Justification for funding researches on Biotechnology and genetic engineering Essay Example for Free

Justification for funding researches on Biotechnology and genetic engineering Essay Biotechnology and genetic engineering are technologies that employ biological materials to generate or construct enhanced products. The technologies are extensively used in the field of agriculture for the generation of new plant hybrids which present commercially important traits such as size and sweetness and remove the commercially risky features including drought- and insecticide-resistance. In the field of biomedicine, microbial species are modified through genetic engineering and used as basis for the design and creation of new vaccines which will help the public from acquiring specific infectious diseases. It is of my opinion that these sciences be funded for purposes of food enhancements and vaccine improvements because these provide us with new methods of using modified versions of the basic biological materials. The modification of particular plant species may be helpful to us in terms of food and our daily consumption, and maintaining good health in the society. For example, rice may be genetically modified to grow to maturity in half the time the wild rice grows. This means that we will always have ample supply of rice because we do not have to wait for such a very long time. In term of vaccines, it is important the biotechnology and genetic engineering improve vaccines because the bacterial and viral pathogens that cause diseases are also constantly evolving. Viruses are continuously changing the proteins on their cell membrane so that the cells of their host will not recognize and destroy them based on the host’s current immunity. If we do not improve our vaccines, we will not be able to control emerging infections around the world, and this may result in multiple global outbreaks. Hence, it is important that these technological innovations be used to their maximum potential. References Patel R, Torres RJ and Rosset P (2005): Genetic engineering in agriculture and corporate engineering in public debate: Risk, public relations, and public debate over genetically modified crops. Int. J. Occup. Environ. Health 11:428-436.

Master Harold and the boys - Inclusion in the Curriculum Essay

Master Harold and the boys - Inclusion in the Curriculum Essay In his masterpiece "Master Harold" and the boys, Athol Fugard has journeyed deep into sensitive issues including racism and growing up, without sacrificing the high technical standard that often distinguishes great theatre. The poignant and enlightening journey that is Fugard's piece undoubtedly deserves inclusion in any English curriculum, with the work's characterization, themes, conflicts and motifs all earning this distinction. With only three characters sharing dialogue and one of these playing a minor role, detailed characterization is a highlight of "Master Harold and the boys. The major protagonist, Hally, is a white seventeen-year-old intended to be an autobiographical depiction of a younger Fugard. Hally is an intelligent and thoughtful young man, whose cheerfulness is dulled in the book with the news that his father may be returning to his home from hospital. Essentially, Hally is ashamed of his alcoholic, crippled and untrustworthy father, and dislikes having him at home. In a conversation to his mother, he states "I'm sick and tired of emptying stinking chamberpots full of phlegm and piss" (48) revealing this discontent. Thus, whenever he is mentioned, Hally becomes autocratic and aggravated towards the other men - he unreasonably expects the "boys" to seamlessly move between scapegoat and friend. Nonetheless, when we reach the climax of the novel, Hally says with great pain "I love him, Sam" (58). Thus Hally is divided in his heartfelt emotions of both love and anger. The other major characters in "Master Harold" and the boys are Sam and Willie - the 'boys'. These two black men are servants of Hally's mother, and work at the tearoom in which the play is set. Sam is a competent, intelligent and intuitive man, and it seems that in any other society, he would be a valued and successful citizen considering his abilities. From Sam's intellectual and emotional aptitude, Fugard clearly depicts to readers the injustice of the South African Apartheid system of racist segregation during which the play is set. Willie, on the other hand, is portrayed as a character that would be an outcast regardless of the societal values that surround him. Little is heard from him during the novel. Thus, Fugard has depicted to us the three echelons of Apartheid society... ...ve something truly special. Nonetheless, their friendship is broken by the Apartheid system, represented by the final motif - the bench. The "Whites Only" bench is symbolic of the theme of white supremacy and segregation, which splits relationships and friends apart. Sam realizes this and comments to Hally: "You know what that bench means now, and you can leave it any time you choose." (60) This is Fugard's underlying message - that if we look past racist ideals and walk away from them, we can "fly another kite" (59) and establish a society where equality and harmony are paramount. "Master Harold" and the boys is a masterfully composed, poignant piece of drama, and undoubtedly deserves inclusion in English studies. With technical aptitude in characterization and motifs, and moving, sensitive issues explored in its themes and conflicts, this work will undoubtedly encourage students to question racial prejudice and segregation in modern society. Just as Fugard intended, it will educate young minds that to be just and fair in regard to racism in society, "All you've got to do is stand up and walk away from it." (60). That is perhaps the most important lesson of all.

