St. John’s Wort :: Depression Medicine Medical Plant Papers

St. John’s Wort What is St. John’s Wort? St. John’s Wort (Hypericum Perforatum) is a small plant with bright yellow flowers. Wort is an old English term that means plant. The red spots on the leaves of the plant are symbolic of the blood of St. John after his beheading. The plant is grown worldwide but it grows especially well in parts of Northern California and Southern Oregon (http://www.doctormurray.com/articles/worteditorial.htm). St. John’s Wort has not been well known in the United States until recently. Studies on the medicine have been going on for decades in Europe. German doctors have been prescribing it and the insurance companies have been paying for it. It is available in many health shops in the United States and all across Europe but recently it has been selling out because of its increased popularity. In the United States, manufacturers can’t advertise it as a treatment for depression and doctors can’t prescribe it because the FDA (Federal Drug Administration) won’t allow it. It has to be advertised as a contribution to emotional balance and positive outlook or promoting a sense of balance for people with mild depression, not severe or major depression. St. John’s Wort comes in one of three forms: liquid, capsule, and dried form. (http://www.vanderbilt.edu/AnS/psychology/health_psychologyStJohn.htm) What is the purpose of St. John’s Wort? St. John’s Wort use for depression, insomnia, and anxiety inspired a group of German doctors in the 1980’s to do research on the herb. The findings of their studies brought the group fame in the late 1990’s. A number of studies indicate that St. John’s is an effective treatment for treating mild-to-moderate depression (http://www.mothernature.com/cg/stjohns.asp). St. John’s is quickly becoming the most popular herbal drug in the United States. German physicians prescribed a total of 66 million daily doses in 1994. These German physicians now prescribe St. John’s wort an average of 8 times more than Prozac. These doctors claim that St. John’s wort produces better results in relieving depression, but the medicine does not have near the amount of side effects as Prozac (http://www.doctormurray.com/articles/worteditorial.htm). How does St. John’s Wort work? Originally, scientists thought that the reason St. John’s worked as an antidepressant was due to a substance called hypericin.

History of Hong Kong Art Village

(Eng. Summary) andrew lam (The section â€Å"History of Oil Street Architecture† was published in Hong Kong Economic Journal 2000-03-27) The First Stage – â€Å"The Oil Street† Period During the 17 months from August 1998 to the end of 1999, the Government Property Agency rented an abandoned governmental building at Oil Street, North Point to architects, designers, photographers, individual artists and art groups at a rental rate as low as HK$ 2. 5 / square ft. It gradually served as the nurturing ground for art education, creative industries and various kinds of exhibitions and performances. 