Tourist Typologies and Tourist Motivations Essay

Tourist Typologies and Tourist Motivations - Essay Example Closely related to tourist motivation are tourist typologies. Tourist typologies refers to the profiles of groups of people with similar travel needs and requirements. Tourist typologies are closely related to tourist motivations because originally tourist motivations were used in constructing tourist typologies. This is true with the work of many early writers especially Cohen.Different authors have come up with different versions of constructing tourist typologies. Cohen(1972),categorized tourists into four types. The first category is what he called ‘organized’ mass tourists. This type of tourists buy their holiday package and after that they follow the decisions and programs of their tour operators. They interact less with the host community and confine themselves in an ‘environmental bubble’. An environmental bubble is what surrounds the tourist ‘from the security of which they observe and experience the strangeness of the host environment’ making the tourist to taste the new environment without being overwhelmed by it.(Cohen 1972)The second type of tourist is the ‘individual mass tourist’. This type, unlike the organized mass tourist,have some control of their own programs although, like the organized mass tourist, they use the facilities provided by their tour operators. Again, many individual mass tourists visit ‘sights’ in much the same way as organized mass tourists.(Cohen 1972)The third type of tourists is the ‘explorer’ .This type of tourist i s much more independent than the above two types. ... many early writers especially Cohen. Different authors have come up with different versions of constructing tourist typologies. Cohen(1972),categorized tourists into four types. The first category is what he called 'organized' mass tourists. This type of tourists buy their holiday package and after that they follow the decisions and programs of their tour operators. They interact less with the host community and confine themselves in an 'environmental bubble'. An environmental bubble is what surrounds the tourist 'from the security of which they observe and experience the strangeness of the host environment' making the tourist to taste the new environment without being overwhelmed by it.(Cohen 1972) The second type of tourist is the 'individual mass tourist'. This type, unlike the organized mass tourist ,have some control of their own programs although, like the organized mass tourist , they use the facilities provided by their tour operators. Again, many individual mass tourists visit 'sights' in much the same way as organized mass tourists.(Cohen 1972)The third type of tourists is the 'explorer' .This type of tourist is much more independent than the above two types. The explorer makes his own programs on where he wants to go and visit. He associates himself more with the local people and many a times speaks the language of the local people although he still puts up in comfortable hotels. He sticks to the things he does in his daily life. (Cohen 1972). The last type of tourists according to Cohen is the 'drifter'. The drifter will live with the community. He gets embedded in their culture and even earns his income from the community often by doing low skilled jobs. This helps him to easily mix with the

Why Should We Teach Shakespeare English Language Essay

Why Should We Teach Shakespeare English Language Essay The writings of Shakespeare play an important part of the heritage of the English literature which sends us the moral obligation to teach Shakespeare. Constructed by critical approach, the narrow, elitist hierarchy of texts written by Shakespeare, which was considered as the apex as a touchstone of excellence to protest to match inferior productions, are now a remote view, quite different from the great variety and richness of human experience in the arts. However, personal sense of works should be encouraged to communicate with many people by sharing celebration, accessing to tradition of communal dramatic experience, not as the key to ivory tower. Language of Shakespeare contains not only specific historical and cultural context, but also introduces all kinds of linguistic development by widening the way of seeing and thinking. Besides, our language, concept, and perception can be enriched by coping with his language. As a teaching aid, Shakespeares innovative use of vocabulary helps show children how to use the language they are born with better than a bland textbook, even when used without this aim in mind. Children should be encouraged to access to Shakespeare, and since parents seem to be too lazy to read to their children any more, it must be the place of school to offer this education. His dramatic and lyric poetry speaks powerfully and directly to the belief of the essential poetry in education. The idea that good poetry is deep, rich, obscure, and complex is sometimes promoted by textual analysis. Readers of Shakespeares poetry will find depth in simplicity, wisdom, or tragic mode. Dr. Johnson (1765) considers Shakespeare as a poet of Nature who filled his plays with practical axioms and domestic wisdom by his universal sympathies. Shakespeare treated his characters in action a depth and various insights that can sharpen our self-knowledge and knowledge of human condition which bring us context to test out our potential for good or ill in private reflection when discussing with others. In the field of drama and theatre, scripts of Shakespeares plays provide us full range of practical activity, workshop improvisation and mime which is based on different moments or themes to full-scale public performance. Students from primary school onwards can experience through the formal and narrative structures, as well as the language of plays and poetry of Shakespeare. From this, deeper understanding his texts can be raised higher to each level. The texts in Shakespeares works are open to explore the way in which apparently settled notions of kingship, order, harmony, nobility, and social class