Analyzing Ibsens Character, Hedda Gabler Essay -- Character Analysis,

Henrik Ibsen's character, Hedda Gabler, is a woman who is torn between her desires and the expectations required of someone of her social standing. At the onset of the play, Hedda has been married for six months, but she still clings to her maiden name, as evident in the title of the play, â€Å"Hedda Gabler.† Her reluctance at accepting her new name is symbolic of her dissatisfaction of being married; she misses the freedom of being single, while at the same time longs to be married to an aristocrat, to someone who is more important in society than her husband is. Hedda was raised under the rule of her military father, General Gabler, and was probably subjected to strict rules and discipline. Growing up she learned nothing of the domestic skills and expectations required of the women of her social standing; she also learned nothing about motherhood, which left her feeling terrified and lost once she learned she was pregnant. Instead, she learned how to shoot pistols and ride horses. Her high social standing never left her in want of any possessions; Hedda was â€Å"used to having things in the General's time† (168). She was constantly engaged in social situations with suitors who, though she was beautiful, did not want to marry her. Her lack of prospects within the aristocratic class led her to accept a marriage proposal from Jà ¶rgen Tesman, a scholar of lower social standing. Her husband's potential failure at being able to obtain a respectable position at a university leaves Hedda fearing her security and the possibility of not being able to afford new and expensive possessions. Upon her first appearance on stage, one can garner some very important clues as to Hedda's personality. She is â€Å"aristocratic and elegant† (175) and ... ...p† (203) between herself, her husband, and Brack. The inevitability of an impending affair, coupled with her unwanted pregnancy and loveless marriage, convinced Hedda that she was losing all control of her life. Suicide was Hedda's final attempt at regaining her control. She destroyed her and Tesman's child, just as she had done with Mrs. Elvsted and Là ¶vborg's â€Å"child;† if she did not love the unborn child, no one else was going to be able to. But foremost, she wanted to be able to escape male dominion, most notably that of Brack's. She did not relish the idea of having to cater to his needs and abhorred the idea of having an affair because, if someone found out, it would cause a scandal. In Hedda's eyes, the only way out of this dire situation was to commit suicide. But her death was not going to be hideous like Là ¶vborg's was; hers was going to be beautiful.

