Cultural Relativity and Exploring Global Gender Ideals Essay

Cultural Relativity and Exploring Global Gender Ideals - Essay Example Apart from the primary data I collected as an interviewer myself, the essay also contains some secondary research that espouses the notion that gender varies from culture to culture. For my interview, I contacted a Pakistani woman, Fareedah, who lived in my friend’s neighborhood; I felt that because she was from a different country than mine, she could offer me a chance to compare and contrast how men and women behave in our own societies. According to Fareedah, â€Å"it is the job of the men to support the family, the women are supposed to value their household chores and domestic responsibilities over everything else. I know many women who have had to give up their jobs after they got married and had babies.† Whereas in Pakistan society apparently it is not seen as appropriate for women to work, in other societies women are expected and often encouraged to join the work sector. For instance in Taiwan, because of â€Å"expanding demand for women’s labor, female labor force participation rates in Taiwan climbed from 32.6% in 1966 to 46.1% in 2001,† (Hu & Kamo, 105). Also, what immediately came to my mind when Fareedah stated that women are not expected to join the workforce in her society, was World War II when women in Britain were asked to join arms and ammunitions factories, and drive agricultural machinery. Fareedah also claimed that â€Å"I think women are just naturally inclined towards looking after the children and doing housework,† and also â€Å"men are made by nature to be more concerned about everyone around them, like a big lion who has to protect his pride! You should see the men from our North West Frontier Province, they are like kings, ruling and taking responsibility of their own little settlements.† ... naturally inclined towards looking after the children and doing housework,† and also â€Å"men are made by nature to be more concerned about everyone around them, like a big lion who has to protect his pride! You should see the men from our North West Frontier Province, they are like kings, ruling and taking responsibility of their own little settlements.† This echoes with what Ortner and Whitetaker claim about life in non-Western societies; â€Å"women are seen as tending toward more involvement with private and particularistic concerns, benefitting themselves and perhaps their children, without a regard for larger social consequences, whereas men are seen as having a more universalistic orientation, as being concerned with the welfare of the social whole,† (Ortner and Whitehead,7). Fareedah also said â€Å"my own daughter has a job in America; she is working as a teacher. She is very happy. But were we back at home, I would have been scolded for allowing my dau ghter to work, and she would also be reprimanded.† Questioning Fareedah about the attitudes towards relatives in her society, she said â€Å"I think people are very close to one another, and all the sisters, brothers, cousins, uncles, grandparents etc. are connected to one another in such a way that they all exert influence on each other.† She also said that â€Å"there is no way you can do something without seeking the advice or permission of your relatives, there is nothing you can do that your family cannot find out. So well-knit and integrated the society is!† Kamo and Hu claim that â€Å"like in many East Asian societies, the extended family is a preferred arraignment in Taiwan,† and that â€Å"73% of them (respondents aged 65 or older) actually lived that way,† (Hu & Kamo, 107). Asking Fareedah about her

Organizational Culture Of Dominos Pizza Commerce Essay

Organizational Culture Of Dominos Pizza Commerce Essay I have chosen the DOMINOS PIZZA as a business. The reason why I have chosen this business because it is famous all over the world. I have went many different branches , and taste the delicious spicy food. I have been worked their six months , so I known these areas well, as well as knowledge regarding my work place. It is also an education provided business with good quality of food and service. Therefore it is an ideal business to choose report writing. INTRODUCTION OF DOMINOS PIZZA: DOMINOS PIZZA is an international pizza delivery corporation . It is the second largest chain in the United States. Its headquarters is in , Ann Arbor , Michigan United States. Dominos has 60 international markets . Moreover it also has 9000 corporate and franchised stores . In 1998 dominos pizza was sold to Bain capital and finally went in the year 2004 MAIN FEATURES OF DOMINOS PIZZA ARE : Pizza Pasta Wings Salads Cheese sticks Variety of desserts items SERVICES : Home delivery Lobby Take away HISTORY OF DOMINOS PIZZA : Famous person , tom monaghan and his brother , James purchased Dominicks a small pizza store at Michigan in the year 1960. But after eights months later , James also traded his half business to tom for beetle. Finally he named the business Dominos Pizza .Inc. in 1965. The logo for the company planned with the new dots to each store. Slowly and steadily Dominos experienced rapid growth . finally at last 200th store opened by franchise. Franchise also opened their website www.dominos.com which help the customers to book their orders online. Todays it Dominos has spread through at all world and it is quite famous now a days at all levels. COMMUNICATION IN DOMINOS : This business is completely depending on communication. People working there as a group and every one communicates with each other. Main purpose of communication is to send a message by sender to receiver and get feedback from receiver. The staff of Dominos use email, notice board, posters, and pamphlets for communication. For example:-if any information needs to pass all team members a notice will clipped with notice board and it can be send by e-mail.so this also a way of communication. QUALITY: DOMINOSs have date; time in all areas of the restaurant to ensure that entire product from raw to cook is of the highest standard. Date, time are checked regularly by staff whether product from chillers, production bins or front counter. So we can say they provide quality to the customers. SERVICE : As well as hot, fresh product delivered accurately and in a timely manner, customers expect impressive service. Dominos says about customers treat them as they expected to be treated, greet them in warm, friendly manner and always have smile on staffs face. FINDINGS : ORGANISATIONAL CULTURE: Culture is about activities of a people like how they great to other. Its a multicultural organization .In Dominos the employees are from different Culture and different countries so its multicultural organization. I think its a need of the workplace because some time face different culture people for communication. As we know Newzealand is a place where people come from different part of the world. So for development a business in Newzealand we need different cultural employees, who can communicate with different cultural people and it helps to the business. Dominos also teach their employees about social ethics, professional ethics, and individual ethics. In Dominoss we learn lot from knowledge and experience during communication with our higher level like if a crew person communicate with restaurant manager he directly affected by way of communication of restaurant manager because restaurant manager know how to communicate. Organizational GOAL The goals of Dominos are as follows:- 1. Dominos vision is to be the worlds best Quick service restaurants experience. 