and gender are threatened by unresolved forces. Difficulties and challenges in teaching Shakespeare are the opportunities. Shakespeare is the cultural treasure not only of England but also the world. An education in England cannot ignore the vast cultural wealth of our country. For too long England have lost pride in its national icons and allowed nationalists to reclaim them as their own. Keeping control of the powerful icons such as Shakespeare is a tool for integration. Shakespeare has enlightened the lives of the people of this country for 500 years, and for good reason. His poetry and drama represent the pinnacle of the English language, and influences the way we speak today. It is a beautiful body of work, ranging from comedy to tragedy, murder to hatred, treating difficult subjects brilliantly. If we are to remain proud of the history of this country, we cannot ignore the contribution made by this one man to our culture, and wider European culture. Shakespeare made his name here, but has been read by an audience far beyond the reaches of this sceptred isle (Shakespeare: Richard II, 2.i). Shakespeare is also the cultural integration. Many people are worried about an upcoming generation of immigrants that do not identify themselves as British, while living in Britain and paying taxes to the British government. Culture is a key tool in integration; if you can share a cultural identity, you can share other values and bring the wider community together. Teaching Shakespeare, a bastion of British culture, in schools to this end is far better than forcing citizenship ceremonies and oaths of allegiance on children. It is not forceful, but creates a sense that they are part of a country with a long and proud history, willing to integrate new communities into its growth. Shakespeare was way ahead of his time. Many of his characters and situations are modern day and relate to us. Also, his plays and poetry show us things about ourselves that other pieces of literature often cant. The mastermind himself has invented a whole new phase of the English language. To this date, we all use words which directly or indirectly have their origins in Shakespeares works. Also, many movies are being made on his works which has further generated an interest in the Bard. They are even applicable to todays 21st century. There are still Macbeths, Othello, Julius Caesars and others in the society. Its just that their lifestyle has become more advanced, more tech-savvy and dressed differently. Its just that their lifestyle has become more advanced, more tech-savvy and dressed differently. Shakespeare is a pro at deciphering the human emotions and the working of the mind. One can also see his works from a psychological point of view and identify with some of the characters . It might also give an insight to the students who are learning about it and give a better view of the real world as opposed to seeing the world through rose-tinted glasses. II. Recent Shakespeare teaching in schools Generally, teaching and learning in schools have been transformed radically during the last twenty-five years. Learning process is now emphasized within different contexts, oral, as well as valuable written outcomes, active modes of learning, such as: role-play, group discussion, and independent learning). The development of media studies encourages extending the range of linguistic and visual experiences. Literature, in this stream, is no longer perceived as the central study in English, but one of a range of possibilities. Not only competing for time with other literature, Shakespeare also fights with the role of English as a support subject across the curriculum. Shakespeare studies in schools have got many fruitful developments, in which there are two significant ones: the growth of practical drama work through workshop and Theatre-in-Education, and plain text examinations. The pioneers of the first fruit are Henry Caldwell Cook (1917) and Beacock (1943) who established the mummery in Perse School, Cambridge, and were seminal influences on teaching through drama. It was not until in the late 1960s when the growth of educational drama introduced Shakespeare into the teaching in state schools with possible way of grouping students into 4 or 5 member resident companies who are responsible a certain part given by teacher to discuss and perform before evaluation of the whole class. Plain text examinations are given particularly to O level by providing the text in the examination room shifting students to respond by using their own words. III. Teaching Shakespeare in England With many young people, Shakespeare play is just a story with fixed values to be learned, rather than the dramatically dynamic, emotionally shifting and unstable play text which it really is. There are still many classes where students sit at their desks experience by reading through a Shakespeare play. Nothing startling, but a few right ingredients were there with enthusiastic teaching, playing the text, and seeing a performance. Many people leaving school along with the thinking of the most unbelievable and unutterable rubbish to ever hear about Shakespeares plays. Ted Wragg, one of the most well-respected and well-loved educationalists of Britain agreed that there was nothing but doing Shakespeare, rather than reading if someone wants to let children access the power of Shakespeares words. 