Organizational Profile Using Secondary Research Assignment Paper

Organizational Profile Using Secondary Assignment - Research Paper Example In 1871, the company was known as Nokia Ab. Nokia entered the telecommunication industry in 1981, with its very first mobile service named Nordic Mobile Telephone service (NMT). Nokia was the pioneer in introducing the first car phone to the telecommunication network. Mobira 450 car phones were introduced in 1982 and portable phone in 1986. To meet with the changing need of the customers in the era of innovation, Nokia came up with 3G (third generation) mobile in 2002. In 2007, the company was recognized as 5th most valued brand worldwide. This enhanced the goodwill of the company and its brand recognition to a large extent (Nokia, 2011). The very recognition provides the company with the stronger grip into the market. The mission of the company is simply â€Å"connecting people†. The company deals with mobiles and cell phones and enjoys market share of 31% internationally. The company also has an excellent team of skilful manpower. The HRD department of Nokia is very well dev eloped (Nokia, 2011). 2.0. Industry Analysis The frequent changes experienced in the wireless telecommunication market have resulted in both challenges and opportunities for the companies operating in this sector. After an exceptional growth for over a decade, the telecom sector has witnessed many ups and downs. The innovation of technology in this industry makes the competition fiercer in which the initiator accumulates maximum benefits (Jayashree & Et. Al., 2010). Currently, the global telecommunication industry has expanded itself to nearly double since its commencement in the early 1980s. Competition experienced in this industry is intense in nature and emergence of several factors is enabling certain drastic changes within the organisational management trends executed by telecommunication companies. Internet and wireless technologies have been bringing in dramatic changes in the preferences of customers, disrupting traditional communication systems despite decreasing the prices . Telecommunication industry includes several technology related business segments such as wireless communications, internet, local and long distance telephone services among others (Ingres insight, 2008). 3.0. Organizational Analysis In order to gain competency, Nokia tends to inculcate the cultural social aspects that in turn is effective in rewarding the company with greater brand equity in its market (de Wit B & Meyer, 2004). Nokia is enhancing its competency in emerging markets through the adoption of latest technology. Nokia had experienced losses in terms of its market share due to the ineffective strategies implemented by the company in relation to market trends and customer demands of the targeted market. But the market also offers huge prospective opportunities to Nokia such as operation in developing countries like China and Japan. Telecommunication market is increasing vigorously providing more opportunity for Nokia to operate in the market. Planning and developing appro aches are both of use. Resource based strategies and market strategies both played quite important roles in the development of Nokia (BBC New, 2007). 4.0. Prominent characteristics of Nokia 4.1. Strengths Largely varied product range User friendly and update technology usage in the products The resale values of Nokia mobiles are comparatively high attracting price concerned customers Continuous product innovation Considerable percentage of market share internationally Has a persuasive branding image towards its customers as well as