2. Dominos is committed to maintaining and developing the best food products in the quick service restaurant market. 3. In order to deliver this, the company has made a number of commitments to food safety and nutrition. 4. Lead the quick service restaurant market by a program of site development and , profitable restaurant openings, and by attracting new customers. Increasing sales through promotions will enable them to continue their program of expansion. Business Demographics I want to give an example of myself about knowledge and experience in that organisation when i given an interview for this organisation the selection committee didnt ask me about any past experience i learned all from workplace by training, communication with the other staff of the organisation. Training period teach more everyone in Dominos. Seniors always shared their knowledge with juniors, which is very helpful for juniors. 1. Crew Trainer Crew trainer is person who trains the crew member and give his experience and basic knowledge of workplace to the crew person. So trainer gives the basic knowledge like how to make burgers, how to clean workplace etc. 2. Managers The number of managers depends on capacity of Dominos as how much busy it is. After passing crew training stage crew become crew trainer and he will be able to give training to other trainees. Therefore training manager is a person who teaches next lesson to crew trainers. He also shares his knowledge and experience with trainees. 3. Organisations Manager He is the person who has all responsibilities of restaurants like in our group there are five restaurants he is the big boss of all restaurants. He is most experienced person in the restaurant and he had all knowledge about restaurants. Group Dynamics As i explained about team of Dominos where i am working is from different culture like some of them are from India, some of them are from Philippines and some of them are from Fiji, Samoa. So its a big thing to communicate each person with each other. The communication is main thing which attach them each other and make them work as a group. The communications in organisation develop and improve communication skills of employees because this workplace is all based on communication. For example when a crew member or manager taking order from the counter he have to speak English and listen English so it can develop both speaking and listening of the crew or manager. Crew and Manager make a team for any organisation so its away which develop whole team. Meeting Management In management meetings communication process should be clear, professionally, logically. Professionally The communication which we use in meetings of organisation related to our profession. Clear Communication should be clear which make good sense for listener. Logical Communication should be logic full or related to the matter which actually we want discuss in meeting. Purpose The purpose of communication should clear for all the meeting attainders. Stakeholders : In stakeholders we can include internal and external factors which are affected by organisation like employees, distributors, Govt. Media etc. The chosen organisation by me communicates with all stakeholders those individually related to organisation by excellent way. Networks : The organisation is connected with internet for everyone and they use emails, letters, posters and other advertising material to connect with people. The internal network of the organisation is connected by LAN (local area network) and WAN also (wide area network). Conclusion : This business is based on two things one is internal and other is external internal which I discussed in this report which is communication in organisation and second is people because it is people based business. So to get success in this business organisation have to concentrate on both things. Recommendations : As Dominos have many communication objectives like creating awareness, imparting knowledge, projecting an image, shaping attitudes, stimulating a want or desire, affecting a sale. According to me they should add some more communication objectives like educate, encourage action, reward consumer, match the competition, beat the competition, make a promise, and fulfil the promise. They should provide some more facilities to them like for the parents they should provide special discounts on their special days (Birthday, Marriage Anniversary) and for children they should open Kids Zone on their every stores so that they can enjoy their time.

The Hidden Meaning of Robert Frosts Mending Wall :: Mending Wall Essays

The Hidden Meaning  of Robert Frost's Mending Wall   "Mending Wall" is a poem written by the poet Robert Frost. The poem describes two neighbors who repair a fence between their estates. It is, however, obvious that this situation is a metaphor for the relationship between two people. The wall is the manifestation of the emotional barricade that separates them. In this situation the "I" voice wants to tear down this barricade while his "neighbor" wants to keep it. "Neighbor" is here a metaphor for two people who are emotionally close to each other. "Good fences make good neighbors", is a line the author emphasizes by using it two times. The "neighbor" says the line while the main character does not agree with it. He can not see that there is something between them they need to be "walling in or walling out". The "I"-voice sees himself as a good spirited person. He is obviously worried because a person he cares about is shutting him out. He thinks that his "neighbor" is of a dark disposition. "He is all pine and I am apple orchard", the poem says. Pine is a dark tree while apple trees have white flowers. In "Mending Wall" the main character finds gaps in the fence. I believe the emotions between the characters make these gaps. He informs the neighbor and together they repair the fence with boulders. When they meet they argue or have communication problems. This is why they manage to repair the barricade between them. However, I would say that their emotions, especially the main character’s, try to get the boulders off balance so the wall can be leveled with the ground. The balancing of boulders is a symbol of their meetings; "We have to use a spell to make them balance". "We wear our fingers rough", the author writes about the handling of the boulders. One may interpret this to signify that the meetings between these two "neighbors" are very hard on them. This is a long one-stanza narrative poem. All the lines have five stresses and are written in iambic pentameter or blank verse, which was also Shakespeare's chosen meter in his plays.

