catch 22 tool has been a thorn in the side of technology since its introduction in 1999. Since then, downloading- or peer-2-peer sharing- has become one of the worst acts of technology affecting the world at large. Since the introduction of Napster back in the year 2000, many more P2P sharing networks have been invented to keep the illegal industry alive that left the RIAA in a fix. However, in the light of such programs there has also been uproar of other legal P2P programs that offer the same speed for a price. Many people don’t believe in paying a price to get their music. The RIAA, which collectively represents every major and minor artist out in the market right now has been slapped with programs taking profits from the artist as well as the industry it self. In an effort to control pirating, the RIAA, according to an article in Information Week, the RIAA has been trying to pressure people to stop downloading by sending out more than â€Å"†¦400 letters to 13 U. S. universities advising of potential copyright infringement lawsuits against students†¦Ã¢â‚¬  (Adegoke. 2007. ) The issue here is though, the letters are just half the solution. What happens to the finances of the artist. Times have changed and unlike back in the time of a young Michael Jackson, artists don’t make their money in music sales. It used to be- before the threat of P2P networks- that records were being certified 8 and 10 times platinum because of sales. Now a days artists like Mariah Carey, who had a 2005 comeback debut with the Emancipation of Mimi, make the majority of their profits with the sale of tickets for concerts. Mariah Carey who experienced international success with the album went on to get a certification of three times platinum with in just two months of release. (Billboard. 2007. ) This certification however doesn’t take into consideration the number of downloads that were happening before the release up to the date of certification. As the RIAA cracks down on scaring people to get their act together and to purchase songs legally, other programs like iTunes, the operating program behind the ipod and also one of the main (legal) online music providers in the world, has provided an inexpensive way to legally get songs from an internet based program with out all the repercussions of dealing with the RIAA. Although it’s more common now to use iTunes as a music staple, there are people who despite the legality and popularity of the program prefer and advertise the use of the compact disc in its entirety. In An article by Valerie Block of Craines New York Business, she states that’s she wasn’t into the free and dangerous downloading websites and programs (Block. 2007. ) But as iTunes became so popular, she enjoyed the ease of â€Å"†¦Buying singles for 99 cents and albums for 10 bucks. † Like Block, many consumers don’t enjoy forking over almost twenty dollars for a disc of material when in fact all they want is one song. Doug Morris, who is the head of Universal Music Group, wants to- as said by Block- â€Å"weaken the four-year-old e-tailer's (iTunes’) grip on digital music sales. (Block. 2007. ) Just as there are people who have a fond opinion about downloading music for free, there are also people who believe that programs like iTunes are taking away the meaning of the entire piece of material by just downloading single tracks. Personally, as someone who has been downloading music from both iTunes and Ares Pro, I fail to see why it would af fect the artist in such a manner. To my knowledge, all the artist cares about is the opportunity for their fans to enjoy their material and also to be able to make a profit from it. Block, who is an avid iTunes downloader states that rapper turned business mogul Jay-Z has refused to put his latest work in the iTunes store. (Block. 2007. ) The rapper who just released a theme C. D. called American Gangster based on the theme of the movie featuring Denzel Washington, stated in the article, â€Å"his album should be purchased in its entirety, like, say, a Picasso†. (qtd. in Block. ) The issue of downloading programs legality has- in my opinion- been blown way out of proportion in many ways. These efforts don’t do anything for the artists, as they are depriving the consumers a chance to enjoy the material that the artist have worked hard for them to enjoy. Besides, who is the recording industry kidding, no matter the amount of downloads that go on in a day, artists still make money. Between every time a song is played on the radio, played as an advertisement stunt in the next Pantene commercial, modeling gigs and appearances and other business endorsements they are making more money than many people. Further more, the RIAA only seems to be irecting their line of downloading prejudice to the programs that are in the front, both neglecting the less popular programs such as Bear Share and online forums that offer both tracks off the latest compact discs as well as the disc in its entirety. As a challenge to the RIAA and artists like Jay-Z, a change in pricy pieces of material should be looked into to avoid both the issue of legality in downloading as well as the issu e of finances amongst the artists. Works cited Arney, Juliane. â€Å"Become a music master: here's what you need to know about downloading music for the internet. IDEA Health & Fitness Source 22. 5 (May 2004): 63(3). Academic OneFile. Gale. Albertus Magnus College. 5 Dec. 2007 . Crawford, Kate. â€Å"Adaptation: tracking the ecologies of music and peer-to-peer networks. † Media International Australia incorporating Culture and Policy 114 (Feb 2005): 30(10). Academic OneFile. Gale. Albertus Magnus College. 5 Dec. 2007 . Siegfried, Robert M. â€Å"Student Attitudes on Software Piracy and Related Issues of Computer Ethics. (Author abstract). † Ethics and Information Technology 6. 4 (Dec 2004): 215(8). Academic OneFile. Gale. Albertus Magnus College. Dec. 2007 . Smiles, Robin V. â€Å"Technology's pros and cons. † Black Issues in Higher Education 21. 2 (March 11, 2004): 4(1). Academic OneFile. Gale. Albertus Magnus College. 5 Dec. 2007 http://find. galegroup. com/i tx/retrieve. do? contentSet=IAC-Documents&resultListType=RESULT_LIST&qrySerId=Locale%28en%2C%2C%29%3AFQE%3D%28KE%2CNone%2C11%29downloading%3AAnd%3AFQE%3D%28TX%2CNone%2C18%29downloading+music+%24&sgHitCountType=None&inPS=true&sort=DateDescend&searchType=BasicSearchForm&tabID=T002&prodId=AONE&searchId=R2¤tPosition=41&userGroupName=27001&docId=A114697869&docType=IAC