Australian Aboriginal Dot Art Essay Example for Free

Australian Aboriginal Dot Art Essay Aboriginal art has been overshadowed by the idea that it is primarily presented in dots. It has got to the point where people believe that certain Aboriginal people own the dot and artists both Aboriginal and non-Aboriginal are hesitant to use consecutive dots within artwork. Explain how the above has evolved and where dot art has come from Dot paintings today are recognised globally as unique and integral to Australian Aboriginal art. On the surface the dot is simply a style of Aboriginal painting, like the use of cross-hatching or stencil art. Exploring deeper into the history of the Aboriginal dot painting a world of camouflage, secrecy and ritual is discovered. The term ‘dot painting’ stems from what the Western eye sees when faced with contemporary Aboriginal acrylic paintings. This painting style arose from the Papunya art movement in the 1970s. Papunya Tula artists used a process which originally mirrored traditional spiritual ceremonies. In such rituals the soil would be cleared and smoothed over as a canvas (much like the dark, earthy boards used by the Papunya Tala) for the inscription of sacred designs, replicating movements of ancestral beings upon earth. These Dreaming designs were outlined with dancing circles and often surrounded with a mass of dots. Afterward the imprinted earth would be smoothed over, painted bodies rubbed away, masking the sacred-secrets which had taken place. This ritual was shifted from ground to canvas by the Papunya Tula who eventually added an array of naturally produced colours to the restricted palette of red, yellow, black and white produced from ochre, charcoal and pipe clay. Such pieces reveal a map of circles, spirals, lines, dashes and dots, the traditional visual language of the Western Desert Aboriginal People. However these marks were permanent and due to arising interest made public, creating internal political uproar. Consequently representations of sacred objects were forbidden or concealed through the dotting technique. Now that the collecting of pieces of Aboriginal art has become so popular world-wide, a common, mistaken belief is that the Dot Painting Style of Central Australia is a recent development. This belief arises because it was in the 1960s that a Central Australian school teacher encouraged the old men of the tribe to record their art on European sheets of board, using acrylic paints. This use of acrylic paints on flat board dates from that time. However, the art style itself, with geometric designs, is seen in the petroglyphs (rock engravings) dating back thousands of years. Ancient petroglyphs showing concentric circles (non-naturalistic art style), inland South Australia The use of dots was once Australia-wide, particularly seen on body decoration when people are painted for ceremonies, and paintings in the remote Kimberley region where dots are clearly seen on the body decoration of some of the earliest human figures, likely to be older than 20,000 years. See accompanying photo. ) Dot decoration on the body of an ancient human figure, Kimberley Aboriginal Art: Traditional to Contemporary The resurgence of Australian Indigenous art has become one of the most brilliant and exciting new eras of modern art. It has grown with such amazing diversity and enthusiasm that art critic, Robert Hughes, has described it as the last great art movement. For indigenous Austr alians art has been a part of their culture and tradition for thousands of years and is recognised as one of the oldest living art traditions. Though, over the past 30 years it has progressed from being confined primarily to the tourist industry, to become a richly, evolving international art movement. Since the Renaissance of Aboriginal art during the early 1970s, Aboriginal artists have been encouraged to find new, innovative ways of incorporating cultural traditions into their imagery. This encouragement first began through an art teacher, Geoffrey Bardon, who became the catalyst for contemporary Aboriginal art. Fascinated by the traditional sand designs created by Indigenous children in Papunya, Bardon encouraged the Aboriginal community to re-create their Dreamtime stories through paintings. He introduced them to acrylic paint and from there Aboriginal art gained a more permanent form and the style, popularly known as dot art, emerged as the most recognisable form of Aboriginal art. It was a new form of art which also allowed Aborigines to, for the first time, express to the rest of Australia and the world, the ancient traditions of their culture. Many Aboriginal artists have chosen to continue practicing traditional art as a means of conserving the conventional method of creating, inherited from their tribal ancestors. Their content, which is explicitly aboriginal, is usually derived from their history and culture, as a continuation of the spiritual link they possess with their country. Research When The emergence of dot paintings by Indigenous men from the western deserts of Central Australia in the early 1970s has been called the greatest art movement of the twentieth century. Prior to this, most cultural material by Indigenous Australians was collected by anthropologists. Consequently, collections were found in university departments or natural history museums worldwide, not art galleries. Where That all changed at a place called Papunya. Papunya was a sit-down place established in the early 1960s, 240 kilometres northwest of Alice Springs in the Northern Territory (NT). The settlement brought together people from several western desert language groups: the Pintupi, Warlpiri, Arrernte (Aranda), Luritja, and the Anmatyerr, who were unaccustomed to living in close proximity to each other. Dot Painting or Aboriginal Dot Art originated in the desert using natural substances on the ground in the sand. Those pictures in the sand are not unlike the paintings we see today produced using acrylic paints. The acrylic paintings are usually done using acrylic paint and it is applied to canvas or art board with various diameter sticks dipped