3 large-scale art and culture festivals have taken place in the Art Village. More than 100 exhibitions and performances, which attracted more than 30,000 audiences, have been held throughout the year. The nature of activities were diverse to include theatre work, dance, folk art, ink painting, calligraphy, installation, photography, sculpture, painting, multi-media, video ar t, digital art, architecture, fashion design, performance art and music concert.The Oil Street Art Village was a cultivated space, which fostered local economies, creative industries and international art and cultural exchange activities. It attracted creative and enthusiastic individuals to involve and to arouse the interest of local and overseas press. The total area of the Oil Street building was 125,000 square ft. The gross floor area was estimated to be 160,000 square ft. 33 art groups and workshops, and more than 100 artists were stationed in the Art Village; while more than 721 artists and 3,000 art group members involved in various activities (it is approximately 30% of HK art field).More than 60,000 square ft. area served as performing space, rehearsal room, working area, and storage. The abandoned property was positively activated. In that short period of time, the art and culture industry built up a good partnership with the SAR government: the Art Village was recognized and supported by HKADC. In 98-99, the Planning Department pointed out that Oil Street Art Village was a successful model for land use transferral. All of the above prove that HK citizens urgently need the full support of the government to assist running a non-governmental and independent art village.It serves as a window and an opportunity for local art and cultural workers to showcase the power of creative culture. This is the gateway to develop Hong Kong into the brand new â€Å"art and cultural centre† in Asia, and to raise the image of HK in the global level. In 2000, the SAR government planned to sell the land through auction. Various units in the Art Village moved out and the land has been abandoned until today. Not only was the Oil Street Art Village destroyed, but the SAR government also lost nearly HK$ 10,000,000 of rental income since 2000.The Second Stage – â€Å"Cheung Sha Wan Warehouse† & Old Kai Tak Aiport Period The ex-slaughterhouse in Cheung Sha Wan and the ex-Kai Tak Airport Office Tower was temporarily let to Oil Street Art Village by the Government Property Agency. However, the space provided was not suitable for artistic activities. Many workshops and art groups such as 1aspace, Videotage, On and On Theatre, Zuni Icosahedron/Z+ etc. retreated or their activities suspended. Such a â€Å"hybernated† situation lasted for at least 1 and a half years. During the period, some art studio was transferred to Old Kai TatAirport venue and the studio of Tsui Pui Wan had organized an installation, which attracted wide public participation. The Third Stage – To Kwa Wan â€Å"Cattle Depot Artist Village† (CDAV) Period In July 2001, the Government Property Agency rented a renovated government property, the ex-quarantine station for animals (63 Ma Tau Kok Road, To Kwa Wan) to individual art groups and artists. Most of the architecture in the station is heritage. Some are over 100 years old. Units and Cultural activ ities in CDAV The total area of CDAV is 7,394. 