HIST Essay Example | Topics and Well Written Essays - 1250 words

HIST - Essay Example But, on the other hand, there are certain reservations associated with this idea of preserving the past. The concept of imagined west explains this second thought. According to Dr. Morley the way these places have been preserved embody some politics and Imaginations attached to it. First, these places have not been saved the way they originally were and there is a lot of imagination used to make these places alluring to the tourists as well as locales. She elaborates this idea further more that although these places are a replica of past, but there is a lot of imagination working behind flourishing it. Only those things have been saved and protected that would appeal people. Moreover, using imagination, many new things have been added for the dà ©cor of these places no matter they were part of the past or not. Here Judy Morley takes a firm stand that although such things are against ethics and do not fall in any terms of the morality still since it benefits many people, it is harmle ss in their eyes. There are many other ironical facts associated with this idea of preservation. Like in the protection and preservation of the Old Town Albuquerque, many Hispanics were dislocated although the place represents the past glory and grandeur of the Hispanics. Secondly, in the Larimer Square the actual past trait of the skid row has been put under the carpet only to attract more number of tourists and make it a more worth seeing place. Judy Morley basis her wide research on interviews from the local property owners, dealers and business men. She also studies deep the fields of urban development and tourism etc. Thus she reaches on the conclusion that such preservations have very deep impacts on the urban life and neighborhood along with the tourism sector. Talking about the Larimer Street in Denver, Morley eloquently describes how time has changed around this place without harming its very soul. This Street is known for its shopping and

Leadership Thesis Proposal Example | Topics and Well Written Essays - 500 words

Leadership - Thesis Proposal Example Research on P-O fit now considers the fit between employees and their jobs, their co-workers and their supervisors, and is no longer focused on only their fit with the organisation. A number of theories, such as Schneider’s (1987) attraction-selection-attrition (ASA) theory, suggest that employees choose employment with a company they perceive as a good fit; management employees with minimal P-O fit however will choose to leave their company of employment. Others like Chatman, Wong & Joyce (2008) claim that even though a management employee may have a low P-O fit with an organisation they still seek and gain employment with that organisation and may stay for a number of reasons connected with entrenchment (Harman, Lee, Mitchell, Felps & Owen, 2007). In such cases they often stay with the organisation but operate in less prominent or powerful positions of leadership (Meyerson & Scully, 1995). The implication from these theories is that an organisation is a single, constant and homogenous culture if employees are able to determine their fit within them.