Development of the Montessori Method Essay -- Maria Montessori ISD Met

Maria Montessori and the ISD Model: Development of the Montessori Method Summary The paper I prepared begins with a description of the Montessori Method and a historical narration of the professional career of Dr. Maria Montessori. I also included some biographical information as to her origins and the identity of her parents. I then drew a comparison of her methods for developing the Montessori Method and her career to the ISD model. I compared significant events in her career to the analysis phase. Explaining that her experience with children lead her to develop her programs. Then I drew a comparison to her work with the design and development phases, citing her materials that she uses in her classrooms and the classrooms themselves. Finally I compared her implementation and subsequent discoveries to the implementation and evaluation phases in ISD. I concluded with my own personal opinion, that Maria Montessori was an innovator and mostly responsible for modern education. I used four directly quoted sources, one solely paraphrased, and one merely for research a nd background information. Since the late Nineteenth Century, educators and medical professionals have been concerned with the physical and mental development of children between the ages of two and seven years. During the first part of the Industrial Revolution and through the beginning of the Twentieth Century, conditions in the cities and industrial centers were deplorable. Adult workers were forced to work long hours and under extreme conditions, likewise children were made to endure arduous working environments with little or no concern for their well being, short of their ability to contribute to the work force. In Upton Sinclair's book, The Jungle, he des... ...ontessori, there is a distinct pattern to her development that is remarkably similar to those proposed by the ISD model. References Works Cited Gettman, D. (1987). Basic Montessori : learning activities for under-fives. New York: St. Martin's Press. Montessori, M. (1964). Dr. Montessori's own handbook. Boston: Robert Bentley, Inc. Pines, M. (1967). Revolution in learning: the years from birth to six. New York: Harper and Row Publishers. Sinclair, U. (1960). The Jungle. New York: The New American Library of World Literature. Standing, E.M. (1962). Maria Montessori: her life and work. New York: The New American Library of World Literature. Other Sources Braun, S. J. (1974). Nursery education for disadvantages children: an historical review. In Montessori in perspective. (pp. 7-24). National Association for the Education of Young Children: New York. Development of the Montessori Method Essay -- Maria Montessori ISD Met Maria Montessori and the ISD Model: Development of the Montessori Method Summary The paper I prepared begins with a description of the Montessori Method and a historical narration of the professional career of Dr. Maria Montessori. I also included some biographical information as to her origins and the identity of her parents. I then drew a comparison of her methods for developing the Montessori Method and her career to the ISD model. I compared significant events in her career to the analysis phase. Explaining that her experience with children lead her to develop her programs. Then I drew a comparison to her work with the design and development phases, citing her materials that she uses in her classrooms and the classrooms themselves. Finally I compared her implementation and subsequent discoveries to the implementation and evaluation phases in ISD. I concluded with my own personal opinion, that Maria Montessori was an innovator and mostly responsible for modern education. I used four directly quoted sources, one solely paraphrased, and one merely for research a nd background information. Since the late Nineteenth Century, educators and medical professionals have been concerned with the physical and mental development of children between the ages of two and seven years. During the first part of the Industrial Revolution and through the beginning of the Twentieth Century, conditions in the cities and industrial centers were deplorable. Adult workers were forced to work long hours and under extreme conditions, likewise children were made to endure arduous working environments with little or no concern for their well being, short of their ability to contribute to the work force. In Upton Sinclair's book, The Jungle, he des... ...ontessori, there is a distinct pattern to her development that is remarkably similar to those proposed by the ISD model. References Works Cited Gettman, D. (1987). Basic Montessori : learning activities for under-fives. New York: St. Martin's Press. Montessori, M. (1964). Dr. Montessori's own handbook. Boston: Robert Bentley, Inc. Pines, M. (1967). Revolution in learning: the years from birth to six. New York: Harper and Row Publishers. Sinclair, U. (1960). The Jungle. New York: The New American Library of World Literature. Standing, E.M. (1962). Maria Montessori: her life and work. New York: The New American Library of World Literature. Other Sources Braun, S. J. (1974). Nursery education for disadvantages children: an historical review. In Montessori in perspective. (pp. 7-24). National Association for the Education of Young Children: New York.