93 square metres.It has 19 stationed art groups: Zuni Icosehedron, Ngau Pang Shue Sue Yuen, Artist Commune 63 Museum, Videotage, 1aspace, Frog King Museum, (szOf)-Tsui Pui Wan, Wee Design, Photo China. CC, Cut_N_try Workshop, Billy & Suzies, Tim Tsz Workshop, Possive Null Workshop, Kum Chi Keung Workshop, Steve Cheung-Work Zone, 2/3 Studio, N4 and so forth. Main publications in these two years include: â€Å"E+E† by Ngau Pang Sue Yuen,†¦. and many exhibition catalogues. Significant exhibitions held included â€Å"Tree. Man†: Danny Yung Solo Exhibition Tree Man in 2003, CADV held large-scale art festival, such as Cattle Depot Summer Days & Nights Arts Festival 2003.The studio zero O fish organized Summer Workshop 02, etc. The Book Festival was co-organized by Zuni Ngau Pang Sue Yuen and 1aspace with participation of 22 cultural organizations. It attracted more than 20,000 local citizens and book lovers. The Artist Comm une has also organized many societal and cultural exchange programs. In the future, the CDAV will develop as a non-profit making charity (NGO). We are also planning to make the best use of spaces in the village as a platform for experimenting civil art education and creative cultural industries, and as a channel to consolidate different social sectors and governmental departments.The CDAV will be the new fountainhead of Hong Kong culture, and it will foreshadow and set an example to evaluate the idea of the operation of the proposed West Kowloon Cultural District. City globalization and synchronization bring about the building of skyscrapers, highways, airports, etc†¦ Organizing international biennial, triennial, exposition and other great cultural events become inevitable in internationalization. The CDAV has long been a localized phenomenon, we pose the questions of globalization versus regionalism. In reality, there are 4 alternative spaces and 15 independent studios in the CDAV.For the past 2 years, they actively organized a great many of individual programs. They also organized joint events like community workshops and territory-wide art festivals. This proposal will present open studio project to create A CONCEPTUAL ‘COMPUTER HUB’ WHICH RE-UNIFIES THE WHOLE CDAV AGAIN. [1] The Experiment The Hong Kong CDAV is not a conventional museum for cultural display. It is an alternative space: a 7,394 sq meters art village with visual art and theatre group, big companies and individual studios living in symbiosis.In reality there are dreams and conflicts, expectations and competitions. Urgency and stability are side by side. In meeting this global event, the proposed CDAV project will not be a fabrication of un-real situation. In preparing for the exhibition, no pre-fabricated unit or exhibition system will be re-assembled in another site for exhibition. The studios of the CDAV is like ‘A MICROSCOPE’. It helps the international audie nce TO UNCOVER A WORLD OF ADVENTURE, EXPERIMENTATION, DISCOVERY AND WONDERS in the CDAV. There is NO GLASS OR INSTRUMENT USED TO MAGNIFY OR DISTORT FACT AND REALITY.Every object has to be viewed in actual size! Like the Berlin Biennale 2004, The CDAV studios portray reality and the CDAV artists provide such a visual excursion with a LIFE MANUAL. They themselves are the best exhibition documents and interpreters. BEYOND THE FRAME WE PROVIDE A NEW SPACE WHICH EXTENDS THE CONVENTIONAL PHYSICAL & CONCEPTUAL BOUNDARY OF AN EXHIBITION WITHIN THE ALREADY-EXISTING AND DEFINED AREA OF STUDIOS IN THE CDAV. The artists working in the CDAV studios take the opportunity to develop creative dialogue and exchange with the international curators and artists.The CDTV project will be in an interesting dialogue by using site-specific studio works showing artistic development from initial stage to final production, from conceptual building to theory formulation, from pre-exhibition studio discourse to p ost-exhibition debate. (  ¦ ) 2000-03-27 2004-06 (1999? ) (2003-2006) (1999) 1999? 11? 