into paint and then applied one dot at a time. The Australian Aborigine of the western desert constructed their stories using ochre, sand, blood, coal from their fires and plant material placed together on the ground clump by clump for various ceremonial occasions. If you look at the desert landscape from the height of any small bluff or hill what you see looking down are clumps of growth scattered about a red landscape. The spinifix grass, desert hardwood bush and occasional rocks or rock outcrops make up the myriad of dots that seem to cover the landscape. Because everything in the desert has meaning to the Australian Aborigine these seemingly unimportant arrays of pattern in the desert have special meaning to the Dot painters of the western desert. If you were to ever fly over the desert low enough to see what was on the ground you would see what he dot painting has replicated for you to see. These dots are a myriad of clumps of natural splendour which might go unnoticed had you not seen a dot painting and looked to see what it was about. The arrangement of the plants, rocks and water are all part of the spirit of creation and it is because of this placement that Aboriginal people have traversed the deserts safely without printed maps for th ousands of years. The placement and arrangement of all of these natural things are in songs and these songs are often sung while the painting is being created. Nearly every painting has a song and the songs often disclose important ceremonial facts about a particular region or area. These important ceremonial places are often in the paintings but because they are sacred to Aboriginal people they are camouflaged in some way, visible to the initiated person but invisible to others who do not know what to look for. Many paintings contain these special hidden meanings and the new owners of these paintings will never know what the whole story of their purchased painting is about. Only over time may some insight be gained from looking at the painting. This is a point of pride among the Australian Aboriginal artists because they see the purchase of their art or for them the sale of their art, as a validation of their race and culture by others. This is because a value has been placed on the art. Since the Australian Aboriginal culture is depicted in all traditional paintings they are passing down their knowledge in the only way they are able, to those who have yet to understand it. The Aboriginal people do not have a written language so these painting of their stories and ceremonies are all they have to save this culture for future generations. The colour and the placement of the dots are important to depicting the visible message and camouflaging the hidden message in Aboriginal dot art. Even the over painting of an area of the work has special significance and may convey different messages. Some people gifted with a since of tactile feeling are able to feel a special vibrancy emanating from their painting. Who Many of the significant early artists at Papunya were senior men who had vivid memories of their first contact with white people. Typically, they came out of the desert as adults during the 1950s drought and their connection to ritual law was strong. The first artists collective, Papunya Tula Artists, was set up in 1972 by men from this settlement. Papunya Tula Artists was the inspiration and model for many other Indigenous artists collectives. In 2009 there are 42 desert Indigenous art communities represented by Desert. The artwork was seen as a way to keep the culture alive, and carry Indigenous stories to the world. The movement was seen as being about recollection and cultural memories linked to Dreaming’s or story types. Why the modern aboriginal â€Å"dot art† movement started? Geoffrey Bardon AM (1940–2003) Geoffrey Bardon began working as an art teacher at Papunya Special School in 1971. Concerned that the schools curriculum, appearance and ethos seemed out of step with Aboriginal culture, Bardon attempted unsuccessfully to involve his class in painting a series of murals on the school walls. Thereupon Kaapa Tjampitjinpa, Long Jack Phillipus Tjakamarra, Billy Stockman Tjapaltjarri and others created the Honey Ant Mural, which inspired many senior men to ask Bardon for painting materials and eventually begin painting in the Mens Painting Room. The Mens Painting Room, Papunya Johnny Warangkula Tjupurrula can be seen in the middle ground painting a Kalinypa Water Dreaming. His two boomerangs are placed in front of the board as percussion instruments, ready to be used to accompany the verses of the Water Dreaming, sung at intervals during the painting process, June-August 1971 Photo: Michael Jensen Convinced of the groundbreaking importance of what he was witnessing, Bardon made comprehensive photographic, moving film and written records of the artists and the paintings that they produced while he was at Papunya. From his primary research, Bardon wrote three books and made three films that initiated public interest in Western Desert art. In 1988 Bardon was awarded the Order of Australia Medal for his unique contribution to the Western Desert art movement. The Honey Ant Mural, July 1971 Geoffrey Bardon and his Arerrnte assistant, Obed Raggett, had noticed people drawing designs in the sand at Papunya. Following this precedent, they drew circles and spirals on the blackboard in an unsuccessful attempt to encourage their class of adolescent boys to paint a series of murals on a whitewashed, cement-rendered wall of the Papunya Special School. In late July 1971, after painting a series of smaller practice murals, seven painters collaborated in the painting of a monumental mural representing the Honey Ant Dreaming specific to the site of Papunya. Working under the direction of custodians Mick Wallangkarri Tjakamarra and Tom Onion Tjapangati, the artists included Kaapa Tjampitjinpa, Billy Stockman Tjapaltjarri, Long Jack Phillipus Tjakamarra, Johnny Warangkula Tjupurrula and Don Ellis Tjapanangka. The Honey Ant Mural, a bold expression of Aboriginal culture in a government settlement, occasioned great rejoicing at