Bite Me: A Love Story Chapter 19

19. Being the Chronicles of Abby Normal: Oh Day Dwellers Doth Betray Me? My heart has been torn asunder, and I am faced with the revelation that my most awesome-haired mad scientist of passion may in fact be an uncaring assbag who has sullied my innocence and whatnot and then cruelly cast me aside. So, that sucks. ‘Kayso, like it says in the Bible, â€Å"with great power, comes great responsibility,† which I totally learned by pushing my vamp abilities too far in trying to show off for Foo by diving through our boarded-up windows. So I was â€Å"doh,† and I passed out-real passed out, like head-injury passed out, not vampyre passed out. But in my unconsciousness, Foo and Jared gave me blood, and I healed, so when I woke up in the bedroom, I came leaping out into the living area, my claws ready to rend flesh and kick ass. And I was all, â€Å"Rawr!† And who do I see there but the vampyre Flood, my most recently escaped master gone mad, who has never even seen me in this outfit, let alone as a vamp. So I was all, â€Å"Rawr!† hoping my fangs were showing. And he was all, â€Å"Hi, Abby.† And I was all, â€Å"Rawr! Fear me!† And he was all, â€Å"That's not a thing. Saying rawr is not a vampyre thing.† And I'm like, â€Å"It is too. I'm totally showing my animal power and fierceness.† And he's like, â€Å"No, you're not, you're just saying rawr in a big voice. It's not a thing.† â€Å"It could be a thing,† I go, in my defense. And Jared is like, â€Å"I don't think it's a thing, Abs.† And I'm like, â€Å"Well then how about I drain you until you're dust and put you in the cat box, Jared? Is that a vampyre thing?† And he was all, â€Å"‘Kay. I'm sorry. Rawr is totally a thing.† So I looked at Flood with pity, having humiliated him on the field of battle. But it is in the gentler monster that humanity is revealed, so I'm like, â€Å"It's a thing for some of us. So, check it, I'm nossssss-feratu. Like you, only, you know, not fashion retarded. Speaking of, why do you look like the window at Banana Republic?† Flood was always sort of jeans and flannel before, like he was caught in some '90s grunge vortex, but now he was like linen and tan leather. And Flood's like, â€Å"I was running around the streets naked until a few hours ago.† And I was like, â€Å"‘Kay. My bad.† So he's all, â€Å"Abby, we need to go. I need to find Jody and I need your help.† And then Foo, who has been doing science stuff in the kitchen, comes over and he's like, â€Å"Abby, I can switch you back. I can switch you both back. I already have Tommy's serum made from before.† And I'm like, â€Å"You are trs cute when you're threatened.† And I jump over there and kiss him deeply-like I can hear a couple of his vertebrae crack. But then I go to slap him, so he won't think I'm a slut, and Tommy catches my hand. And he's all, â€Å"Abby, you have to stop doing that. You could kill him.† I'm like, â€Å"Really?† He's all nodding. And Foo's all mouthing â€Å"thank you† to him, like I don't have vampyre hearing and don't know that he's being a total little bitch about it. So I, like, turn on Foo and go, â€Å"Rawr.† I don't care what Tommy says, Foo trembled in fear. And Tommy's like, â€Å"Let's go, Abby.† Like Foo hasn't said a word. And I grab my Pirate Bunny messenger bag and start to pack in my laptop and charger, and Flood is all, â€Å"Leave that here.† And I'm like, â€Å"How will I express my angst and dark inspirations and whatnot?† And Flood is like, â€Å"I thought we'd go suck the blood out of some people.† And I was like, â€Å"‘Kay, but I'm still taking my laptop. I have to do my blog. I have subscribers.† I do. Well, a subscriber. And he's like, â€Å"If we have to go to mist you'll lose it.† And I'm like, â€Å"You don't know how to do that.† And he's all, â€Å"I do now.† And I'm all, â€Å"Teach me. I didn't go to ancient evil vampyre school like you.† And he's like, â€Å"I'm nineteen, remember? I went to public school. In Indiana.† And Foo's like, â€Å"You're only nineteen? You're not even old enough to drink?† And Jared is like, â€Å"Shut up. He's her dark lord. Our dark lord.† And Foo's like, â€Å"Fine. Go. Be careful. Text me. I'll be here trying to save the world.† And Tommy's all, â€Å"I'm just going to try to save the woman I love, and that's as good as the world to me.† And I was like-nothing. I just looked at Tommy. But I would have done him on a bed of carpet tacks right then. So outside the love lair, which is technically not mine and Foo's anymore, now that the rightful owners are not imprisoned in bronze, I go, â€Å"So, where do we start?† And Flood is all, â€Å"We start by finding a safe place to sleep during the day.† And I'm all, â€Å"The love lair. Foo and Jared will be our minions and whatnot.† And he's like, â€Å"The last time I went out there I woke up inside a statue, and the last time you were up there your love ninja gave you blood with a sedative.† And I'm all, â€Å"No.† And he's all, â€Å"Yeah.† And I'm all, â€Å"Foo, you crapacious little geek! Can I go slap him around a little?† And Flood is all, â€Å"He was going to change you back. To save you.† And I go, â€Å"Without even asking? I think not, noble vamptard. As soon as we find the Countess I'm coming back. There will be screaming.† And Flood's like, â€Å"You don't have any confrontation issues, do you?† And I'm all, â€Å"No, I'm very insecure, actually, but I have found that if you roll up screaming like a madwoman, hair on fire, guns blazing, no one is going to mention the zit on your forehead.† Which is totally true. â€Å"Okey dokey,† goes the vampyre Flood. â€Å"We'll look for someplace low or high. Low is probably safest, we can look for maintenance closets in the BART tunnels, but that keeps us out of the north end of the City, because there's no subway there. High, harder to find a place, but it gives us more choice, and it's less obvious, if Rivera and Cavuto are looking for us. There are a lot of utility sheds and meter shelters on roofs.† So I'm like, â€Å"Are we going to sleep together?