9? , , , > 006 2> 007 3> 007 4> 015 5> 016 6> 021 : 023 025 046 : †¦ , , , , (3? ) (1? ) (6? ); (2? ) (1? ) 1? , , , , , ; , , ; , , , , , , 2 , , , , : , , , , , , , , , ; , , , , , 1990? , ( ), , , , , , , , , , [2] , , , , , , , 2. 75 15 , 12? 5 , 31? , 6 Kwok and Cho Z+? Workzone Raymond Lau? Wong Chi Fei? Lily & Workshop? Qwert & Parallax Workshop? Xtreme Creative? Michael Chan Architects? James Wong & Andrew Lam? Vivian Lam? Ashley Hempsall? Tom Tong? May + Ling?Rensis Ho? Bone Wong Tim? Billy and Suzie? Edge? 1a Ringo Tang? 31 721? , 3? , 100 , 30,000 , , , [3] , , , , , , , : 1. , ( : )? 2. 2a , , , ,? 2b , : , , , , , ( ) , , ( , 2,000? , ) : , , 180 , (? ) (? ) (? ) (? ) (? ) (? (? ) , , , , , , ; , , , , , ; , , , , , , , , , , , 1A , Z+ , , , , , , , , , (C? D? ), , , , , , (Machine Aesthetic) , , , , , ,? 1998? 8 16 2. 75? 1 , 16 , 12? 5 , 30? , 6 , , , , 2000 , , : , 12? 15 , , , , 1998 , , , , , 98 , , , 1893 12 , [4] , , Victoria Regata Club , , , , [5], (E. M. Hazeland) [6], 1908? 3? 21 (Sir Frederick Lugard) ; , , , (Club House), , , , , , ; , , , , , , , , ; , 19 (Arts & Crafts Movement) [7]; , (1905? ) (1913? ) (1915? ) , , , , [8]1965? , – 1992? 10? , 1999? 11 , , , 1939 1964 1939 , 1950 941 , , , : i) 1969 (DYN1XB1B), , 1969? ; ii) 1945-64? 1:2,400 (HKR. S. No. 846(320)-D & S No. 1, Plan 1), A ,B ? C , , A 1964 1969 ; iii) 1950 :, , ( ), (B? ) , 50 ; iv) 50,000 , 1945? 50? , , 1950 v) 1939 , , , (Kellet Island) , , , 39 50 ,? 10 , ; vi) 1939? 103 , : 1939? 4? 26 , 16 , , 1939? ; vii) , C Z+ 1939 , , ; , , , , , , , , , Messrs Kin Lee & Co. , , (C? D? , , , , , (Machine Aesthetic)? , , , , , , ; , , ; , ; , , , ; , , , , ; , , ; , , , , , , , , 98 , , , , , , , , ,! , , ; , , , , , , , 100 , 20,000, , , , , , , ; , , , , , , , , , , , , , , : 1) 2) 98 80% , 97 5%? 3) 15% , , ; , , / / 97 2% 6% , 18% 23%, 15% 18% , [9] , , , , , , , ; , (Marginal Utility) : , , , , , , , , , : , , , , , , , , , , , , , , / , , , , / , , , , , , , , , , , , , , , , , , , , , – , :1) ( );2) ( ;3) ( )4) ( ) , ( , , , , , , , , ( ) , – 1. , 2. , , , 3. , , , , 4. , , , 5. , , , 6. , , / , , / , , 1. ( ) 2. ( ) 3. ( ) , , 4. ( ) 5. / / / ( ) / / , 6. / ( ) / / 7. / ( , ) , 8. ( ) , 9. ( ) 10. E & M? , ( ) ? 11. ( ) 12. ( ) ? 13. , ( ) ? 14. ( ) 15. ( ) ? 16. ( ) ? 17. ( ) 18. ( ) 19. ( ) ? 20. ( ) , , , , : 1. 2. , 3. , , 4. , ;? ii , , , , , : 1. , 2. , 2a , , , : ,? 2b , 1) : , , , , , , ?P. S. 1. , ; [10] , , , / , , , , , 1. : 1a , ;? 1b , , , , , , , ,! :1) , , ; , , ;2) , , , , , , , , , ;3) , ;4) , , ;5) , , , 2. : , (? ) / : , / , , , : 7A ( ) Dr. Morhard, Juergen, Consul of German Consulate (Hong Kon g)? Dr. Sacker, director of Goethe-Institute(Hong Kong)? Oscar Ho, exhibition director of HK Arts Centre? Renee Chan, art and design programme designer, HKU-Space? Ben Sumner, senior lecturer of APA? Chartered Society of Designers?Caroloine Cheng, director of The Pottery Workshop? Lam Yuen Mei? Gary Mak Sing Hei, associate director of Broadway Cinematheque? Cheng Wai Lau, manager of Theatre Ensemble? Irene Ngan, Program Manager of Goethe-Institut? Ip Yuk Yiu, Lecturer of City University? Linda Lai, assistant professor of SCM, City University? Nancy Tong, assistant professor of City University? Cheung Kai Sun, art director of Zebra Consultant? Simon Queeans, publisher of BC Magazine? Leung Chi Fan, vice-president of Hong Kong Society For Education In Art? Hung Chin Lu, director of Studio 22 Ltd.? Leong Ka Tai, director of