Papunya and inspired immense pride in the community. Geoffrey Bardon in front of the Honey Ant Mural, Papunya, August 1971 Photo: Robert Bardon  © artists and their estates 2011, licensed by Aboriginal Artists Agency Limited and Papunya Tula Artists Pty Ltd Pintupi people from the Western Desert Pintupi is the name of a Western Desert language spoken by Aboriginal people who belong to a large stretch of country in the Gibson Desert of Western Australia and the western edge of the Northern Territory. When the Pintupi arrived in the government settlements east of their traditional lands between the 1930s and the 1950s, they adopted the term Pintupi to distinguish themselves from the surrounding Aboriginal inhabitants as the people from the west. They were among the last Aboriginal people in Australia to abandon their nomadic lifestyle, the last family arriving into the newly established community of Kiwirrkura in 1984. In Papunya, the Pintupi, bound to each other by their dominant loyalties of relatedness and kinship, were ostracised due to their lack of conversance with kartiya (non-Aboriginal) customs and their perceived lack of sophistication. Diversity within â€Å"dot art† showing two different artists works. Uta Uta Tjangala Traditional Artist Uta Uta Tjangala, who is an exemplar of the historical cultural tradition, Uta Uta’s painting career and reputation is closely aligned to the artistic renaissance that began at Papunya in 1971. He was a founding member of the mens painting group, inspired other Pintupi tribesmen, and becoming one of the most senior and influential painters amongst the group. Born in Western Australia in Drovers Hills, he made the epic journey to Haasts Bluff with his family during the severe drought of the mid to late 1950’s in the company of Charlie Tarawa. Two years later, after returning to his homelands, he made the journey once more with Timmy Payungka, Pinta Pinta and their families. Uta Uta Tjangala (early years) Employed as a gardener at the Papunya school Uta Uta, then in his 40’s, became one of the original group drawing and painting on composition board with encouragement from art teacher Geoff Bardon. When supplying paints to Uta Uta and his gathering group of enthusiastic friends, Bardon suggested the men use their existing cultural symbols to depict their Dreamings and links to the land. The Pintupi men, having been pushed from their traditional homelands by government policy and European development, painted under a bough shelter behind the camp pouring into their work their acute longing for the places depicted †¦ and chanting the song cycles that told the stories of the designs as they worked . These early works aroused strong protest within Aboriginal communities when first exhibited in Alice Springs in 1974 because of the disclosure of secret and sacred knowledge. A period of experimentation followed, resulting in the development of a symbolic language of classic ideograms and the characteristic dot covered areas that veil sacred elements from the uninitiated. The large, tribally mixed population of Papunya intensified the interaction, but under the influence of artists like Uta Uta, the painting group was able to break through the political and cultural constraints toward a safer stylistic conformity, and prepare the way for personal and distinctive styles to emerge. Uta Uta in particular, with his exciting and charismatic personality as well as his bold and dynamic style, played a vital role in these developments. Bardon recalled many years later, everything that came from him was genuine . Uta Uta’s 1971 and 1972 paintings generally featured major story elements with only the barest dotted in-fill within the iconography and small sections of the background. The aesthetic balance and harmony of these works is derived through colour and weight rather than by a geometric division of the painted surface. The rather crude dotting and line work of these early paintings on board embues them with an energy and power that is less apparent in his later more technically proficient works. His paintings are far stronger and more powerful when the clean unadorned background remains, unlike paintings by his contemporary Kaapa, whose early works became more aesthetically appealing as he began to in-fill the background. In developing a style that censored the more secret and sacred content in his painting, Uta Uta added more dot-work as the years went by. He painted more Tingari sites completely surrounded by neat dots that became less and less detailed. Despite his advancing age during the late 1970’s he continued to paint as he spent increasing time at outstations west of Papunya and, at the beginning of the 1980’s, he completed what was to become one of the most important and revered works of the entire Western Desert art movement. Yumari 1981, possibly his largest and most significant painting, reveals the mythical Tingari ancestors traveling across vast stretches of country as they create sites and institute rituals. Yumari is a rocky outcrop in his home country and the key ceremonial site of the area. Story elements and natural features blend seamlessly into a beautifully balanced geometry of concentric circles and connecting lines that enclose a central, abstracted figure. This body continues rather than interrupts the intense, minutely dotted background configurations, yet still holds the central focus. The work is characterised by the sinuous movement of converging regular and irregular shapes, accentuated by outlining white dots. The predominant use of an earthy red alongside vivid yellow ochre, further emphasizes the assertive quality in this cohesive and powerful statement of Aboriginal tradition. The work was exhibited at the XVIII Bienal de Sao Paulo in 1983 and is now in the collection of the National Museum of Australia. While painting Yumari, important discussions were taking place at Papunya concerning the move back to the Pintupi homelands at Kintore. Land rights legislation during the 1970’s returned ownership of the land to its traditional owners and Uta Uta was a strong advocate for resettlement.