1. Pre-national Curriculum Beginning of the twentieth century sees the secondary education becoming compulsory and English taking its prestige value from the Classics. Along this, attitudes to Shakespeare were very much influenced by nationalist pride. William Shakespeare, whose timeless characters and portrayed universal values in his plays define our humanity, was reversed as the greatest poet of all time. Shakespeare, in the post enlightenment age when art was considered as the human surrogate for religion (Peter Widdowson, 1981), was like the apex of high culture which was the target for Victorian belief of a better person if exposing to it. Richard Adams (1985), despite decrying the static of Shakespeare, comments that most students still respect Shakespeare although they get bored to tears by reading incomprehensive words if his plays. In the first half of twentieth century, Shakespeares plays were read around class only, which was the main topic for the influential critics such as: AC Bradleys character -based criticism, LC Knights journal Scrunity, and critics like Tillyard, Wilson Knight and Leavis whose concepts of an ordered Elizabethan world helped transmit clear cultural values in Shakespeares plays to us. This tradition of criticism the liberal humanist took the plays in the view of literature rather than drama and influenced a long life in secondary schools. However, on the other side, different views on seeing the plays as the performance texts also existed. Founded in 1906, The English Association suggested in its first pamphlet publications The Teaching of Shakespeare in Schools how to study Shakespeares plays: It is desirable that all the Shakespeare chosen for study should be read aloud in class. The living voice will often give a clue to the meaning, and reading aloud is the only way of ensuring knowledge of the metre. In a class of beginners the teacher must take a liberal share of the reading, but the pupils should be brought into play. They can be cast for some of the parts; the forum scene in Julius Caesar comes one step nearer the dramatic if the teacher is Anthony and the other parts are distributed and the class transformed into a Roman mob shouting for the will. Many writers on Shakespeare education agreed that it was so dangerous for opening textbooks before students in classrooms but forgetting what drama really meant. This pamphlet also recommended good practice by acting out scenes and seeing performance of the play occasionally. Henry Caldwell Cook (1917) strongly encouraged the case for a theatrical approach to the study of Shakespeare. Under the influence of the liberal humanist tradition in teaching, the trend for drama-based teaching of texts was still calling. A.K Hudson (1954) confirmed the important role of active approaches to teaching Shakespeare in his book Shakespeare and the Classroom for The Society for Teachers of English. He wrote in the introduction of this book: The unsuccessful methods [of teaching Shakespeare] normally display two features: they are non-dramatic and they reflect a tendency to regard school children as textual scholars in embryo. The present book recognises frankly the difficulties which the modern pupil finds in dealing with Shakespeare. It has been written in the belief that the plays can be made intelligible and interesting only if the teaching remains stage-centred. The writer suggests practical advice and ideas on how to work with the plays with 11-18 years old. He believes in the benefits from his ways to students when learning Shakespeare. Government, in this time, also had innovative opinions on teaching Shakespeare, which is illustrated by its document named The Newbolt Report (entitled The Teaching English in England) published in 1921. The report, besides remaining the traditional view of regarding Shakespeare as the greatest English writer, focused on the need for English to be enjoyable and encouraged the use of drama for improving the imagination and empathy. School curriculum in this time is the secret garden where schools decide themselves on how much and what about Shakespeare to teach. Frank Whitehead (1966) and J.W. Patrick Creber (1965) introduced a more pragmatic view on Shakespeare in their two books influential in the teaching of English in the mid 1960s. Despite keeping the point of view of Shakespeare as greatest English wri ter, they see that Shakespeare was really difficult for the majority of students, and wonder the suitability of the study of Shakespeare for young teenagers. Jan Kott (1965) concludes that the attitudes to Shakespeare academic and theatrical world were undergone the revolution. Moreover, universities and theatres ignored the traditional, reverential view of Shakespeares plays. 2. The 1980s In the mid 1980s, independent schools and higher ability streams were the province of Shakespeare studies which, despite of having lost favor with general rank and files of teachers in England, became very much the norm with its performance consciousness. Neil King (1985) suggested that Shakespeare should not be taught below Year 9 because the language is too high and difficult to attempt. He chose Macbeth and Henry V instead of the full of violence and hatred in Romeo and Juliet to deal with thirteen-year-old students. John F Andrews writes in the Teaching Shakespeare a special edition produced by American Shakespeare Quarterly in 1984: A decade ago performance-oriented pedagogy was relatively unfamiliar among Shakespeareans and was anything but universally accepted as the wave of the future. Now it is difficult to find a dissenting voice: virtually everybody acknowledges the need to approach Shakespeares plays as dramatic rather than literary works. The only real question seems to be just how to put the new consensus into practice. Also in this edition, Kenneth Muir, in his essay Teaching Shakespeare: the wrong way or the right, affirms that the most effective and only legitimate way to study Shakespeares plays in schools is to turn the lessons into a rehearsal. Late 1980s and early 1990s sees the clash of view over the position of Shakespeare in education between the left wing cultural materialist academics and the right wing guardians of cultural heritage. 