Life and Sorrow Essay

She folded her hands upon her bosom, this four-year old child of mine and as her breathing became more labored, prayed as I led her: â€Å"Jesus. You love little children: help me!† that was at midnight on November 28, 1932. A few minutes later, she had joined the angels and left us in anguish that numbered all feelings. But t have since risen from the depths to which Sonia’s death crushed me, and phoenix- like have left my dead ashes, to sing the charms that the death of one so dearly loved can bring to the soul. I have known the darkness of occasional brooding, but I would dwell most upon a struggle with sorrow that has sweetened my nature, which otherwise, would have been stultified by the pain. Pain, I have realized, is beautiful only when one can rise from its depressing power. I have known the people who have become bitter and cynical under the lash of sorrow, and I have known some who have never recovered from anguish. My experience is important only so far as it may help others towards growth: it is worthless to me if it implies vanity. Sonia is, to me, as fairy tale told or a lyric half lost in fancy, a delicate melody unsung. Had she grown into full womanhood, she might have become an intellectual, for she was deliberate and clear- cut in her language, precise in her reasoning, and keen in sensing nuances which matured minds about her could not appreciate; then, I should have been forever lost, the glamour of its poetry never felt even in vague suggestions, and the delicate melodies never perceived. As a friend suggested to me when grief was most oppressive: â€Å"you shall always remember her as a child. â€Å"How beautiful I felt it was! What a beautiful things a man perceives in such sorrow! What keen and living poetry! For nothing but poetry could give such feeling. In such a moment reason would have destroyed me with consummate triumph; for if I had tried to explain why God had snatched away from me the things I loved best in life, I would have allowed reason to rob me of reason. But poetry in all her magnificence came sailing behind the somber shape of sorrow to show me the way to a more beautiful, more full and more nearly perfect life. Sonia shall always live in my memory as a child who wonders why the star shine in the sky and the rain drops from heaven and the grass on the wayside: as a child who find all things pure and true in her innocent eyes. I shall look in those eyes and see so much confidence and faith when I feel that I am losing my own faith and confidence I shall draw from my memory of her a child’s enthusiasm for life, when my heart is heavy and my eyes dim with age. This is my ideal, to see the whole life with a mind mellowed by age, though a heart forever young – wise and happy! Days before she died, I had a premonition to her death; but I dismiss it, consoling myself with the thought that if such a thing should come to pass -heaven forbid – I should perhaps be rewarded for becoming a true, sincere and humble artist through the suffering that would come from such a shocking experience. For the first time in my life, the idea of becoming an artist suddenly lost in its chance. I would rather remain obscure than lost its greatest masterpiece, wrought in my own blood, and polish by the greatest love that I was capable of giving. Like the reeds in the river, I would rather keep my leaves and flowers that be cut up by the great Pan into the flute. The melody of the wind was enough for me as I bent rhythmically with its blowing. I would refuse the greater melody of art that exacts so much. But when her hour came the blade of death cleave my heart, I felt as if I, too, had died and a new soul had emerged, more beautiful, because cleanse of all bitterness. How true it is as poor Oscar Wilde wrote that, the â€Å"Pleasure is for the beautiful body, but pain for the beautiful soul.† But what costly knowledge this first. Experience has indeed taken away more than it has been able to give. It has suddenly occurred to me that the real artist is measured by his ability to utilize misfortune in recreating the soul. I say, â€Å"recreating† Because art is the recreation of life an experience, into that which sooths and ennobles the soul; if a man with any artistic pretensions allows sorrow to destroy him, he is a mere artisan, incapable of producing anything of worth; for, the first thing an artist must recreate, before true art can be realized, is his own soul. Moreover, sorrow must crush, ere it can reshape the man in s mold of glory. The reed must have cut to pieces, and holes bored through it, before it can have produced such magic melodies as their sound. The sun on hill forgot to die. And the lilies revived, and the dragonfly Came back to dream on the river. Before an artist can sweetly harrow the hearts of others, his own must have died. There is a story told of an ambitious singer who thought he would sing for the grand operas. He sang before a celebrated maestro who, in the middle of an aria from Rigoletto, thundered out, â€Å"Enough! Enough! This will never do. Your heart has been broken!† In De profounds, Oscar Wilde, made the following analysis of sorrow in its beginning upon art: Truth in the art is the unity of a thing with itself; the outward rendered expressive of the inward; the soul made incarnate; the body instinct with spirit. For this reason there is no truth comparable with sorrow. There are times when sorrow seems to me to be the only truth. Other things may be illusions of the eye or the appetite, made to blind the one and cloy (overdo) the other, but out of sorrow have the worlds been built, and the birth of a child or a star there is pain.