† And Flood's like, â€Å"No, but we'll be dead in the same space.† And I was thinking, â€Å"How romantic,† but I go, â€Å"Let's get high.† And Tommy's all, â€Å"I think that's a good idea. Jody lived in the north end of the City and so did I. It makes sense that's where she'd go. We need to get into the upper floors of a tall building and look down on other roofs, look for a shed or something. Climbing up won't be a problem. You can tell if there's people in it by looking for heat. You know you can see heat now, right?† And I'm like, â€Å"I was figuring that it was that or that every lightbulb was leaking into the sky. But how do you know all this other stuff?† And Tommy's like, â€Å"I have no idea.† And I was like, â€Å"If we find a roof shack with a pigeon coop by it we'll have snacks when we wake up.† I know, perky. I must resist the perky. Must resist the perky. So, like, an hour later we've found our sweet roof grave on a building in the financial district, and Flood and I are walking up Powell Street, toward California and the Fairmont, where the Countess was last seen. And we are totally alive with the night. There's like two cities in the City. I didn't see it before. There's like the indoor city, the daytime city, with people inside of apartments and restaurants and offices, and they have, like, no fucking clue about the outside city. And there's the outside city people, who are in the streets all the time, and who know every hiding place, and every tree, and where it's dangerous, and where it's just creepy. The outside city people live on, like, a different plane of existence, like they don't even see the inside people either. But when you're a vampyre, the two cities are all lit up. You can hear the people talking and eating and watching TV in their houses, and you can see and feel the people in the streets, behind the garbage cans, u nder the stairs. All these auras show, sometimes right through walls. Like life, glowing. Some bright pink, like Foo's, some sort of brown, or gray, like on the AIDS vet panhandling at the corner of Powell and Post. And I'm totally losing my ability to appear bored, because it's fucking awesome. I'm trying to be chill for Flood, but I want to know. So I'm like, â€Å"What's with the pink ring around people?† And he's like, â€Å"It's their life force. You can tell how healthy they are by it. You'll be able to smell if they're dying, too, but you won't know that right away.† I know, whoa. So I'm like, â€Å"Whoa.† And he's all, â€Å"You see it for a reason.† And I'm like, â€Å"‘Splain, s'il vous plaà ®t.† And he's all, â€Å"Because you're only supposed to take the sick, the dying. It's part of our predator nature. I didn't know that before I-I was lost, but I know it now.† I know, whoa. So I'm like, â€Å"Okay, how do you turn to mist?† And he's like, â€Å"It's mental. Completely. You can't think about it, you just have to be.† And I'm like, â€Å"You're fucking with me, aren't you?† And he's all, â€Å"No, if you think, it doesn't work. You have to just be. Words get in the way. I think that's why the cats do it instinctively. That's the key. Instinct. I don't function well on instinct. I'm a word guy.† And I'm all, â€Å"I'm a word guy, too,† like a total dwee-bosaurus. I know. How is it that I, acting Mistress of the Greater Bay Area darkness, can be reduced to spewing nano-brained beauty-queen dialog when I should be enjoying the heady power of my vamp immortality? Simple, I am a romance slut, and there's nothing I can do about it. If a guy does or says something romantic, I'm all, â€Å"Oh, please excuse me, kind, sir, let me dial down my IQ and oh, if it would please sir, may I offer you this moist, yet helpless va-jay-jay that seems to have lost its way.† I was clearly born in the wrong time. I should have been born in Wuthering Heights times. Although if I was Cathy, I would have hunted down that Heathcliff guy and beat him with a riding crop like a sado-hooker with his Black Card on file. Just sayin'. So there's nothing at the Fairmont. We talk to the bellman and the guy at the concierge desk, who talks to the front-desk guy who says that he's not at liberty to talk about guests, when I whip a hundred-dollar bill on him and he says â€Å"the redhead† never showed up again after the day the cops came around asking for her. He said the cops took a cooler from her room. And Tommy's like, â€Å"She just vanished.† And I'm all, â€Å"Do you want to get coffee? I have a bag of blood and ten thousand dollars in my messenger.† The nosferatu can totally drink lattes as long as they put some blood in it, unless they're lactose intolerant. And he stops and looks at me. He's like, â€Å"Really, ten thousand? Think that will be enough?† And I'm like, â€Å"Well, you'll have to drink the cheap stuff, but I like to drink my lattes directly out of the veins of a toddler, and those little fuckers aren't cheap.† And he's like, â€Å"Okay, you just completely creeped me out.† So I'm all, â€Å"You suck at this. Let's go get coffee and do some vamp stuff, like beat up some pimps and whatnot.† â€Å"Since when is beating up pimps a vampyre thing?† â€Å"Since I was looking for the Countess and they kept trying to recruit me because I'm am so awesome sexy that desperate losers will totally pay to do me, which is flattering and whatnot, but I still kind of feel like they would have taken advantage of me because of my youth and naivety.† â€Å"So you want to go beat them up.† â€Å"I want to try that kung-fu thing where you tear their heart out and show it to them while it's still beating. Trs macabre, non? Plus, I'll bet the look of surprise on their faces will be worth it. Did you do that when you were out slaughtering people with Chet?† â€Å"I don't remember any of that. I don't remember slaughtering people.† â€Å"That's why the pimps were trying to recruit me. You and Chet ate all their hos.† â€Å"You make it sound so sordid.† â€Å"Okay, you make eating hos sound pretty. Talk poetry to me, writer boy.† And he looks all heartbroken and whatnot. And he's like, â€Å"That's what Jody calls me.