Camera 22 Ltd.?Golden Cheetah Company? Wong Leung Sek Rupert, chairman of Hue Art Association? Shum Ka Chun, art dirctor of ICON? Wong Chack Kie, Associate Professo r of the Chinese University of Hong Kong? Li Chak Man, project manager of Yew Chung Education Foundation? Siu King Chung, assistant professor of HK Polytechnic University? Tang Shu Wing, artistic director of No Man Land Limited? Tsang Wai Yi Catherine Lau Lui Wai Kei Lam Wai Kit? Lau Chung Hang? Kelvin Tsang? Louisanna Chan? Steve Choi? William Thomas Dixon? Pegsi K C Wong? Betty Hung? Yik Fei? Natashia Ting Clorie Ng? Fanny Lam? Lau Mei Yee? May Fung? Yanpi Kwan Pui Yan?Wong Shun Kit? Hilary Binks John Thompson Chan Chui Hing, Nose? Mo-yung Yuk Lin Helen Leung Jenny Lam Chi Ling? Lichtenstein, Frederic? Vivian Chan Sau Han? Lee Kit Wai John Yip? Chan Tze Ming Liu Yuen Hung Jacqueline? Sandra L. Walters? Winton non Marsalis? Clarence Tsui Borezee? Blaise Lam Kam Ying? Wong Fung Ming? Tam Shiu Wah Hillman? Norris Ng? Lesley Chan Yan Yan,? Woo Vivian Cheng? Wai Kwan? Alice Chu? Cherie, Cheng Shui Che? Chan Wai Fun Dovas? Lau Wing Yin, Nataue? Kum Chi Keung? Tina Chan? Charles Lam? Mar ia Leung? Wei Peh Ti? Wong Hao An Alanie? Wong Gi Wai, Gigi? Winnie Lau? Paul Kember? Julita Lui Y. E.?Juliana Wong? Peter K. Ho? Jan Chu? Pamela Hoy So Ching? Quentin Fong Bryan Lay? Liu Ying Kei Carol? Robert Orien? Freddie Chan? Rachel Lee? Fornia Chan Siu Yim? Beryl Yau? Mimi Tung? Frank Yeung? Kearen Pang Yuri? Ng Lilian Chan : The Australian Network For Art and Technology? Artspace Visual Arts Centre, Sydney? Chinese Art News Magazine? Marina Grzinic, Fund For Video Art? Griffith Artworks, Griffith University, Australia? Videobrasil Festival, Brazil? Mike Stubbs, director of Hull Time Based Art, UK? Mike Leggett, Australia? Chang Young-Hae, Seoul?Wolf Kahlen, Germany? Evangelo Costadimas? Uwe Buchler, Werleitz? Gesellschaft, Germany? Steve Hawley, UK? Trevor Batten, Amsterdam? Veronica Needa? core member of Yellow Earth Theatre(London),†¦ : ( ) 1. 1. 1. , , , , , , , , , , , 2. 118? , 27 , ,? 27? , 10 ; (9? ) (8? ) (? 7? ), (6? ) (? 5? ) (4? ) 3 , 2 27 , 10? , 4? , , , , , (3? ) (1? ) (6? ); (2? ) (1? ) 1? , , , 2002 1 , [11] 3. , : ,†¦ , , [12] , , :?†¦Ã¢â‚¬ ¦ ( ) , – [13] 4. , , , , , , , ,†¦ 5. , : ; , ; , , , , , [14] 2. 1. 2. 1. 1 : (Alliance of Artists' Communities AAC) (Artists Communities: A Directory of Residencies in the United States Offering Time and Space for Creativity) , 70 2. : , , , , 50% , , , , 4%? , : . (American Academy in Rome)[15] . (The Corporation of Yaddo)[16] . (The MacDowell Colony, Inc. )[17] 70 80 , 80 ; , , ( ) , , , , , , , , , , , , , , 3. : , (Artist’s House) , , , (Kunsterhaus)[18]? [19], : A: 20 B: 10-19? C: 4-9? D: 1-3? , 70 , 4-9 C ,? 40% A B D , 20%? , , , : , , , , , A? , , C 4. : , 20A , , 2? , B , 14? B , , 2 , 4-9 C , , , C , , , D , 14? , , , C , : , , , , , , , , , , 5. : , , [20] | | | | | | | | | | | | | | | | | | | | | | | | | | | | |A |12 |86% |0 |0 |1 |7% |0 |0 |1 |7% |0 |0 | |B |10 |72% |2 |14% |1 |7% |0 |0 |1 |7% |0 |0 | |C |18 |64% |2 |7% |3 |11% |2 |7% |1 |4% |2 |7% | |D |8 |58% |2 |14% |0 |0 |2 |14% |2 |14% |0 |0 | | |48 |69% |6 |9% |5 |7% |4 |5% |5 |7% |2 |7% | |? (1): , (69%) (9%) (7%) (7%) (5%) , 7% , (? A? D :86%? 72%? 4%? 58%) , , , , , , 2. 1. 6 : , ,? 72% 24%, , 4% , P. S. 1 I. S. P , , , , , , , , P. S. 1 , , :†¦Ã¢â‚¬ ¦ , , , : , , , , [21] , , , , , , , (Conservatoire du Littorale), , , , , , , [22] , , , ; , , , , , , 7. : 1. : , , , , , : 2. 2. (i) 1) : , , ; , , 80%? (2) : , , ,†¦Ã¢â‚¬ ¦? , 80% , , , , , , 2. 2. (ii) (1) : 93% – , , ? (2) : , , , , : , , 71%? (3) : , , 39%? 2. 2. (iii) (1) : 29%? 2) : 26%? (3) : 23%? (4) : – , , , 4%? , , , 2. 3 A : 2. 3. 1 , A , , , , 3%? , , , , , ; , 2. : 70 , , : i) : , ii) : , , iii) : , , 97% 2? , Art Farm? Bemis Center for Contemporary Arts, , 3% , South Florida Art Center, 4 , ,? 9%? , , , ,