† Indeed, was it not Zeus’ head split open an axe that Athena might spring full grown from it? Besides sorrow’s power of giving birth to art, there is another blessing, which must come, with all art and all of suffering? It is a way of thinking that solidifies and satisfies, becomes profound and permanent; a real philosophy of life and is therefore, a creation, an art itself, and not the mere adoption of some powerful, second-hand outlook that proves worthless when put to the test. Feeling that the lower forms of logic would be useless to me at the time of my deepest sorrow, 1 approached life by the highest route, through â€Å"the deepest voice of human experience† religion. Early the next morning after Sonia’s death, Gods hand rested upon my shoulders. On previous occasions, the more suggestion of her death would drive me into imagining a sudden flight to some distant land. I knew not where, for an obscure place where I might forget to die. But that morning, I felt strangely calm. Not the remote shades of thought about running away from my sorrowing family Goethe’s line: Who never ate his bread in sorrow? Who never spent the midnight hours-Weeping and waiting for the morrow He knows you not, ye heavenly Powers. Lived inky memory I had eaten my bread in sorrow I had passed the right weeping and watching for a More bitter dawn And felt the touch of the Spirit Upon my being I went to the scorch of St. Ignatius in Intramuros where, humbled by sorrow, I sought the Lords forgiveness of the confessional. I offered up my Sonia, and also my two other boys, and even my own life. If He desired to take back his own. The pagan protest that was surging in my boson, I painfully quelled. It is different to give up the things we hold dear on earth. But when Sonia, whom I loved best, had been given up, to what could be resigned, I felt that grown generous to magnanimity. I had ceased to find difficulty in giving up my pride, and I was humbled; I had ceased to fear for my future, and I was no longer in vain _ I gave up all notions of fame, and became myself. But I was better, I was born to greater realization of truth, a fuller feeling of freshness -my new philosophy doubtless has given me a new sense of values. The things I had held dear, in common with other people. I discovered to be a glittering tinsel and hollowness. We find ourselves only after we have lost everything we hold dear in our temporal habitation; we find our soul only after we have divested ourselves of all the flummery of the flesh. For indeed, how can we find our souls when we are wrapped up in matter, so that we cannot give a step, or put our hand, or lift up our eyes, but material things are all about us, following us even to put up our dreams. People say something pleasant to us, and thought it be but â€Å"hot air†, it is enough to puff us up. We would feed our souls upon vanity, and know not it is Barmecides feast. Could we strip ourselves of pride and vanity, things would fall back into their proper places, and we should see the hidden harmony of creation, and piece through the things that alone are seen of the world to those that are unseen, setting no store be these fascinating shadows, ever before the time when they crumble away and vanish into naught, as worldly things must, sooner or later. The Worldly Hope men set their hearts upon Turn ashes – or it prospers; and anon Like snow upon the Desert’s dusky Face, Lightning a little hour or two – was gone. The climax in this grand ascend of sorrow is the perfection of Reality when in moments of devastating grief, my being seemed consumed. I tried to deceive myself by pretending that it was all a dream and would wake up to find Sonia’s death a mere fancy, the force illusion would always vanish and a newer, more vivid, more convincing, more permanent if painful realization would reveal to me that the whole of human experience this side of eternity is nothing but a dream which with death, finally comes to an awakening to the only reality intended by the Maker of Life. I am convinced that life in this temporary habitation is a vague and miserable dream, a nightmare in which the dreamer is driven from one path to another, now frightened by life, now terrified by the thought of death; until one realizes that there is this nightmare a symbol of Reality that is coming with the dawn and the awakening. This realization of the reality must make a real artist of a man. Broken with pain, the soul dies to be reborn, stronger and more beautiful; enriched and ennobled by sorrow, the artist in the man rises above himself; shorn of all fineries and pettiness – all none – essential, in a word, the artist flows naturally towards the infinite whither all artistic effort must be directed. Thither must I direct my art †¦ Art to me had ceased to be artful and artificial. It had become the natural life of the soul; it is the voice of my soul crying out to heaven for a vision of Sonia, pleading for a final communication with her. I shall remove everything about me. When the last word is written and my hands drop limp and lifeless by my side. I hope to hear the gentle pattern of a little feet and the tender touch of a little hands around my neck†¦SONIA.