† And I'm like, â€Å"Sorry. Where do you want to look for her now?† â€Å"I don't know. What time is it?† And I look at the watch that the Countess gave me, and I'm all, â€Å"A little after one,† in my I am total poop on a stick voice. † Polk Street.† And I'm all, † Why Polk Street?† He's like, â€Å"Because I'm out of ideas and we need to resort to magic.† And I'm like, â€Å"Sweet! Let's rock the dark magic!† I was tempted to do a booty dance of total dark magic celebration, but I thought it might reveal my secret. ‘Kayso, we roll into this coffee shop on Polk Street, and it's all full of hippies and hipsters and couples on dates and drunks sobering up and whatnot. And everyone turns and looks at us. I'm about to chuck a spaz, because I realize that I haven't fixed my makeup since I bounced my face off the plywood in the love lair. So I'm all, â€Å"Tommy, psssssst, do I look like a cannibal corpse on crack?† And he stops and looks at me for a second, and he's like, â€Å"No more than usual.† And I'm all, â€Å"Do I have raccoon eyes?† And he's like, â€Å"You've kind of taken your broken clown look to the next level, with the crusted blood around your mouth. You look cute.† Flood can be very sweet for a doofus from Indiana. I felt like I had made the right decision to choose him to be my Dark Lord, even if he was only nineteen instead of five hundred. So I feel like I should say something nice back, so I'm like, â€Å"You're not as pathetic in those clothes.† Then I realize that didn't sound as nice as I liked, so I'm all, â€Å"I want a triple soy latte with type O in it while we're waiting for magic and whatnot.† And Flood is all, â€Å"She's here.† I know. I'm like, â€Å"Whaaaa?† ‘Kayso, Flood sends me for coffees and says he'll meet me at a table in the back, so when I show up, he's sitting with this ginormously fat gay guy, wearing a purple silk wizard robe with silver stars and moons on it, and his head is shaved and there's a pentagram tattooed on it, just like I drew on Ronnie's head with a Magic Marker. I know! And he has a crystal ball on his table on a stand made out of dragons, and a sign that says MADAME NATASHA, FORTUNES TOLD $5.00, ALL PROCEEDS GO TO AIDS RESEARCH. And so I come up and Flood is all, â€Å"Madame Natasha, this is my minion, Abby Normal.† And I'm all, â€Å"Enchant,† in, like, perfect fucking French. â€Å"Most fly eye-liner, Madame.† He had like spider fake lashes and glitter liner out to his ears. And Madame Natasha is all, â€Å"Oh, sweet of you to say, child. Your ensem is trs chic as well. But you should have a jacket, little thing like you could freeze in the fog.† And I'm all ready to throw down anti-mom you're-not-the-boss-of-me-talk on him, then I'm kinda okay with it. Like maybe I would get along with the Motherbot better if she were a ginormous gay guy. And I sit down next to Madame Natasha, because Flood is, like, in the client seat, and Flood's all, â€Å"Madame Natasha told my fortune when I first came to town, and said that I would meet a girl, but the death card kept coming up, so she couldn't figure it out.† Then he turns to Madame and is like, â€Å"You were right on the money, I ended up meeting a dead girl.† And Madame's all, â€Å"Oh my,† and she pulls this little fan out of one of her chins and starts fanning herself. ‘Kayso, I pull out the bag of blood and squeeze a little into my coffee, then into Flood's, and he's all, â€Å"Abby, put that away.† And I'm all, â€Å"Why?† And he's all nodding toward people, who are totally not looking at us now, but like really reading or texting hard. And he's like, â€Å"They'll freak.† And I'm like, â€Å"Oh bitch, please. They all saw my eye makeup, they saw how I'm dressed, they saw my dark and mysteriously colored hair, and they think I'm just trying to freak them out by pretending to pour blood in my coffee. So they are all furiously not freaking out so as to not give me the satisfaction because then they wouldn't be sophisticated City peeps. This is not my first funeral, Red State.† â€Å"Oh, I like her,† goes the Madame. â€Å"She's got spunk.† And Flood is like, â€Å"Okey dokey.† And I'm like, â€Å"If you keep saying ‘okey dokey' I will be forced to replace you as my Dark Lord.† And Madame is all, â€Å"It does sound a little corn-fed, love.† And Tommy is all, â€Å"Never mind how I talk. You remember, right, Madame? You remember me?† And the Madame is all â€Å"Oh, yes, yes, I do now. You were the one who had achieved Olympic levels in masturbation, weren't you?† And Flood was all, â€Å"Uh, no, that part was someone else, uh-â€Å" So, like, the master needed a hand, if you know what I mean, so I was like, â€Å"Oh chill, it's a stress thing, everyone does it. I'm flicking the bean under the table right now just to dial the tension back a little. Yes. Yes. Yes! Oh-zombie-jeebus-fuck-me-Simba-lion-king-hakuna-matata! Yes!† So I spaz-gasmed a little and kind of slid down in my seat breathing hard. Then I like look up at the Madame with one eye and I'm like, â€Å"They're freaking out now, aren't they?† And she just kind of nodded with big eyes and whatnot. So, you know, embarrassment for my Dark Lord totally diverted. But this one crusty day dweller is all looking up from his Wall Street Journal at me with a disgusted face, so I'm all, â€Å"Rawr.† And Flood looks at me. And I'm like, â€Å"Shut up, it's a thing. He shouldn't even be allowed out at night, using my dark without permission.† So I rawred Wall Street again for eavesdropping. So we sort of drank our coffee for a while and Madame looked at her cards and then, like, looked up seemed disappointed that we were still there, but Flood was on it. He's all, â€Å"The woman you told me I would meet, I met her. We live together.† And the Madame holds up her hand, which means, â€Å"shut the fuck up† in fortune-teller language. And she looks at her cards some more. Then she looks at her tip jar. Then Flood looks at me and like does the tip jar nod. So I pull a hundred out of my messenger bag and drop it in the jar. And Flood's like, â€Å"Abby!