Persuasive Essay About Single Parent Families

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Russia Essay Example | Topics and Well Written Essays - 1750 words

Russia - Essay Example In particular, this paper will talk about and break down a portion of the various highlights of the travel industry in Russia, so as to comprehend its related components, determinants, and its effect on different segments of the nation. Topographically, Russia is considered as cross-country nation having its limits in both Asia, just as, Europe. In explicit, a bigger piece of the Russian Federation is stretched out in northern Eurasia. Also, a portion of the nations that share their outskirts with Russia are Poland, Finland, Norway, Georgia, China, North Korea, Belarus, Azerbaijan, Latvia, and so on. It tends to be seen that some of these nations are wealthy as far as culture and legacy, which is a sort of advantage for Russia, for being situated in a rich social locale. Regarding outskirts contacting waters, Russia imparts its limits to the Black Sea, the Baltic Sea, and the Caspian Sea. Likewise, it furnishes ocean course with the Pacific Ocean, just as, the Arctic Ocean. (Jafari, pp. 516, 2003) A nation offering its limits to such a large number of land and water areas is viewed as an enormously profited area in setting of the travel industry, which is the explanation that in spite of Russia’s picture of f ight land and superpower, its recorded spots pull in a great many voyagers consistently. Another explanation behind choosing Russia especially for this examination is its acknowledgment as the biggest nation earth covering 17,075,400 square km, and accordingly, the paper will presently attempt to distinguish diverse physical assets that are contributing in engaging a large number of inbound, just as, outbound sightseers from various pieces of the globe. Pretty much every nation has been honored with chronicled treasures, physical highlights, alluring locales, and so forth; in any case, it is basic that such places ought to be kept up and used by the requests and claims to fame of specific area. As such, physical highlights can be used for vitality purposes, too