A Funny Thing Happened On the Way to the Theater :: Personal Narrative Acting Papers

A Funny Thing Happened On the Way to the Theater September 5, 2000: First Audition Less than a week ago, I had never auditioned for anything. Tonight, I was on stage with forty or so actors, most of whom had several plays to their credit. As I had neither a major, nor past plays to back me up, I was nervous. I survived it all anyway, and had fun despite the scary scary evaluative process. September 7, 2000: Callbacks The hyper-talkative freshman girl in my French class looked at the callback list before I had a chance to. She wouldn’t tell me if my name was on it, she only wanted to whine that hers wasn’t. After our classes were done, Kaitlin and I checked the list, and were both called back for both possible plays. (yeah!) The second round of auditions began at 7PM, so I had just enough time to get there after standard Thursday night wine tasting. My sister said it would bring me luck, â€Å"I would cast a cute pink-cheeked girl over a regular girl any day!† September 8, 2000: Cast List I’m in a play! Yeah for me! Yeah for me! I’m in a play and I have never been in one before! I have a character name and everything. I am Myrrhina in Plautus’ Roman farce â€Å"A Funny Thing Happened on the Way to the Wedding.† My character is a drunk. Perhaps those pink cheeks gave me the edge I needed. Rehearsals start Monday, preliminary costume fitting after work today. Oh my. September 11, 2000: First Rehearsal I was the first one to arrive; Askanase auditorium was dark as I stepped tentatively onto the stage. A conference table sat with roughly 20 chairs guarding the periphery. My role prior to this point was that of an audience member; tonight, I entered a new world. Sitting in the glare of the harsh work lights, the chairs of the auditorium were hardly visible. I took a spot at the center of the table, not wanting to be too close to either end. I faced the door so that I could see the others as they filed in. Several of the cast members knew each other, I know them only as staples of the NDSU theater community. The group dynamic is a little intimidating; I hardly spoke at all tonight.