History of Auguste Escoffier and Marie Careme Essay

Auguste Escoffier was born in Villeneuve-Loubet,the Provence region of France in October 28, 1846. When he turned 13, his father took him to Nice where he apprenticed at a restaurant owned by his uncle, thus beginning the illustrious career that he enjoyed for the next 62 years. His culinary career took him many places, from the early years at the fashionable Le Petit Moulin Rouge and several other restaurants in Paris, to Monte Carlo, Switzerland, and London. In 1870, when the Franco-Prussian War began, Escoffier was called to duty in the army where he served as Chef de Cuisine. It was during this period that he came to consider the need for tinned foods and was thus the first chef to undertake in-depth study of techniques for canning and preserving meats and vegetables. After returning to civilian life, Escoffier resumed his career in several Parisian restaurants where he steadily moved up the ladder of success. During his time at the Carlton, Escoffier developed a superior reputation for haute cuisine. While at the Savoy, Escoffier created one of his most famous recipes, Peach Melba, in honor of the Austrian singer Nellie Melba who was a guest at the hotel. Three of Escoffier’s most noted career achievements are revolutionizing and modernizing the menu, the art of cooking and the organization of the professional kitchen. Escoffier simplified the menu as it had been, writing the dishes down in the order in which they would be served (Service à   la Russe). He also developed the first à   la Carte menu. He simplified the art of cooking by getting rid of ostentatious food displays and elaborate garnishes and by reducing the number of courses served. He also emphasized the use of seasonal foods and lighter sauces. Escoffier also simplified professional kitchen organization, as he integrated it into a single unit from its previously individualized sections that operated autonomously and often created great wasted and duplication of labor. Throughout his career, Escoffier wrote a number of books, many of which continue to be considered important today. Some of his best-known works include Le Guide Culinaire (1903), Le Livre des Menus (1912) and Ma Cuisine (1934). As well as making changes in the culinary world, Escoffier undertook several philanthropic endeavors including the organization of programs to feed the hungry and programs to financially assist retired chefs. Escoffier received several honors in his lifetime. The French government recognized Escoffier in 1920 by making him a Chevalier of the Legion d’ Honneur, and later an Officer in 1928. The honors due Escoffier can be summed up by a quote from Germany’s Kaiser Wilhelm II when he told Escoffier, â€Å"I am the Emperor of Germany, but you are the emperor of chefs.† With his wife, Delphine Daffis, Escoffier retired to Monte Carlo in 1921, there he died on February 12, 1935. Marie Antoine Carà ªme, â€Å"Chef of kings and the king of Chefs.† In March 1811, Napoleon and his new wife, Marie Louise, welcomed the birth of a boy, the longed for male heir needed to carry the Bonaparte line forward. A grand feast was ordered to celebrate the christening of the young â€Å"King of Rome.† Only a year earlier, a young pastry chef named Marie-Antoine Carà ªme had dazzled the court with a still-talked about wedding cake. For the christening he would out-do himself again. Using spun sugar, confectioner’s paste, cream, and meringues all dyed in varying shades of blue, rose, and gold, Carà ªme created a magnificent replica of a Venetian gondola. He was abandoned in Paris at the age of 8 and began working as a kitchen boy in a Parisian steakhouse. At the age of 14 he was apprenticed to Sylvain Bailly, a famous patissier in Paris. Carà ªme codified the four primary families of French sauces that form the basis of classic French cooking to this day–espagnole, và ©loutà ©, allemande, and bà ©chamel. Thanks to Carà ªme’s books, French chefs working at home and abroad had a basic, shared vocabulary to refer to in their cooking. Marie-Antoine Careme is famed for being the inventor of classical cuisine. Careme crafted pieces for Parisian high society, including Napoleon. A French diplomat and gourmand, Charles Maurice de Talleyrand-Perigord set Careme a test, to produce a year’s worth of menu only using seasonal produce. Careme passed and Talleyrand adopted him into his kitchens. After the fall of Napoleon, Careme moved to London in 1815 and he worked as a chef de cuisine for George IV. He left London 3 years later as he found the climate depressing and felt English chefs treated him badly due to the celebrity attention he received. With the money he made as a freelance chef, Carà ªme opened his own pà ¢tisserieon the Rue de la Paix during the winter of 1803-04. Its windows regularly showcased his pià ¨ce montà ©es prompting travel guides to make it a recommended stop. He created these decorative centrepieces out of materials such as nougat, marzipan, sugar and pastry. Careme was inspired by architectural history and modelled many of his creations on temples, pyramids and ancient ruins. Some of his most famous creations include Gros Nougats, Grosses Meringues, Croquants (made with almonds and honey) and solilemmes (a bun like cake.) Contributions: The dessert Charlotte russe was invented by Marie Antoine Carà ªme who named it in honor of his Russian employer Czar Alexander I. Russe being the French word for â€Å"Russian†. Careme is also credited with inventing the French classic desert Napoleon Cake (Mille Feuille) while working as Napoleon’s chef. Napoleon like to eat Mille Feuille with strawberry favor, so it was named Napoleon cake. It has various flavours, from chocholate, strawbery, mango to berry. Careme was also interested in Architecture and applied it to dessert with is very impressive pieces montees and other creations that fascinated his contemporaries. (See pictures below) My Comment: First of all, I would like to thank both Auguste and Careme’s effort for what they have done in the food industry especially in the culinary field. Because of them we can now use or apply the things and knowledge that they had contributed to us in the late 18th century. Without them just imagine what a normal Restaurant kitchen would be without Escoffier’s Kitchen Brigade System? I guess it would be a total chaos and what about Careme’s four Mother sauces and his architectural designs in desserts? Just think what would be like in many special occasions especially in weddings? Without these ideas nothing good will happen to us. I actually admire them because at a young age they manage to be determined in many obstacles in life, they strive for their dream of becoming a real someone that led them to be famous in the food industry. What if I or we can do the same things that they’d done? Maybe someday we can be someone just like them in the future.