1980s was the period of critical theories which opened up academic Shakespeare study. The Feminist and Cultural Materialist got the most influential on Shakespeare teaching. Bardolatry, which had built up around Shakespeare at seemed to be out of time and a repository of universal truth, was strongly attacked by Cultural Materialism. In 1980s, context to the plays in textbooks dealing with Shakespeare were increasingly adapted. Besides, educationalists who were already working with such ideas were provided a theoretical underpinning by the academics. Opposite the awareness of cultural, historical and other contextual influences which is embedded as part of examination requirements along with the awareness of literary heritage of these days, summer 1993 came what the Observer called The Battle of the Bard which saw John Major, at his Party Conference, railed against 500 academics who had written a letter protesting against the Governments policies on literature teaching in which the introduction of Shakespeare was compulsory at Key Stage 3. While the academics view of the policies was like an ill-thought-through elitist imposition of a death white man, it was, with the party members, the chance for moral fibre of all right-minded inhabitants of this sceptred isle to be strengthened. Meanwhile, teachers shrugged and tried to get on with their daily teaching tasks. Luckily, in the stream of this chaos, Dr Rex Gibson, the English greatest Shakespearean educationalist, was building an oasis of sense for some teachers with quiet achieving great success of his invaluable research in project Shakespeare in schools started in 1986. Gibsons team, working from the Cambridge Institute of Education, produced a termly the newsletter named Shakespeare and Schools which is as a support for the teaching of Shakespeare, containing quotes, articles, information, and writings by teachers on their direct experiences with Shakespeare in Primary and Secondary schools. Gibson introduced his fruitful result by using active and flexible approaches to the plays to involve every student of any age to appreciate Shakespeare: In total, our research reveals an encouraging picture. Teachers increasingly report success as they employ a variety of methods, at the heart of which is social collaborative, imaginative, re-creative activities. Such methods deepen and enhance students informed personal responses. First appeared in 1991, Gibsons school editions of plays provides a wealth of practical ideas facing with each page of text. They soon became popular in every English stock-cupboard and the compulsory study of Shakespeare in Key Stage 3. Moreover, his book, Teaching Shakespeare (1998) became the favorite of many new and experienced teachers alike. In the early 1990s, Royal Society of Arts (RSA) project also conveyed the same spirit of how to make Shakespeare accessible in the origin to all age groups from 5 upwards by using well prepared, exciting, and enjoyable teaching and learning approaches. The project, in the echo of Gibsons work, tried to counter the idea of Shakespeare as a bogeyman whose works are so difficult, irrelevant, and inaccessible. RSA introduced a more practical, fun approach to replace the scholarly one, which allows teachers and students to develop skills, knowledge and sharing ideas. In the same purpose, Shakespeare and Schools project, the work of Royal Shakesp eare Company (RSC), National Theatre, and Globe education departments, involved enormously the development of teaching and learning Shakespeare with new approaches. 3. The National Curriculum From 1976, the quality of state education and a great deal of discussion about the curriculum were questioned but most ideas were still theoretical and generalized. Despite broadly mentioned in Curriculum Matter 1, a document of Department of Education and Science, published in 1984, there was still unclear way of how much, which work(s) of Shakespeare, which age of students to teach Shakespeare. Having initiated plans for National Curriculum (NC) of predecessor, Keith Joseph, Kenneth Baker, as Secretary of State for Education in May 1986, was determined to change and create specific requirements for all school children. He got his goal and opened the door of opportunity in 1987 by tying up all the details for NC. He clearly believed that Shakespeare should be a compulsory author to study for having cultural and intellectual cachet. Nigel Lawson, in an interview with The Guardian, in September 1983, summed that Shakespeare was a Tory without any doubt. Shakespeare, in the view of Tor ies, is as the bastion of British culture and values, a stable enduring symbol of Englishness in a shifting world. In September 1992, the Conservative view was stated clearly by John Patten, then Education Secretary: It is essential that pupils are encouraged to develop an understanding and appreciation of our countrys literary heritage. Studying the works of Shakespeare is central to that development. That is why the study of Shakespeare is an explicit requirement of the National Curriculum. This point of view alienated many teachers and academics who did not support the compulsory Shakespeare study. They still questioned the values about class and women in the writings of this white man, and denied students access to a man who is generally regarded as the worlds greatest playwright but simply reverse snobbery. From autumn 1989, the National Curriculum was introduced progressively. It begins with unspecific state that pupils should learn some of Shakespeares works. Besides, a new battle of the Bard began in September 1990 when SATs, a kind of Scholastic Assessment Test, were first embarked to Year 7 students on the English NC program. The Cox Report, English for Ages 5-16, in 1989, mentioned the implication of drama-based methods for teaching Shakespeare: In particular, every pupil should be given at least some experience of the plays or poetry of Shakespeare. Whether this is through the study, viewing or performance of whole plays or of selected poems or scenes should be entirely at the discretion of the teacher. The report continued on the comment of Gibsons Shakespeare and Schools project that secondary students received wide range of abilities to find Shakespeare meaningful, accessible and enjoyable from the project which also replaced traditional methods of reading desk-bound students by exciting, enjoyable approaches. The place of Shakespeare in NC is also validated in this report: Many teachers believe that Shakespeares work conveys universal values, and that his language expresses rich and subtle meanings beyond that of any other English writer. Other teachers point out that evaluations of Shakespeare have varied from one historical period to the next and they argue that pupils should be encouraged to think critically about his status in the canon. But almost everyone agrees that his work should be represented in a National Curriculum. Shakespeares plays are so rich that in every age they can produce fresh meanings and even those who deny his universality agree on his cultural importance. In 1995, as the information in the Dearing Report, a new slimmed-down version of NC was given to schools, which stated that at least two Shakespeare plays should be taught during the Key Stage 3 and 4. 