† And I'm like, â€Å"Hello, woman you love? You want to bargain hunt?† And he's all, â€Å"‘Kay.† So Madame Natasha puts down a few more cards, and goes, â€Å"A redhead.† And we're all, â€Å"Yeah.† And she's all, â€Å"She's hurt, but she's not alone.† And we're all, â€Å"Uh-huh.† And she lays out about six more cards, and she goes, â€Å"That can't be right.† And Flood is like, â€Å"If you're getting the dead thing again, that's okay, we've worked through that.† And Madame is like, â€Å"No, it's not that.† And she shuffles the cards, not cool, like a dealer, but gentle, and every which way on the table, like she's really trying to confuse the cards. Then she lays them out again. And her eyes are getting bigger as she goes-each card, bigger eyes-until she lays down the last in her pattern and she's all, â€Å"Oh my.† And we're all, â€Å"What? What?† And she's, â€Å"This has never happened, in thirty years of consulting the cards.† And we're, â€Å"What? What?† And she's, â€Å"Look.† There were fourteen cards on the table. All kinds of pictures and numbers. And I'm like, ready to go, â€Å"‘Splain, please.† But then I see what she's big eyes about. They are all the same suit. So I'm, â€Å"They're all swords.† And she's like, â€Å"Yes. I'm not sure how to even interpret this.† And I'm all, â€Å"She's hurt, she's not alone, and all the cards came up swords?† And she's, â€Å"Yes, dear, that's what I just said, but I don't know what it means.† And I'm, â€Å"I do. Can you do them again?† And I slap another hundred in her jar. And she's, â€Å"‘Kay.† Then she lays them all out again, and this time there's a lot of swords, but also other cards. And I'm, â€Å"Well?† And she's all, â€Å"In this configuration, the swords signify north, but also, the air, a sailing ship perhaps. It doesn't make sense.† And we're like, â€Å"What? What?† And she's like, â€Å"A sunken ship?† And I'm like, â€Å"It makes total sense.† And Flood is like, â€Å"It does?† And I'm like, â€Å"Stay right there, Madame. We may be back.† And Flood is like, â€Å"What? What?† And I'm all, â€Å"I forgot to tell you about the little guy with the sword.† And he's like, â€Å"You really adjust to this magical stuff fast, Abby.† And I'm like, â€Å"Are you trying to say I'm perky? Because I'm not. I'm complex.† I am. Shut up, I am. He's looking at me right now, like we should be going. Even though I am typing at awesome speed. Okay, that's it, dude, you're harshing the depth out of my literature. I'm coming. What a whiner. Gotta go. We're going to run out of dark. Byez. THE OLD ONES Makeda put on the glasses and watched the bricks at the corner of the building light up. They'd find the cats by behavior, because even vampire cats are cats, and they marked their territory. Elijah had told them where it had started and where it was likely to move. The special sunglasses, combined with their vampire vision, allowed them to see the phosphorus expelled in the cats' urine as glowing. They could even see a half-life, of sorts. Something marked days ago would glow much dimmer than something marked only a few hours ago. â€Å"That way,† said Makeda. Rolf cocked his head toward the boarded-up loft apartment on the second floor. â€Å"That's the loft where Elijah said he turned the first cat. There are people up there. Sounds like two.† â€Å"That's also where he was fried by a jacket covered with sun lights,† said Makeda. â€Å"I say we clean up the cats first, they're less tricky.† Rolf nodded to Makeda, who bolted down the alley without another word. They followed the trail, a mark here and there, many blocks until they reached the Mission, where the trail started to sunburst out. â€Å"I don't know which way to go,† said Bella. â€Å"We need to get a vantage point.† Rolf looked around and spotted the tallest building in the area. â€Å"How about that one, the one that looks like a robot pterodactyl is perched on it? He pointed to the black glass Federal Building. Makeda said, â€Å"It's an abomination.† â€Å"Said the abomination,† snarked Rolf. â€Å"I'll go. I have to go up solid, I need the glasses.† He shrugged off his overcoat and dropped his weapons on top of it. â€Å"Well go to mist if you lose your grip,† said Makeda. â€Å"I'll catch your glasses. If you fall off of that thing solid we'll have to scrape you into a bag to get you back to the ship.† He grinned, showing his fangs, then started a steady climb up the sheer corner of the building. Bella pulled a pack of cigarettes from her jacket, shook one out, lit it, then blew a long stream of smoke up after Rolf. â€Å"What if Elijah lied about turning more humans? He's lied before.† When they'd retrieved the old vampire from the City initially he'd brought along a blond vampire woman, claiming she was the only one. She hadn't survived the first month at sea. Weak vessels, they called her type. â€Å"He didn't admit turning the cat, either, until we found the news stories on the Internet.† â€Å"We need to talk to him again when we get back to the ship, if there's time.† Rolf thumped to the pavement beside them. â€Å"That way. About six blocks. There's a sunburst pattern that's centered there and spreads out ten blocks or so in every direction. I could actually see a hundred or so cats on a roof there.† â€Å"Let's go, then,† said Makeda. â€Å"That's not all,† said Rolf. â€Å"There is a group of men hunting them. Eight of them.† â€Å"How do you know they're hunting the cats?† â€Å"Because two of them lit up their coats. If I hadn't been wearing the glasses I'd be blind. They're wearing the sun jackets that Elijah warned us about.† â€Å"Well, fuck,† said Makeda. â€Å"That's eight more we have to kill.† â€Å"At least,† said Rolf. â€Å"How much time before daylight?† â€Å"Two and a half hours,† said Bella, checking her watch. â€Å"Don't we have a sniper rifle on the ship?† â€Å"Somewhere,† said Rolf. â€Å"Well, they can't turn on a sun jacket if they're dead before we're within five hundred yards.† â€Å"Messy,† said Makeda. â€Å"Bullets leave bodies.† â€Å"I'd rather have to dispose of a couple of bodies than get fried by a sun jacket,† said Bella, taking charge now. â€Å"Rolf, you and I will go after the cats. Take out as many as we can. Makeda, follow the hunters, keep your distance, see where they go, and meet us back at the ship. Tonight cats. Tomorrow night, humans.† â€Å"I hate cats,† said Makeda. â€Å"I know,† said Bella. â€Å"There's something else,† said Rolf. â€Å"There was something else on the roof with the cats. Something bigger.† â€Å"What do you mean ‘something'?† asked Makeda. â€Å"I don't know,† said Rolf, â€Å"but it wasn't putting out any heat, so it's one of us.†