Arts Essays – Expressionist, Fauve ; Cubist Art

In 1914, the early modernism critic Clive Bell wrote, The representative component in a work of art may or may non be harmful, ever it is irrelevant. Or, to appreciate a work of art we need conveying with us nil from life, no cognition of its thoughts and personal businesss, no acquaintance with its elements.Discuss the adequateness of this claim with mention to Expressionist, Fauve and Cubist art. On review of Claude Monet ‘s celebrated 1872 picture, ‘Impression – Dawn ‘ , one may detect its capable composing of visible radiation and atmosphere, the ocular effects of mist, fume and cloudy contemplations in the soiled H2O of a seaport ; it is the record of a fugitive minute, a glance of the Sun as it rises through the quickly fade outing mists of morning which, merely seconds subsequently, would hold risen further and changed the whole atmosphere of the scene. Monet, Degas, Pissarro and their creative person coevalss, slightly sardonically named after this renowned innovator piece, exhibited eight times before the 1890s and yet by the bend of the 20th century the Impressionists were being challenged by one of the cardinal elements of their graphics. The morning seaport, lily ponds, danseuses and elusive suburban landscapes that consumed the Impressionist canvas captured a world with which there was a turning clime offive de sieclemalaise. The representative component in a work of art that Clive Bell describes in his 1914 seminal treatise,Art, was cluttered with the irrelevances of literature, scientific discipline and engineering that detracted from the kernel of art as a important signifier composed of strictly aesthetic, instead than realistic, signifiers. Discontentment with the thought that art simply replicated life this new strain of modern creative person approached the easel in order to show instead than depict, to make instead than copy, and therefore the Impressionists dissolved into a fugitive minute of art history. Western art had become preoccupied with an art that embraced the realistic rendition of landscapes and figures, where creative persons worked in forepart of their topics, in the unfastened air instead than in a studio, taking full advantage of the proficient progresss being made in the industry of creative persons ‘ pigments to capture a true feeling of the effects of visible radiation and coloring material. In the early 1900s on the outskirts of Paris Henri Matisse besides preferred to travel out into the streets and do painted ‘impressions ‘ of the streets, the Bridgess, the river, in fact the same subjects that the Impressionists had chosen in the1860s and 1870s. The pictures Matisse made of Notre Dame, nevertheless, had small to make with the atmospheric effects sought by Monet and Pissarro. Rather, he exploited a new reading of world where wide countries of pigment and the reorganization of infinite were cardinal to an of import artistic motion that the Fauvists were shortly to open up: I did non desire to follow a conventional manner of picture ; I wanted to revolutionize wonts and modern-day life – to emancipate nature, to liberate it from the authorization of old theories and classicalism I was filled neither with green-eyed monster or hatred, but I felt a enormous impulse to animate a new universe seen through my ain eyes, a universe which was wholly mine. Henri Matisse, Andr & A ; eacute ; Derain and Maurice Vlaminck evolved this new universe through a manner of painting that earned them the name Les Fauves ( wild animals ) , and, in the brief period between 1904 and 1907 their freedom of look through the usage of pure colorss, additive design and overdone position secured a measure off from the representative component upheld by the Impressionists before them. Matisse ‘s 1904 picture ‘Luxe, Calme et Volupt & A ; eacute ; ‘ can about be viewed as a Fauvist pronunciamento, a disclosure to his circle of coevalss who admired his subjective usage of coloring material, the manner the bare figures had been simplified to the point of ornament and the placing of tree, boat and shoreline to unite the image surface into a individual plane. Through his art Matisse questioned an full heritage of landscape tradition and lead others to oppugn it excessively ; in forepart of this image I understood all the new rules ; Impressionism lost its appeal for me as I contemplated this miracle of imaginativeness produced by pulling and coloring materials. Later work of the Fauves demonstrates freedom from the realistic representation that Bell upheld as irrelevant, but remained concerned with utilizing coloring material for its ain interest. Derain sought a manner out of the deadlock of his fellow Fauvists, experimenting with concepts of a more solid and touchable world within the being of the picture, and it was Apollinaire who remarked that the Cubist aesthetic was foremost elaborated in the head of Andr & A ; eacute ; Derain. To convey nil from life, no cognition of its thoughts and personal businesss and no acquaintance with its elements spilled from a diaphanous impression in Fauvist art into a apparent purpose with creative persons with Cubist understandings. In a blazing renunciation of a tradition that dated back to at least the 14th century, a tradition that equated good picture with retroflexing observed light and signifier, creative persons such as Georges Braque and Pablo Picasso were utilizing their canvases to make a ocular experience of the universe. Art conveyances us from the universe of adult male ‘s activity to a universe of aesthetic ecstasy. For a minute we are shut off from human involvements ; our expectancies and memories are arrested ; we are lifted above the watercourse of life. The pure mathematician rapt in his surveies knows a province of head which I take to be similar, if non indistinguishable. See Picasso ‘s 1909 picture ‘Houses on the Hill, Horta d'Ebro ‘ and one can clearly see how this illustration of daring art can transport its witness to a universe of aesthetic ecstasy. Every seeable surface is broken down into comparatively distinct, comparatively level surfaces to organize a series of aspects, a assortment of quasi-geometric forms, while multiple point of views render the houses from a figure of coincident point of views. See besides Braque ‘s 1909 ‘Castle at la Roche-Guyon ‘ where the cardinal block of edifices in the landscape hovers and spills across both the foreground and background of the piece doing them into accessible, haptic entities with which the witness can prosecute. Braque and Picasso transformed painted landscape into a designed Cubist infinite, manipulated signifiers through artistic look and imaginativeness that bore small resemblance to the surface ( shallow ) world of being. Cubist image infinite has little regard for perspectival infinite, in which solid objects merely of all time recede from the witness, and where infinite itself is ever empty or hollow. In his contemplations on the Avant-garde Clement Greenberg notes that if art and literature are imitation, so what we have here is the imitation of copying. Art as an look, or imitation of imitating, as opposed to a mere representation of life, is a impression that has arguably been exploited legion times during the history of art, during periods of crisis and turbulence, but expressionist art became a preoccupation of its ain during the early portion of the Twentieth Century. The Expressionist art of Wassily Kandinsky nowadayss simplified landscapes and experiments in abstract art, where glowing colorss and ardent brushstrokes convey the work ‘s intending straight to the witness. In his 1911 ‘Improvisation No. 23 ‘ Kandinsky seems to delight in the additive motion of the lines, forms and infinites and literally improvises a design that is about musical in its hypnotic concepts of quasi-staves, points and mock-clefs. In an art-consciousness manner beyond the familiar surfaces of life and the creative persons who sought to animate them, Kandinsky painted in order to link the ocular affair of art to the interior life of adult male. A similar Expressionist phenomenon was germinating in the work of Franz Marc who besides moved off from object-orientated art to an art of lyrical look, haunted by animate beings which represented the lost artlessness of adult male. For these creative persons unnaturalistic colorss, deigned infinites, the beat of nature, symbolic and brooding images constituted the chase for look: Picasso, Braque, Mondrian, Mir & A ; oacute ; , Kandinsky, Brancusi, even Klee, Matisse and C & A ; eacute ; zanne derive their main inspiration from the medium they work in. The exhilaration of their art seems to lie in its pure preoccupation with the innovation and agreement of infinites, surfaces, forms and colorss, etc. , to the exclusion of whatever is non needfully implicated in these factors. Clive Bell ‘s axiom, that art requires nil from life, no cognition of its thoughts and personal businesss, no acquaintance with its elements is clearly demonstrated in the art motions that evolved out of the representative art at the bend of the Twentieth Century. Reactionary against the Impressionistic rendition of objects the Fauvists, Cubists and Expressionists exploited a impression that art should abandon the representative component that had held art in a headlock for centuries in favor of look and heightened attending to the media or stuffs with which they created their art. While novelists explored the job of novel authorship in plants such asUlyssesandThe Forgers, composers drew attending to the really concepts of their music and ocular creative persons made the redolent map of coloring material and organize their recurrent ‘subject affair. ‘ Bell identifies possibly one of the most of import premises in Avant-Garde art and arguably the subsequent advancement of art through the Twentieth Century owes a great debt to the critic who mused: What I have to state is this: the rapt philosopher, and he who contemplates a work of art, populate a universe with an intense and curious significance of its ain ; that significance is unrelated to the significance of life. In this universe the emotions of life find no topographic point. It is a universe with emotions of its ain. Bibliography Bell, Clive:Art, Oxford University Press, Great Britain, 1987 Gaiger, Jason and Wood, Paul ( ed. ) :Art of theTwentieth Century: A Reader, Open University, Great Britain, 2003 Greenberg, Clement:The Collected Essays andCriticism: Percepts and Judgments 1939 – 1944,The University of ChicagoPress, USA, 1988 Stangos, Nikos ( ed. ) :Concepts of Modern Art: Fauvism to Postmodernism, Thames and Hudson, Singapore, 1997 Wood, Paul and Edwards, Steven ( erectile dysfunction ) :Art of theAvant-Gardes, Open University, USA, 2004