4. The SATs Early 1990s, Shakespeare was added on Paper 2 of the Key Stage 3 SATs examinations, which went along with the fact that all Year 9 students had to study 3 plays of Shakespeare: Romeo and Juliet, Julius Caesar, and A Midsummers Night Dream. The questions in exam were traditionally literary, based on the set scenes of the plays. Students were required to answers the questions as well as writing their response in 1 hour 15 minutes. Both reading and writing skills were required. However, the questions were still in the form that regards an audience member as a reader rather than a witness at a place. For example, the question relating to Act 1 Scene 3 of Julius Caesar: At this point in the play do you support the conspirators? Or the question relating to Act 1 Scene 5 of Romeo and Juliet: How are moods of excitement, romance and danger created during the scene? How do they affect the audiences feelings about Romeo and Juliet at this point in the play? A better question that allows students to give more interpretive response is the one relating to Act 3 Scene 1 of A Midsummers Night Dream: If you were directing the scene, what would you tell the actors to help them bring out the comedy? However, this paper was boycotted by the majority of schools in the trend of boycott the English Key Stage 3 SATs because teachers and students felt that the paper was so quick to be adequately prepared. In 1995, the first year of national tests for all Year 9 students, SATs were deigned to be as inoffensive although the format was the same. The questions tried to put students into characters behavior in the set scene or characters place, and then asked students to writes a letter or diary as that character. In the next years, most questions were largely character-based. 2003 sees another battle when the ideas of Estelle Morris vetoing a QCA (Qualifications and Curriculum Authority) recommendation of reducing the test to 45 minutes and checking reading skill only. The set plays were Twelfth Night, Macbeth and Henry V, each of which was put in a separate paper within two questions to be answered in 1 hour and 15 minutes. This new version also got so many complaints the QCA had to do a survey of teachers on how to change the paper into the best way. Because of having not enough time to change, 2004 version got the same format of paper and the problems were compounded further. The negative stress factor caused by SATs was highlighted in the Report on KS3 English Review of Service Delivery failure 2003-2004 to QCA Board. 30/09/04 that the test results of school-level key stage 3 had significant impact on school with the potential affect on teachers careers. 2005s Paper 2 was also considered as a disaster. Shakespeare in 2005, 2006 was assessed by student s who would answer one question which possessed 18% of the total English papers. The question based on the set play and required 45 minutes to respond. Since 2009, following the public consultation, only two plays Romeo and Juliet, and The Tempest have been chosen as the set texts for SATs. For Key Stage 3, the NAA suggests four plays Romeo and Juliet, As You Like It, A Midsummers Night Dream, and Julius Caesar should be on a rolling program of plays. 5. Key Stage 4 Exams In 1960s and 1970s, Shakespeare was the unique compulsory author in the old O-Level English Literature syllabus which required the study of three texts: A Shakespeare play, a novel and some poetry. It was free for the boards to choose texts from any period, although in practice, the texts were in the trend of drawing from Great Tradition. Differently, 1980s came the boards withdrawing away from the Great Tradition and compulsory Shakespeare. O-Level texts no longer insert plays or poetry. Therefore, students could escape from plays or poetry all together, and left school without having studied Shakespeare at all. The three genres: poetry, prose and drama were recovered by the introduction of GCSE supplanting the O-Level and CSE syllabuses for first examination in 1988, but the study of Shakespeare was placed in the discretion of the teacher. Some schools chose coursework with 100% mark or took chance to do some interesting assignments on Shakespeare. However, when adding both Shakespeare and a modern text, for example Forsyths Gregorys Girl, while most teachers were trying to convey the lessons in mixed-ability groups, many opted not to bother Shakespeare. In 1994, Shakespeare returned the only compulsory author on the Literature syllabuses when the Key Stage 4 program of study which was set out in the 1991 National Curriculum, came into force. In 1995, the exam boards required the texts be compared and contrasted, and be shown social and historical contexts, which became the hints for teachers to set discussions the relevance between texts social and historical contexts and today ones. Since 1999, GCSE English Language has required the study of a Shakespeare play to meet the requirement of NC that a play should be studied at Key Stage 4. Regardless the ability, for the first time, all students had to study a Shakespeare play for their important 16+ exam in English. Shakespeares works are still the industry standard of literature, teaching Shakespeare in England has been innovative to update and create new approaches for a wider and deeper view on his social, historical contexts and humanity. Teachers and students play important keys to make Shakespeare lifelong.