Codification: Stock and Fair Value Essay

Identify what authoritative literature addresses accounting for stock compensation plans. What are the objectives for the accounting for share based compensation? 718-10-10-1 The objective of accounting for transactions under share-based payment arrangements with employees is to recognize in the financial statements the employee services received in exchange for equity instruments issued or liabilities incurred and the related cost to the entity as those services are consumed. This Topic uses the terms compensation and payment in their broadest senses to refer to the consideration paid for employee services. 2. How many periods of EPS data must be presented? 260-10-45-7 EPS data shall be presented for all periods for which an income statement or summary of earnings is presented. If diluted EPSdata are reported for at least one period, they shall be reported for all periods presented, even if they are the same amounts as basicEPS. If basic and diluted EPS are the same amount, dual presentation can be accomplished in one line on the income statement. 3. If a company’s outstanding shares are increased through a stock split or stock dividend, how would that change the presentation of EPS data? 260-10-55-12 If the number of common shares outstanding increases as a result of a stock dividend or stock split (see Subtopic 505-20)or decreases as a result of a reverse stock split, the computations of basic and diluted EPS shall be adjusted retroactively for all periods presented to reflect that change in capital structure. If changes in common stock resulting from stock dividends, stock splits, or reversestock splits occur after the close of the period but before the financial statements are issued or are available to be issued (as discussed in Section 855-10-25), the per-share computations for those and any prior-period financial statements presented shall be based on the new number of shares. If per-share computations reflect such changes in the number of shares, that fact shall be disclosed. Chapter 17 codification assignment 1. When is the fair value of a security readily determinable? 820-10-15-5 The definition of readily determinable fair value indicates that an equity security would have a readily determinable fair value if any one of three conditions is met. One of those conditions is that sales prices or bid-and-asked quotations are currently available on asecurities exchange registered with the U. S. Securities and Exchange Commission (SEC) or in the over-the-counter market, provided that those prices or quotations for the over-the-counter market are publicly reported by the National Association of Securities Dealers Automated Quotations systems or by Pink Sheets LLC. The definition notes that restricted stock meets that definition if the restriction expires within one year. If an investment otherwise would have a readily determinable fair value, except that the investment has a restriction expiring in more than one year, the reporting entity shall not apply paragraphs 820-10-35-59 through 35-62 and 820-10-50-6A to the investment. 2. How is impairment of a security accounted for? 320-10-35-35 In periods after the recognition of an other-than-temporary impairment loss for debt securities, an entity shall account forthe other-than-temporarily impaired debt security as if the debt security had been purchased on the measurement date of the other-than-temporary impairment at an amortized cost basis equal to the previous amortized cost basis less the other-than-temporaryimpairment recognized in earnings. For debt securities for which other-than-temporary impairments were recognized in earnings, the difference between the new amortized cost basis and the cash flows expected to be collected shall be accreted in accordance with existing applicable guidance as interest income. An entity shall continue to estimate the present value of cash flows expected to be collected over the life of the debt security. For debt securities accounted for in accordance with Subtopic 325-40, an entity should look to that Subtopic to account for changes in cash flows expected to be collected. For all other debt securities, if upon subsequent evaluation, there is a significant increase in the cash flows expected to be collected or if actual cash flows are significantly greater than cash flows previously expected, such changes shall be accounted for as a prospective adjustment to the accretable yield in accordance with Subtopic 310-30 even if the debt security would not otherwise be within the scope of that Subtopic. Subsequent increases and decreases (if not an other-than-temporary impairment) in the fair value of available-for-sale securities shall be included in other comprehensive income. (This Section does not address when a holder of a debt security would place a debt security on nonaccrual status or how to subsequently report income on a nonaccrual debt security. ) 3. When would an investor stop applying the equity method in an investment? Are there any exceptions to this rule? 323-10-35-20 The investor ordinarily shall discontinue applying the equity method if the investment (and net advances) is reduced to zero and shall not provide for additional losses unless the investor has guaranteed obligations of the investee or is otherwise committed to provide further financial support for the investee.