Angelo’s Pizza

ANGELO’S PIZZA ANSWER #1. The expansion of stores and eventually franchising while focusing on serving only high quality fresh ingredients should include the following three resource management implications: (1) BUSINESS ENVIRONMENT ANALYSIS – This implication represents the importance of the company’s general and competitive environment. Angelo needs a good business strategy. A strategic plan is the company’s plan for how it will match its internal strengths and weaknesses with external opportunities and threats in order to maintain a competitive advantage (Dessler, 2012).Angelo’s early attempts showed the pitfalls in rushing and making assumptions about replicating a viable business unit. Fortunately, Angelo has realized his lack of proper planning and the necessity to correct his errors before attempting to branch out into more stores and possibly franchising. The locations of the proposed new stores are paramount. These locations must be in area s where high quality ingredients are readily available. The supply of fresh ingredients does not meet all the needs for successful stores. The medium that serves the customer pays a vital role. 2) JOB ANALYSIS – All businesses want to attract and maintain good people. A job analysis is the procedure through which you determine the duties of the positions and the characteristics of the people to hire for them (Dessler, 2012). All of Angelo’s locations must have competent employees who are able to provide good customer service. Angelo has to develop a plan that identifies the characteristics and skills that applicants need to possess before he can develop his staff. Once he knows the type/kind of person he needs to recruit for his business, he needs a comprehensive plan for hiring them.A screening process for applicants that include hiring guidelines, previous work experience, and reference and background checks would be useful. A logical, structured interview session wh ere the job duties and responsibilities as well as the required job qualifications are explained would be the next step. Once Angelo has job candidates that he is satisfied with, he then has to develop human resource strategies that will ensure their success. (3) TRAINING – Angelo should develop a training program for both new and existing employees. The implementation of a training program is beneficial for both the company and the employees.Training programs helps each employee to understand their various role/job expectations. Unskilled workers are counterproductive to the work environment. It can jeopardize a business reputation. Angelo’s newly hired waiter/waitress should be trained on how to correctly take orders and how to serve the customers efficiently. Angelo’s ideas regarding customer service has to be shared throughout all stores. If sufficient time is devoted with the training program, all employees become an asset for the organization with the incr ease of their knowledge.After completion of the training, all of Angelo’s Pizza employees should know where they stand and that their performance can lead to a management position. ` ANSWER #3. By asking the following questions, I feel Angelo will be able to attain qualified candidates. The questions are based on situational and behavioral judgments. STRUCTURED INTERVIEW FORM Name of Applicant: Position applied for: Date of the Interview: (1) Why did you choose our organization? (2) Employees interact with a wide variety of customers. Sometimes customers may become angry/frustrated.Describe a time when you dealt with a customers who was demanding. Impatient or angry. How did you respond to the customer’s request or demands? What was the outcome of your actions? (3) Sometimes employees must communicate unpleasant information to customers. Describe a time when you had to communicate unfavorable information to a customer. What did you have to tell the customer? What was t he outcome? (4) If a customer is dissatisfied and wants to return a ordered food item/dish, how would you respond? BIBLIOGRAPHY/WORK SITED Dessler, G. (2012). Human Resource Managemnet, Thirteenth Edition. Pearson.