Essay --

A prophet was a person viewed upon as an inspired teacher or proclaimer of the will of God. Prophets bring the word of God to the people of God and calls the people to respond. They were called by God in times of crisis, and were chosen by God to lead His people and protect them. "I will raise up for them a Prophet like you from among their brethren, and will put My words in His mouth, and He shall speak to them all that I command Him. And it shall be that whoever will not hear My words, which He speaks in My name, I will require it of him(Deuteronomy 18:18-19)." When it was difficult to see the hand of God, Prophets would give direction, so that God's people know what was happening, and what they should do. Prophets were the â€Å"fortune tellers† who have insight into God's purposes for many things. The prophet speaks to the present, considering the future that God has revealed to him. They also received new identities when God calls on them to act in His name. Prophets hav e done many things, no two prophets were called to do the same thing and  every prophet has had a contribution in carrying out the teachings of God. The prophet, Amos, spread the Word of God in such a way that inspired sinners to find redemption. The life that Amos lived, influenced the type of prophet that he became. Amos translates â€Å"to carry the burden,† and the burden that he carried were the sins of the Israelites at the time. Their sins had an impact on his life. Amos lived during â€Å"the days of Uzziah king of Judah and in the days of Jeroboam the son of Joash, king of Israel, two years before the earthquake(ESV. Amos, Intro),† and worked as a shepherd in the town of Tekoa in Judah, suggesting that he was from the lower ranks of society, â€Å"I was neither a prop... ...;  Ã‚  your assemblies are a stench to me (Amos 5.21).† During Amos’ time, the people allowed lust, pride and greed to take control and become the main focus of their lives. God turns to Amos and wants him to explain to the people of Israel the consequences of their behaviour. The Lord explains, â€Å" ‘For three sins of Israel,  even for four, I will not relent.They sell the innocent for silver,  and the needy for a pair of sandals’(Amos 2.6).† Amos is unapologetic when he expresses the wrongdoings of civilization forcefully, and the changes that people must make in their lives. The people fail to listen to Amos which leads to the destruction of Israel. When Israel is consumed by destruction, it is explained as, â€Å"Will not the day of the Lord be darkness, not light—pitch-dark, without a ray of brightness?(Amos 5.20)† The destruction of Israel is the outcome of all their sins.

Human Resourse Essay

Introduction 1. The Definition and Discrimination of HRM and PM 1.1 The Definition of Human Resource Management  Human Resource Management (HRM) is the function within an organization achieved  the best from their highly motivated people and it is new management techniques to  ensure the effective use of human talent to accomplish organizational goals.   Human Resource Management is the process of recruitment, selection of employee,  providing proper orientation and induction, providing proper training and the  developing skills, assessment of employee (performance of appraisal), providing  proper compensation and benefits, motivating, maintaining proper relations with  labour and with trade unions, maintaining employees safety, welfare and health by  complying with labour laws of concern state or country.   (http://www.whatishumanresource.com/human-resource-management) 1.2 The Definition of Personal Management  Personal Management (PM) is includes the functions that Human Resources staff  perform relative to the organization’s employees and include recruiting, hiring,  compensation and benefits, new employee orientation, training, and performance  appraisal systems. The management of the people in working organizations. It is also frequently called  personnel management, industrial relations, employee relations, manpower  management, and personnel administration. It represents a major subcategory of  general management, focusing exclusively on the management of human resources, as  distinguished from financial or material resources. The term may be used to refer to  selected specific functions or activities assigned to specialized personnel officers or  departments. It is also used to identify the entire scope of management policies and  programs in the recruitment, allocation, leadership, and direction of employees. (http://dictionary.reference.com/browse/personnel+management) 1.3 The difference between Personal Management and Human Resource  Management. Human Resource Management Driven by employer needs for   competitive advantage in the marketplace. Operates within competitive markets and  a change agenda Is a distinctive approach to managing  people, with a strong strategic purpose Adopts a unitary frame of reference to  organisation and people management Manages employees individually rather  than collectively Personnel Management Driven by employer needs to treat people fairly in organisation. Operates in relatively stable market  conditions Is a traditional approach to managing  people, with a strong administrative  purpose Is long term, with a strategic time  perspective  Is short time, with an ad hoc perspective Adopts a pluralist frame of reference to  organisation and people management Negotiates with trade unions where they  are recognized 2. The four major stages of the evolution of Personal and Human  Resource Management. 