The eNotes Blog Why Children Make the BestScientists

Why Children Make the BestScientists The intersection of science and play. We are taught from a young age that authority in any academic realm must be allocated to adults onlyor more specifically grey haired men in tweed jackets staring down their noses at us from in front of a chalkboard or behind a cluttered desk. But when we think about the fundamentals of Science, a field that in its research requires constant questioning and experimentation, who better to contribute to its innovation than the naturally curious? In his TED talk above, neuroscientist Beau Lotto tells why children make the best scientists. Evolutions solution to uncertainty is play Play is the only human endeavor where uncertainty is celebrated. When you add rules to play, you have a game. And thats what an experiment isa game Armed with these two ideas that science is a way of being and experiments are play, we asked, Can anyone become a scientist? And who better to ask than twenty-five 8-10 year old children? Because theyre experts in play. With this idea in mind, Lotto turned to a primary school in Devon, England, to create a program in which children would be given the opportunity to act as scientists. He was granted no funding for this idea, as scientists said children couldnt make a strong contribution to science, and teachers said kids couldnt do it. Teachers, if you can believe it, had no faith in the capabilities of young people. Lotto went through with it anyway. His first step in the program was to have the students ask questions. The results? Five of the questions the students came up with were questions that were the basis of science publication in the last 5-15 years. They were asking questions that were significant to expert scientists. This gave Lotto and his colleagues the impetus to turn the group of children into full-fledged scientists, an idea that amazingly resulted in the peer-reviewed publication of 10-year old Amy OTooles science paper. She joins Lotto onstage to describe the inspiring journey from early hypothesis to academic acceptance. I strongly suggest you watch this video, if not to be inspired by the true capabilities of children (despite the misgivings of teachers, scientists, and most adults), then to rethink how good scientific thought requires our embrace of uncertainty.

Free Essays on My Papas Walts

The undeniable love for one's father cannot be overseen. The poem " My Papa's Waltz" by Theodore Roethke proves that the difference between pain and love is only but a small spark in the brain. A split second of choice is given to decide whether you love someone or hate them, that is the reason why may people fall in love with people that hurt them. In the case of this poem, Roethke does a fantastic job of disguising the horrific ideas of a father beating his son behind the pleasant image of dancing. While domestic violence is becoming as common as the tardy work of a college student, Roethke gives a little insite of impact on the whole family. A waltz is a dance performed by two persons in circular figures with a wirling motion(Websters). With this in mind the poem at hand gives a poor example of fine waltzing. In line 4 the author states that "such waltzing was not easy". At this point he gives the reader an insite to the begining of his sarcartic adventure. "We romped until the pans slid from the kitchen shelf"(lines 5 and 6). He wants you to think the "dancing" that they were doing was a little messy. whats realy happening is that a childs drunken over worked father has come home and is now abusively sending his son off to bed. As this is from the eyes of a small boy, he explains the actions of his father very easily like it is no big deal and this happens all the time. Roethke shows you the disapproval of the mother in this by her inability to stop this madness and her "frown". "You beat time on my head with a palm caked hard by dirt, Then waltzed me off to bed still clinging on to your shirt"(lines 13- 16). These lines show how the child in this peom has been beaten but still hangs on, still thinks it will stop at any moment. He hopes that his father will realize whatis going on. Saying that he is still clinging on allows you to believe in a bond. It makes you think that this child may never let go, that h... Free Essays on My Papa's Walts Free Essays on My Papa's Walts The undeniable love for one's father cannot be overseen. The poem " My Papa's Waltz" by Theodore Roethke proves that the difference between pain and love is only but a small spark in the brain. A split second of choice is given to decide whether you love someone or hate them, that is the reason why may people fall in love with people that hurt them. In the case of this poem, Roethke does a fantastic job of disguising the horrific ideas of a father beating his son behind the pleasant image of dancing. While domestic violence is becoming as common as the tardy work of a college student, Roethke gives a little insite of impact on the whole family. A waltz is a dance performed by two persons in circular figures with a wirling motion(Websters). With this in mind the poem at hand gives a poor example of fine waltzing. In line 4 the author states that "such waltzing was not easy". At this point he gives the reader an insite to the begining of his sarcartic adventure. "We romped until the pans slid from the kitchen shelf"(lines 5 and 6). He wants you to think the "dancing" that they were doing was a little messy. whats realy happening is that a childs drunken over worked father has come home and is now abusively sending his son off to bed. As this is from the eyes of a small boy, he explains the actions of his father very easily like it is no big deal and this happens all the time. Roethke shows you the disapproval of the mother in this by her inability to stop this madness and her "frown". "You beat time on my head with a palm caked hard by dirt, Then waltzed me off to bed still clinging on to your shirt"(lines 13- 16). These lines show how the child in this peom has been beaten but still hangs on, still thinks it will stop at any moment. He hopes that his father will realize whatis going on. Saying that he is still clinging on allows you to believe in a bond. It makes you think that this child may never let go, that h...