Strategic Management Example

Strategic Management Example Strategic Management – Coursework Example STRATEGIC MANAGEMENT Cost Leadership Strategies Cost leadership entails standardization by reducing costs. On the other hand, Strategic management enhances low-cost production for given levels of quality since the low-cost leadership targets broad markets (Peny 2013, p.45). The three primary cost leadership strategies used include competitive advantage strategy, differentiation strategy and focus strategy in the management of businesses and organizations (Hill, Jones & Schilling 2014, p.33). The essay focuses on BHP Billiton strategic report 2014, based the analysis of the three cost leadership strategies in the management of BHP Billiton Company. Consequently, in strategic management of cost leadership, only rare and valuable resources can be sources of competitive advantage (Porter 2010, p.2). In BHP Billiton Company, their ability to profitably transport their petroleum and minerals as valuable resources incorporate their competitive advantage strategy under cost leadership. Besid es, oil and minerals from BHP Billiton Company are rare and precious resources that enable standardization of costs hence incorporating competitive advantage in cost leadership management. Differentiation strategy entails the development of services and products that offer unique attributes (Barney 2001, p.41). The development of services and outputs allows for cost leadership by controlling costs of goods and services. In BHP Billiton Company, development of goods and services is through distribution and selling of products with regulation of financial risks associated with revenue in Market. Therefore, differentiation is a form of cost leadership that assists in the sale of products and services in the market Additionally, focus strategy narrows on a particular segment of cost leadership to achieve cost differentiation and advantage (Hitt, Ireland & Hoskisson 2014, p.22). Furthermore, the needs of a group or company become better by focusing entirely on a particular segment in man aging cost leadership strategy in the management of companies or groups. BHP Billiton Company focuses on improvement of productivity across all aspects of their businesses, hence enabling them to achieve cost advantages and differentiation in the market.BibliographyBarney, J. B 2001, Is The Resource-Based â€Å"View† A Useful Perspective For Strategic Management Research? Yes, Academy Of Management Review, 26, 1, pp.41-56. Hill, C., Jones, G., & Schilling, M 2014, Strategic Management: Theory: An Integrated Approach, Stamford, CT: Cengage Learning. Hitt., M., Ireland, D., R, & Hoskisson., R 2014, Strategic Management: Concepts: Competitiveness And Globalization, Stamford, CT: Cengage Learning.Peny, M 2013, Global Strategy, Stamford, CT: Cengage Learning.Porter, M.,E. 2010, Competitive Strategy: Techniques for Analyzing Industries and Competitors, Quick MBA, Internet Center for Management and Business Administration, Inc.