2.1 Social Justice 2.1.1 Explain the Social Justice The origin of personnel management lies in the 19th Century, deriving from the work  of social reformers such as Lord Shaftesbury and Robert Owen. Their criticism of the  free enterprise system and the hardship created by the exploitation of workers by  factory owners led to the appointment of the first personnel managers. In the late 19th  and early 20th centuries, some large employers began to appoint welfare officers to  manage new initiatives designed to make life less harsh for their employees. The  results were higher productivity, improved retention of the workforce and a bigger  pool of applicants for each job.  2.1.2 Robert Owen (14 May 1771-17 November 1858)  The Industrial Revolution provided the impetus for developing various management  theories and principles. Preclassical theorists like Robert Owen made some initial  contributions that eventually led to the identification of management as an important  field of inquiry. This led to the emergence of approaches to management: classical,  behavioral, quantitative and modern. The classical management approach had three  major branches: scientific management, administrative theory and bureaucratic  management. Scientific management emphasized the scientific study of work methods  to improve worker efficiency. Bureaucratic management dealt with the characteristics  of an ideal organization, which operates on a rational basis. Administrative theory  explored principles that could be used by managers to coordinate the internal  activities of organizations. The behavioral approach emerged primarily as an outcome  of the Hawthorne studies. Mary Parker Follet, Elton Mayo and his associates,  Abraham Maslow, Douglas McGregor and Chris Argyris were the major contributors  to this school.   (http://www.icmrindia.org/courseware/Introduction%20to%20Management/Evolution  %20of%20Management%20Chap2.htm) 2.1.3 Cadbury Cadbury Schweppes employs more than 50,000 people and has manufacturing  operations in more than 35 countries. It is the world’s third largest soft drinks  company and holds either the top or second position in the market share of 24 of the  world’s top 50 confectionery markets. This illustrates that the large Quaker company  has its value in the market where it is important for HR to manage their employee’s  performances, working culture and management in an efficient and positive way.  Resource based model, the SHRM role becomes one of the creating systems and  procedures that focus not on external relationships but on how staff and their abilities  are used. The resource-based model recognizes that many aspects of capability can be  formally defined in skill terms and allows the integration of the intangible aspects of  work alongside other more visible areas such as patents, trademarks and other  intellectual. The core competencies inclu de many things such as aspects change of the  management, capability of staff, strategic development capability and speed of  response. (http://www.ukessays.com/essays/business-strategy/cadbury-strategy.php#ixzz2xjamqFC) 2.2 Human Bureaucracy 2.2.1 Explain the Human Bureaucracy Marked the beginning of a move away from a sole focus on welfare  towards meeting various other organisational objectives. The  fostering of social relationships in the workplace and employee  morale thus became equally important objectives for personnel  managers seeking to raise productivity levels. 2.2.2 Henri fayol (1841-1925) Fayol’s â€Å"14 Principles† was one of the earliest theories of management to be created,  and remains one of the most comprehensive. He’s considered to be among the most  influential contributors to the modern concept of management, even though people  don’t refer to â€Å"The 14 Principles† often today. In 1916, two years before he stepped  down as director, he published his â€Å"14 Principles of Management† in the book  Ã¢â‚¬Å"Administration Industrielle et Generale.† Henri Fayol’s â€Å"14 Principles of  Management† have been a significant influence on modern management theory. His  practical list of principles helped early 20th century managers learn how to organize  and interact with their employees in a productive way. Although the 14 Principles  aren’t widely used today, they can still offer guidance for today’s managers. Many of  the principles are now considered to be common se nse, but at the time they were  revolutionary concepts for organizational management. ï ¼Ë†http://www.mindtools.com/pages/article/henri-fayol.htmï ¼â€° 2.3 Consent by Negotiation 2.3.1 Explain the Consent by Negotiation The elements of hard bargaining or win-lose bargaining were illuminate how to set  aggressive target, start high, concede slowly and employ threats, bluffs, and  commitments to positions without triggering an impasse from 1950s to 1960s. 2.3.2 Collective Bargaining Process The process of negotiating the terms of employment between an employer and a  group of workers. The terms of employment are likely to include items such as  conditions of employment, working conditions and other workplace rules, base pay,  overtime pay, work hours, shift length, work holidays, sick leave, vacation time,  retirement benefits and health care benefits. In the United States, collective bargaining  takes place between labor union leaders and the management of the company that  employs that union’s workers. The result of collective bargaining is called a collective  bargaining agreement, and it establishes rules of employment for a set number of  years. The cost of this employee representation is paid by union members in the form  of dues. The collective bargaining process may involve antagonistic labor strikes or  employee lockouts if the two sides are having trouble reaching an agreement. (http://www.investopedia.com/terms/c/collective-bargaining.asp) 2.4 Organisation and Integration 2.4.1 Explain the Organisation and Integration At the late 19th and early 20th century, there are some social problems in British, which  is social injustice and Rich-poor gap. So British make some legislation on the basis of  economic situation, political democracy, the international environment and social  thoughts. 