Golden Parachute

Frequently in a pile of current papers, the first page points that will grab your eye are moral issues behind upper administration remunerations; for this situation, on March 30th 2009, the issue that surfaced was Rick Wagoner’s leave from GM and his retirement bundle and how his genuine/base pay multiplied in his last year from around $7M to $15M. (7) With the current monetary emergency, numerous individuals outside the business society have gotten mindful of the incredibly high pay contrast between top directors and normal working residents. For example, terms, for example, ‘golden parachute’ have been put under the spotlight and are examined. Hand-outs are severance pays to CEOs when they leave their organization. The measure of cash is normally impacted by the size of the business and the exertion they put in. The freebie was once used to morally to repay CEOs who relinquished their time and exertion for the business; in any case, this is at present not by any means the only case. Before we dive into more detail, comprehend that the hand-out once had a purpose behind being utilized. With numerous mergers and acquisitions during the second mechanical unrest, CEOs were offered pay relative to how much their exertion was worth. As indicated by the Journal of Business Ethics, this was a moral point of view since it was trailed by two constructive outcomes. Most importantly, freebies energized mergers and acquisitions rather than liquidation. For example, the CEO would decide to converge with a contender and leave with a luring measure of cash. This limited joblessness and loss of basic capital which is consequence of chapter 11. Another beneficial outcome in utilizing the freebie was drawing in a successful supervisory crew. Incredible CEOs are fundamental for the achievement of organizations, yet extraordinary CEOs are low on flexibly. Therefore, hand-outs can be ‘recruitment tool[s]’ and can bring the business over into a financially steady position. Basically, freebies were can at present be moral if the CEOs get pay corresponding to their exertion that was advanced to the organization. 1) However, despite the fact that these pay bundles started as an elective that boosts the aggregate of stakeholders’ fulfillment, numerous CEOs started to manhandle this benefit. Featured by the rule operator hypothesis, the vast majority would organize individual motivating forces regardless of anything else. In this way, it is justifiable for a CEO to seek after close to home motivations. In any case, trustee duties to investors must be fortified by sheets. It is human instinct to organize individual needs, however it is dishonest to hurt the business or investors during the procedure. In this way, regardless of whether freebies ought to or ought not be compulsory stays an ethical predicament. The inquiry despite everything stands; is it defendable that CEOs merit and have rights to gather hand-outs? In a present issue, Rick Wagoner, CEO of GM, was approached to leave by Obama because of his inability to present a rebuilding plan. Accordingly, he got an astounding freebie of $20 million. In the event that the choice was placed in the hands of many citizens, he would not have left with $20 million because of his reputation. As indicated by ABC News, under his administration, â€Å"GM lost several billions of dollars, took billions in citizen financed help, and cut a huge number of occupations, including declared designs to cut 47,000 workers before the finish of 2009†. (2) what's more, he was remembered for an embarrassment, late 2008, where he was seen to have flown personal jets when requesting a legislature bailout. With such introduction, citizens are frozen with the way that their cash is going towards a paying an organization which fizzled rebuild. Therefore, many contend that he didn't merit the cash since he ignored his duty as the CEO of GM to glance to the greatest advantage of the partner. Then again, GM and the administration needed to, by law, give Rick Wagoner the compensation since it was at that point arranged; in this manner, he was qualified for retirement reserves. Subsequently, another moral issue may emerge dependent on whether he merits the compensation. Let’s likewise not overlook the way that he worked in GM for a long time. 2) what's more, if a freebie was not offered, numerous fit CEOs will lose motivators and GM’s budgetary position will most likely be unable to recover without a viable pioneer. Generally, the difficulty a remaining parts in banter with respect to whether the advantages of freebies supersede the conceivable maltreatment of this benefit. To additionally break down this case, this situation was applied to the seven stage choice methodology. Moral Standards To begin with, the initial step to the choice methodology is to recognize moral norms. Since each stakeholder’s interests change, there is a contention among individual objectives, convictions and qualities. For example, CEOs and board individuals make a move to expand their compensation because of individual objectives; notwithstanding, it may not be to the greatest advantage of the organization. Accordingly, by seeking after this objective, CEOs and board individuals trust in selfishness where they look exclusively to the greatest advantage of themselves and think about it as a way to goodness. They additionally accept that with an entrepreneur economy, the administration ought not mediate and should give businesses’ their opportunity coming about a free enterprise viewpoint. Correspondingly, investors additionally mean to boost their salary and individual motivating forces. In doing as such, they esteem trust and trustworthiness and anticipate that guardian obligations should be met. Moral Impacts The subsequent advance is to perceive every single good effect and how they either advantage or mischief partners. It is likewise imperative to distinguish any rights that are connected to privilege or potentially obligation that might be perceived or abused. The accompanying graph is a cost/advantage investigation if the administration was to permit the act of freebies.

Contrasting Spellbound with The Stud as Examples of Romance and Anti-romance Fiction - Literature Essay Samples