Free Essays on Business Management

1)Management is a set of activites(including planning and decision making, organizing, leading, and controlling)directed at an organazation’s resources(human,financial,physical and information) with the aim of achieving organizational goals in an efficient and effective manner. There is a difference between the terms efficiency and effectiveness. Efficiency is using your resources wisely in a cost effective way. It is getting the most out of your resources for the least amount of money. While, effectiveness is more of making the right decisions and putting the right person where they belong to maximize your organizations goals and where they can successfully implement them. 2) There are 4 basic management functions, they are planning and decision making, organzing, controlling, and leading. Planning and decision making involves setting the organazation’s goals and deciding best how to achieve them. Organazing is determining how best to group activities and resources. Controlling is monitoring and correcting ongoing activites to facilitate goal attainment. Leading is motivating members of the organization to work in the best interest of your organization. 3) There are three levels of management they are top managers, middle managers, and first-line managers. They all have different responsibilities. The top managers are a small group of executives who manage the overall organization. They are in charge of creating the organazation’s goals, overall stategy and operating policies. They also represent the organization with gov’t officials and members of other organizations. A middle manager is responsible for implementing the policies and plans developed by top managers and for supervising and coordinating activities of lower level managers. They are normally the largest group of managers in an organization. The last one is First-line managers. They supervise and coordinate the activities of operating employe... Free Essays on Business Management Free Essays on Business Management 1)Management is a set of activites(including planning and decision making, organizing, leading, and controlling)directed at an organazation’s resources(human,financial,physical and information) with the aim of achieving organizational goals in an efficient and effective manner. There is a difference between the terms efficiency and effectiveness. Efficiency is using your resources wisely in a cost effective way. It is getting the most out of your resources for the least amount of money. While, effectiveness is more of making the right decisions and putting the right person where they belong to maximize your organizations goals and where they can successfully implement them. 2) There are 4 basic management functions, they are planning and decision making, organzing, controlling, and leading. Planning and decision making involves setting the organazation’s goals and deciding best how to achieve them. Organazing is determining how best to group activities and resources. Controlling is monitoring and correcting ongoing activites to facilitate goal attainment. Leading is motivating members of the organization to work in the best interest of your organization. 3) There are three levels of management they are top managers, middle managers, and first-line managers. They all have different responsibilities. The top managers are a small group of executives who manage the overall organization. They are in charge of creating the organazation’s goals, overall stategy and operating policies. They also represent the organization with gov’t officials and members of other organizations. A middle manager is responsible for implementing the policies and plans developed by top managers and for supervising and coordinating activities of lower level managers. They are normally the largest group of managers in an organization. The last one is First-line managers. They supervise and coordinate the activities of operating employe...

Sustainable Talent Management Research Paper Example | Topics and Well Written Essays - 1500 words

Sustainable Talent Management - Research Paper Example † and recognize their Corporation’s talent pool. The personnel gap scrutiny helps recruiters to be exceedingly capable of delivering applicants that attain the fundamental expertise. This has been pre-established by the requirements of the position and the aims of the Corporation. It as well reveals a venture by the Corporation in the new personnel’s growth and progress, which expands a long-term affiliation of devotion and obligation (Berger & Berger, 2004). This is mutual for both the employee and the Corporation. Lost talent is expensive to restore, counter-productive to Corporation achievement so justifying the dangers linked with certifying job fit, and heartening growth and input are decisive to the achievement of the Corporation – and the worker. Creating a personnel talent management outline, which evaluates the voids amid an employee’s present performance and preferred expertise in that role, is imperative. Next, digging deep to recognize th e voids in talent all through the organization by establishing an organizational talent outline is imperative. Finally, gaining knowledge on how to control technology and compute performance at diverse levels of the firm is the final process. 