2.4.2 Race Relations Act 1976 The Race Relations Act 1976 applies to discrimination on the grounds of colour, race,  nationality and ethnic and national origins. It applies in Great Britain but not in  Northern Ireland. Religious discrimination is not explicitly covered in Britain but  separate legislation covers this in Northern Ireland. â€Å"Ethnic origin†, however, has  been interpreted broadly to cover groups with a common or presumed common  identity such as Jews or Sikhs. There are important exceptions to the legislation  which, for example, allow discrimination on grounds of nationality to preserve  immigration controls. Both direct and indirect discrimination are covered by the  legislation which applies to all stages of employment: arrangements made for  deciding who is offered a job; the terms on which the job is offered; opportunities for  promotion, training and transfer; the benefits and services granted to employees; and  in job termination or other unfavourable treatme nt of employees. The Act provides for  a few, specific exemptions where it may be a genuine occupational qualification  (GOQ) to be a member of a particular race, ethnic group, etc. (http://www.eurofound.europa.eu/emire/UNITED%20KINGDOM/RACERELATIONSACT1976RRA-EN.htm) 2.4.3 Disability Discrimination Act 1995 The Disability Discrimination Act (DDA) 1995 aims to end the discrimination that  faces many people with disabilities. This Act has been significantly extended,  including by the Disability Discrimination (NI) Order 2006 (DDO). It now gives  people with disabilities rights in the areas of: employment, education access to goods,  facilities and services, including larger private clubs and transport service buying or  renting land or property, including making it easier for people with disabilities to rent  property and for tenants to make disability-related adaptations functions of public  bodies, for example issuing of licenses. (http://www.nidirect.gov.uk/the-disability-discrimination-act-dda) 3. References http://www.whatishumanresource.com/human-resource-management http://dictionary.reference.com/browse/personnel+management http://www.icmrindia.org/courseware/Introduction%20to%20Management/Evolution%20of%20Management%20Chap2.htm http://www.mindtools.com/pages/article/henri-fayol.htm http://www.nidirect.gov.uk/the-disability-discrimination-act-dda http://www.eurofound.europa.eu/emire/UNITED%20KINGDOM/RACERELATIONSACT1976RRA-EN.htm  http://www.investopedia.com/terms/c/collective-bargaining.asp http://www.ukessays.com/essays/business-strategy/cadbury-strategy.php#ixzz2xjamqFC http://www.uniassignment.com/essay-samples/management/cadburys-approach-to-managing-its-human-resources-management-essay.php http://www.ukessays.com/essays/management/study-on-strategic-human-resource-management-at-cadburys-management-essay.php http://www.studymode.com/essays/Henri-Fayol-Five-Functions-Of-222700.html

Music: a Magicful Medicine

Music:A Magicful Medicine Fine arts always have been a good way to express oneself for thousand years. One of them is a magical and a powerful way to affect people,both negatively and positively. Music is not just a way to fun or just an art. Almost everyone loves it,some of them say that they can not live without it. However,above all,music is able to do many things. There are a lot of ways that music effects people. As it was mentioned above, music has both negative and possitive effects on us. But these effects are usually possitive.First of all, and it is the most interesting affect maybe, it can cure diseases. Of course it can not be as effective as pills but it really helps during the cure. Due to the fact that music has an enormous affect on humain brain, it helps Alzheimers mostly and it is used as a rehabilitation. It reduces the worst effect of the disease: it brings back the lost memories. Until today, a lot of patients made a good progress by listening to music. In additi on, music also repairs patients’ brains damage, like ‘Kenny Roger Effect’. It is a vacation that shows how music can repair a human brain. Because songs by country performer Rogers were among the stroke patients’ preferred tunes,we were thinking of calling this the Kenny Rogers Effect. ’ was said in an interview by Dr Soto. And interestingly, Rogers’ songs also provided the greatest benefits, according to some study findings. Another disease which music can be used as a cure is cancer, maybe the most dangerous one ever. Just like in Alzheimer, there are a lot of good examples which can prove music’s effects on cancer. Firstly, it reduces stress and makes people feel more cheerful.We all know that what kind of songs we listen to can change our mood easily, we can suddenly start crying or feeling better just by listening to music. During the cancer rehabilitation, patients’ moods, feelings and thoughts are very important. Music ca n raise patients’ spirit and help them to feel better and less stressful. On the other hand, music is a very good way to learn and understand easily. Because of that, it can be applied education, especially in childhood. Music helps children during their education life. It is a really effective way to make a good progress in education.According to the last researches, children who play a musical instrument are more succesful in their school life than the others. The reason is simple: Playing an instrument makes a lot of parts of your brain work at the same time which is a very beneficial thing,especially for children. By the same token, children who interest in music are also more succesful than the others. There are two benefits of music for children. First, it helps them to understand easily. Today, people goes courses to understand and concentrate quickly. Because by just listening a song (a special song of course) you can do this.Classic music for example is a good altern ative. Listening a song from Beethoven can make your brain waves decelerate and this is one of the ways to improve your brain’s capasity. Another good effect of music is that it can improve intelligence. We all have seen a Mozart cd for babies or children at least for once. It is because there are so many examples of listening classic music can improve babies intelligence especially during the pregnancy. The works of Mozart and Beethoven are famous for mental function, because the frequencies used are very specific and place the mind in highly distinctive states.Studies have repeatedly shown that babies IQ rises by 3-5 points. Classic music also can make the memory stronger –not for just babies for everyone- and a strong memory is a good proof of an intelligence. To sum up, listening to music is just a free-time activity for a lot of people but in fact it is like a magical medicine for us. It has unbelievable effects on our body and brain and today these effects are be ing used as cures for cancer and Alzheimer. In other words, music is like a gift for people. Birnur Sahin Section:22 28/12/12