Bj;db; fjhk

The biggest reason is the fact that direct democracy is the fairest and purest way of making decisions as it is entirely up to the people to decide. Whilst you would not regularly use referendums to deal with every issue that parliament would have to deal with, they are a very good way of dealing with a single, Important Issue.Referendums are also good for the electorate. Many people believe that voting In mineral elections is pointless, largely because they believe that their vote doesn't really count In the grand scheme of things, especially If you live In an area where your party Is always voted In second. However with referendums, every vote counts, and the electorate recognize this and as a result turn out In massive numbers. This also strengthens the support of the political system In the people.It encourages people to become better educated In politics, whilst providing politicians with an insight into the electorate's opinions. However there are also a large amount of disadva ntages when it comes to referendums. The most obvious is that it blatantly undermines the representative democracy system used in this country, which generally works quite well. Many of the disadvantages with regards to referendums are evident in the current Scottish independence referendum. For example, if the result Is close, countries will often feel divided over the issue.This is the case in Scotland, where the polls indicate that the result is going to be very close, and there re definite tensions on the streets between the supporters of the two campaigns, with many no voters saying that they get abuse in the street if they biblically show their choice. There are problems with letting the public make such large decisions, as they will often be the wrong ones. People in this country tend to have ignorance towards politics, and so when these people are allowed to make such big decisions, they will often vote using their emotions, rather than choosing what is best. Ethan Mullet

okonkwo-a tragic hero essays

okonkwo-a tragic hero essays The novel Things Fall Apart, written by Chinua Achebe introduces an interesting character named Okonkwo. Okonkwo lived a life full of contradiction. His main goal in life was to never give up until he was successful and achieved everything he wanted, but then he ended up committing suicide in the end. Okonkwo can be thought of as a tragic hero. He has quality characteristics about him that everyone admires, such as his bravery, strength, and his desire to succeed. His fear of becoming like his father gave him this desire to succeed, and consistently motivated him to progress through life. However, he was always held back by his tragic flaw, being his inability to accept change. Okonkwos motivation to succeed was driven by fear. When his father, Unoka, died, he left Okonkwo with nothing. Unoka was thought of as a coward, and Okonkwo also feared that he would be thought of the same way. So in turn, having a failure as a father was just the thing Okonkwo needed to become successful in his own life. Achebe says, He was possessed by the fear of his fathers contemptible life and shameful death (18; ch. 3) Okonkwos success was based on his material acquisition and growth, and his power. When Okonkwo was still just a boy, he began his hard work of farming at a desperate attempt to earn respect. "I began to fend for myself at an age when most people still suck at their mothers breasts. If you give me some yam seeds I shall not fail you." (21; ch. 3). Here we can see that Okonkwo started adulthood, in fact supporting his family, at a very early age. He began to cultivate his farm before many of the other townspeople. This unfortunately lead to disaster the f irst year since the rains came early and much of his crop was destroyed. Okonkwo persisted. Okonkwo was a man possessed with succeeding. " Since I survived that year, he always said, I shall survive anything. He put...

Affermative Action essays

Affermative Action essays Affirmative Action? A major controversy encompassing the country is the issue of affirmative action. Many believe that the abolition, or at least restructure, of affirmative action in the United States will benefit the nation for many logical reasons. Originally, affirmative action began as an attempt to eliminate discrimination and provide a source of opportunity; affirmative action did not begin as an attempt to support just minorities and women. In addition, affirmative action naturally creates resentment when the less qualified are preferred instead of the people actually deserve the admission or job. Another reason that has existed since the abolition of slavery is the myth that women and 'minorities? cannot compete against white males without receiving special preference or treatment. Money used for the support and continuance of affirmative action cost in excess of 125 million dollars annually. Important programs in the country may benefit from the money received by affirmativ e action bureaucrats. Most importantly, the fundamentals of democracy rest on the equality of all people, whereas affirmative action is actually trying to give minorities and women higher status of importance than Caucasians. If the policies of affirmative action end, then the nation can return to its original equal opportunity policies. The original founders of the Civil Rights Act intended for all people, including majorities and minorities, to receive equal opportunities for education and job positions. Presently, in today's economic system, companies and businesses offering job positions have to meet quotas and statistics proving that they are not discriminating against one race or gender for another. For example, a software company is hiring a new graphics designer to assist in drawing and the creation of graphics. This type of job requires experience and expertise to succeed. There are three applicants for the job offering. One applicant is a white ma...