2.0. Key Concepts and the Talent Review Process When people articulate aspects concerning talent pools they signify jobs, tasks or capabilities in a firm where 20 percent amplification in class or accessibility would formulate the principal difference to executive success. System for the Management of People (SMP) comprising of the talent pool growth course is centered on the notions and codes for an effectual managerial organization and administrative management, denoted to as the ‘obligatory organization’ model. Line directors will be educated in the framework of the execution and roll out of the course in their scopes of responsibility. A number of the key obligatory organization codes and perceptions regarding the talent pool s cheme are: †¢ All workers are an element of the talent pool. †¢ Individual's problem-solving capacities develop via adolescence and into adulthood, in expected patterns. This denotes that each person has an intrinsic prospective for cognitive growth after a while. The talent pool growth course is devised to side with the present and upcoming roles of personages with their personal potential. †¢ Line executives are liable for running talent, with human resources giving aid and support. †¢ The executive and manager-once-eliminated of either precise subsidiary has diverse accountabilities in regards of the current and future helpfulness of the inferiors: o The director, has a training role to make certain the worker is efficient in his/her present role. o The manager-once-eliminated, has a mentoring function to guarantee the subordinate expands to his/her complete potential. †¢ Judgments assumed as an outcome of the talent pool course are traced and moderated a mid directors and their managers-once-eliminated. Once moderated, every worker is given response on his or her growth graph to take the report of personal aspirations. †¢ Career growth plans are evaluated to guarantee these intentions are executed. Implementing the talent pool growth course in reviewing capabilities, moderating decisions and analyzing growth intentions is an annual process. 3.0. Talent Management Objectives to Measure Functional Expertise The aged

Privacy, Security in the 21st Century Essay Example | Topics and Well Written Essays - 500 words

Privacy, Security in the 21st Century - Essay Example Others, however, find even the old surveillance technologies to be disturbing. The ubiquitous security surveillance camera, for example, still has the power to stir controversy; witness the post-9/11 reaction to the National Park Service's plan to put round-the clock security cameras in the national parks within the nation's capitol (DeBose 1). For those people concerned with any new-found surveillance ability, the constitutionally-guaranteed right to privacy is violated by the merest hint of "big brother" monitoring their activity. The advance of technology, however, is not subject to public opinion; it is simply a fact that newer and better means of obtaining information are going to continue to be developed. Appropriately applied, these new methods have the ability to greatly enhance the safety and security of the general public and there is no question that science will continue to advance these capacities. The burden of balancing privacy with technology will have to be placed upon the courts. The provided quotes from Benjamin Franklin and H. L. Mencken demonstrate the perspectives of two different philosophical positions in two different worlds.

A View on Middle Eastern Exceptionalism Research Paper

A View on Middle Eastern Exceptionalism - Research Paper Example The Middle East is only as unique as outside elements may see it be. Now, in discovering if the Middle East would be the exception amidst developing countries would take the close examination. There are many methods of determination in this aspect of the question. First, we must examine from the viewpoint of agreement in the fact that Egypt is an exception amongst its peers and once that is done, we must examine the viewpoint of its equally powerful neighbors in Turkey and other countries in the Middle East, including Egypt. In providing reasoning behind this consideration, it is best to have several resources to allow the capacity of comparativeness in pros and cons for the viewpoint of Exceptionalism in the Middle Eastern culture. Amidst due consideration of the points delivered in the viewpoints of the various authors of the resources consulted, it has become apparent that Egypt would hardly consist of an exception amidst the rest of the Middle Eastern countries. Despite Mr. Bromley's best efforts, he fails to prove that the Middle East is an exception and that Egypt would be any different than any other part of the Middle East. In his own words, Mr. ... First, we must examine from the viewpoint of agreement in the fact that Egypt is an exception amongst its peers and once that is done, we must examine the viewpoint of its equally powerful neighbors in Turkey and other countries in the Middle East, including Egypt. In providing reasoning behind this consideration, it is best to have several resources to allow the capacity of comparativeness in pros and cons for the viewpoint of Exceptionalism in the Middle Eastern culture. Amidst due consideration of the points delivered in the viewpoints of the various authors of the resources consulted, it has become apparent that Egypt would hardly consist of an exception amidst the rest of the Middle Eastern countries. Despite Mr. Bromley's best efforts, he fails to prove that the Middle East is an exception and that Egypt would be any different than any other part of the Middle East. In his own words, Mr. Bromley says in his treatise titled Middle Eastern Exceptionalism, "Despite these differences, there is a general consensus that the Middle East has witnessed limited democratization and contains few, if any, liberal democracies and that this differentiates it from much of the rest of the developing world."1 Mr. Bromley's view of exceptionalism and its manifestation as a result of democratization continues to expound through this chapter, but again, he hides the truth in his own words. "Other observers, noting the continued restrictions placed on party formation, the role of the military in national politics (including the emergency rule in the Kurdish south-east of the country), the outstanding issue of the place of Islam in the state and long-standing economic problems, are less confident."Â   Â