How and Why did Islam spread so quickly Essay

In 610 C.E., a local merchant named Muhammad completely changed all of Middle East through the religion of Islam. He fled to Mecca, in a cave where he was given the words of Allah and by this, introducing the religion. Overtime, the religion continued to attract new followers, which leads to question- how and why did Islam spread so quickly? Three of the reasons to how this happened were due to trade, the message passed on from God and the conquest of land. All of Islam Empire, including the Byzantine Empire and Persian Empire had set up trade routes throughout the Arabian Peninsula. Everyone came to Mecca to trade since it was wealthy and very important at this time. Through trading, this brought inventions and ideas. People from different cultures came to trade and got ideas of the Islam religion, then spreading it to their people because they liked the idea that it was one God and how the way of life was under this religion. Muslim merchants would travel to the trading destinations, which would allow exposure to the religion within other countries as well. Other trade routes led to the Silk Road to China and India, East Africa and Spain. These countries would then, most likely, have converted to Islam. Overall, trading played a huge role in the spreading of Islam. In addition to how Islam spread quickly was through the message of God. In the Qur’an, it shows the expectancies for what Muslims would have to follow by. One of the verse states, â€Å"But the believers who do good works, both men and women, shall enter Paradise. They shall not suffer the least injustice.† (4:124 Doc B) This means if you do the right things, then you would be granted. Another verse states, â€Å"Permission to take up arms is hereby given to those who are attacked, because they have been wronged. God has no power to grant them victory.† (22:39 Doc B) Meaning, you cannot fight unless attacked first. Along with the expectancies, you have to follow the practices of the Five Pillars of Islam. Including, confession of faith, prayers 5 times per day (facing Mecca), charity to the needy, fasting during the month-long Ramadan and pilgrimage to Mecca at least once during one’s  lifetime, also known as the Hajj. In The Ordinances of Government, caliphs have to follow the duties. One of the duties was, â€Å"to maintain the religion according to established principles and the consensus of the first generation of Muslims.† (Doc E) These messages of God have helped to unify Muslim beliefs and practices and spreading many inventions and ideas throughout the world due to Islam. The last reason to how Islam spread quickly was through conquest. From 622-750 C.E., after Muhammad’s death, all of the Arabian Peninsula, China, India, Middle East, and Africa were under Muslim control. This was ruled by the next four caliphs, and were known as the â€Å"rightly-guided† and their rule as a caliphate. Relating back to verse 22.39 where it states that Muslims are not allowed to fight until attacked, this shows that they followed the Qur’an while conquering these lands. The reason why Arabs were able to conquer much of Persia and parts of Byzantine was because Muslim armies were too strong and The Persian and Byzantine armies were weak after years of fighting. Overtime, many cultures that were introduced to the Muslim Empire converted to Islam because of Islam’s message of equality and hope of salvation that they would receive by becoming Muslims. Many cultures have gotten ideas of the religion of Islam through different reasons. Three of which were due to trade, the message of God, and the conquering of lands. Through trade, his followers passed on the ideas to other different cultures. The messages of God were how much of an impact it made on the people to convert to Islam. And lastly, conquest- this shows that they conquered the lands even by following the guidance of religion. Although Muhammad’s death left his people hanging, the message that he left behind from God has made such a huge impact to the world, mostly Muslims.