Portfolio for Organizational Behavior - 17518 Words

INTRODUCTION The portfolio describes the business implementations of the concepts we learnt in the Organizational Behaviour [MGMT 5100] course. The course enabled us to understand and learn how the organisations work and what key considerations a manager should take care of while managing different people. It also provided us the opportunity to understand ourselves through Concrete Experiences and Reflective Observations of various concepts. It also explains how human behaviour differs based on culture, geography, gender and other external environmental influence. It explained how our ideas and behaviour are perceived by others in an organisation. By actively participating in the class lecture sessions, group discussions, reading the†¦show more content†¦The founder and president of Langley, B.C.-based Paramount Refund Management, which processes claims for clients of the federal Scientific Research and Experimental Development program, tried two designs before introducing her current on e a year and a half ago. â€Å"I had in the past put the targets in the wrong place, so to speak, and got the wrong results,† says Ms. Aulenback of the system. â€Å"I had systems where I let employees participate in part of the profits, and some years they got no bonus because the company didn’t hit its target for whatever reasons,† she says. â€Å"And then one year I had an employee who was able to go back to school because her bonus was so big.† Pay-for-performance can mean anything from pure commission-based compensation, typical in sales environments, to annual bonuses, to salary increases based on merit (rather than cost of living). 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The internal customers of the project have to be indentified and there behavior to be assessed. According to this estimation the project team deduce a strategy to convince the process owner of all advantages. On top this strategy takes care of the long term usage of the new Nearshore order process. 1.2 Company Profile of T-Systems International GmbH Figure 2: Organizational structure of the Deutsche Telekom