Lifeguarding: Swimming Pool and Associates Professional Lifeguard

Cortny Handorf Professor Richey English 1301 December 4, 2012 Life Savers Growing up, the job title â€Å"lifeguarding† said it all to me. Swimming pools and aquatic attractions were always the most fun places to go with the family. I always looked up to lifeguards as if they were some sort of a hero. They made me feel secure and safe although I've always been an excellent swimmer. It seemed as if they had the ideal job, so when I got older I took the first opportunity to become my own hero. I started out being just a lifeguard and then soon advanced quickly to a lifeguard instructor.I even was promoted to becoming the facilities Aquatics Director. Through this journey, I had the chance to experience how rewarding being a lifeguard truly is and was able to be many of others hero. There are several specific techniques on how to be an Ellis and Associates professional lifeguard. The first step in how to be an Ellis and Associates professional lifeguard is to pass all the prerequ isites. This includes being able to swim 200 yards and to tread water for two minutes. After passing those, people must take the international lifeguard training course through Ellis (ILTP).This program prepares them for what it takes to be professional. This course also teaches how to anticipate, recognize and manage aquatic emergencies. It is a requirement that Ellis lifeguards be accountable and responsible. After all, they are the crucial, front line components of water safety at an aquatic facility. Being prepared, pleasant, vigilant, knowledgeable, and always in proper uniform reflect upon the professional image of a lifeguard. When a lifeguard looks and acts professional the facility will reflect upon their actions, and the guest will respond to their request more efficiently.Lifeguards should also speak with authority to insure rule enforcement. The second step in how to be an Ellis and Associates lifeguard is to learn the variety of rescues. Each lifeguard is assigned a spe cific zone of protection. This is commonly referred to as their station or position they are responsible for. Within the zone of protection, each Ellis lifeguard is required to keep a vigilant 10/20 protection standard. This means they have 10 seconds to spot a guest in distress, and 20 seconds to reach the guest to administer aid.There are several different ways to scan a zone of protection, and everyone’s technique will be different. Practicing these techniques will assure vigilance, and help the guard stay focused. During an emergency, lifeguards have to be able to keep calm, speak loud and clear to be able to control a surrounding crowd. All Ellis lifeguards will also have to be CPR certified through Ellis. The lifeguards preform CPR until EMS shows up to take over. The third step in how to be an Ellis and Associates lifeguard is to know each facilities emergency action plan (EAP).Every aquatic facility has an EAP and should be practiced daily. It is important for all emp loyees to know their role in the state of an emergency. Communication becomes very crucial when an EAP has been activated. Most lifeguards use their whistles to communicate in this process. For example, the waterpark I was at used two long whistle blasts to activate an emergency. However, EMS is not always going to be called for a tiny scratch or slight sunburn. That means all lifeguards also have to know how to render first aid. By the end of the course, some people learn they are not cut out for this type of job.Therefore, after they have completed the 24 hour course and have passed the written exam at least by 80 percent, then they will be certified lifeguards. After they complete this, they now have to attend weekly in-services to keep their skills sharp. In conclusion, these are brief techniques on how to be an Ellis and Associates professional lifeguard. Being a lifeguard is harder than what some people may think. At the end of each day, lifeguards must be able to prioritize t heir actions in order to save lives when needed. They may not be doctors or nurses; however, they are life preservers.

Katzs Business Strategy Case Study Example | Topics and Well Written Essays - 500 words

Katzs Business Strategy - Case Study Example Further, the Firms 6 mission strategies ensure that the company remains innovative to cater for the emerging needs of the customers, while also being readily accessible to help the businesses whenever they need the company’s help (Katz, Sapper & Miller, n.d.). Katz’s business strategy: â€Å"Don’t just have clients; have partnered for life† means that businesses are treated as relationship partners since they are treated in a way that makes them feel valued by the company. Katz, Sapper & Miller ensure superior customer service and client satisfaction through looking into the factors that are affecting their clients' businesses, beyond just the accounting information, and helping such businesses come up with strategies for addressing such issues. They offer superior customer service by helping the clients business understand the likely problems it could face in advance and thus prevent such problems from occurring (Ananth, n.d.). The company is interested in the success of the businesses it serves, and operates on the basis of integrity, thus serving its customers well. The managing partner ensures that there is a strict adherence to the federal regulatory and ethical requirements, through ensuring that the employees stick to the company’s code of conduct and the rules guiding the accounting, audit and tax operations, which are in line with the federal regulatory requirements (Bill, n.d.). Any differences in opinions or any impasse that might occur between clients and company consultants are addressed through negotiations, which ensure that an agreeable conclusion is reached by the parties involved. The management process of KSM, to attract high-level employees, entails a rigorous recruitment process that sifts the most talented, motivated and visionary employees, who are capable of steering the vision of the company ahead.  Ã‚