Both romance and anti-romance hold connotations of triviality and low-brow culture, reducing women to simplistic figures in which to indulge. Yet, for all their critical analyses, it seems inconclusive as to which genre is more sexist. This question may be addressed with reference to authorial intent, but, as Edward Said claims, ‘the reader is a full participant in the production of meaning, being obliged as a moral thing to act, to produce some sense’ , indicating that both genres operate ideologically only to the extent to which the reader interpolates it. This essay will examine the theory that such readings of sexism depend on how the novels are received, using the idea of ethnographic consideration in order to study this. I will be dividing reception of these genres into the passive pleasure readers and the ironic or critical readers. Spellbound and The Stud exemplify the varied potential readings of the two genres. Both are primarily intended for fast-paced consump tion by a mass audience, and are what Snitow describes as ‘easy to read pablum’ . Certainly, today’s commodity culture has produced a certain depthlessness, reflecting Adorno and Horkheimer’s theory of the culture industry churning out pseudo-individualised commodities to be consumed passively in leisure time. Romances are more obviously liable to be condemned by feminist criticism due to their female characters relying on men for fulfilment. Spellbound in particular may be thus condemned due to its references to the medieval era- an almost nostalgic allusion to a patriarchal period in which women had a stricter, more subservient role in romantic relationships. However, this essay will investigate the argument that anti-romance, despite its supposedly empowering message to women, is also sexist in its representation of how its women gain and maintain such power. Most obviously, anti-romance novels (The Stud being a particularly apt example due to its male and female narrative perspectives) are able to alter Laura Mulvey’s idea of the male gaze domination and the objectification of women in art . Though seemingly empowering for women previously subjected to the gaze (as Bryna is in Spellbound through the male narrative perspective as well as being the subject of both male characters’ desires), it is clear through The Stud that the gaze is seemingly appropriate to the celebrity figure, meaning women as well as men are still objectified. In fact, both Bryna and Fontaine relish in the male gaze, though the former for matrimonial monogamy and the latter for power. Yet, both bear traits of sexism, as romance dictates that women centre their lives around finding a husband, while anti-romances gives the impression that identity correlates directly with appearance, indicating that women remain under superficial scrutiny in the modern world. Certainly, Tony criticises how Fontaine is ‘a bit lacking in the tits and ass depa rtment’ , despite succumbing to her dominance, which suggests that the male gaze will remain even with the new status of women. The Stud reduces woman’s agency to superficial display of material prosperity. Yet, the females’ skills revolving around consumption and celebrity image prove to be lucrative in the context of this contemporary world, and act as a source of economic power. This differs from the domestic sphere of feminine sentimentality; compared to the nineteenth century sentimentalism and domestic traditions, the sex and shopping novel permeates the convention of male writing representing public, rational social criticism, rather than relying on the domestic, emotional commentary in which women were considered to be concerned only with maternal and domestic yearnings. Through this genre, women are now positioned within consumer culture rather than relegated solely to the domestic realm. This may be viewed as an empowering new position for women as it not only places women in the public/business sphere of consumerism, but also depicts the male narrative of ambition and economic mobility. Aside from the overwhelming emergence in commodity culture, the anti-romance novel rewrites the American Dream narrative, appropriating it to the contemporary ability for women to have a self-made woman story, thereby refuting traditional representations of women. However, through this, characters such as Fontaine display essentially male characteristics of ambition, but also hedonism, excess, narcissism and the seeking for immediate gratification. The Stud also depicts a dependence on men as well as immorality and exploitation in regards to the way women achieve their wealth. This could be read, as Felski sees is, ‘as a redress of past inequities’ , providing the prospect for women to, in their own way, dominate. Alternatively, it may be regarded as hypocritical of criticisms made against men in patriarchal society, denoting the dam aging effects of such a representation of women as encouraging the use of sexuality and appearance to gain economic and social mobility. Additionally, this representation retains the idea that women lack intellectual depth, and even this reliance on social manipulation and sexual exploitation is unstable; for example, Fontaine’s husband, the reliant funding and prestige behind her extravagant lifestyle, leaves her. To this extent, the novel portrays the idea that women still have to sacrifice a part of themselves in order to gain success, just as Bryna sacrifices a lifetime for Calen. In this celebrity circle, it remains socially unacceptable to have a husband that is not deemed respectable. Furthermore, commodity consumption presents an opportunity for fulfilment, depicting how women are seduced by material wealth, just as romance heroines are seduced by men. For example, Fontaine makes up with Benjamin because she simply must have the fur coat she wants him to buy her in or der to impress her social circle. Thus, the sex and shopping novel applies similar social constraints and pressures to that of patriarchal society, and arguably harsher constraints than the world of romances like Spellbound, whose female protagonist at least has the potential for a compassionate relationship. Nonetheless, Kay Mussell remarks that romance novels fail ‘to elaborate mature and triumphant models for female life beyond marriage, motherhood and femininity’ , just as The Stud fails to elaborate models for female life beyond consumer and celebrity culture. Therefore, it is evident that both genres establish constraints upon women. In her article, Regis writes that ‘canonical romance writers have employed [romance form] to free their heroines from the barrier and free them to choose the hero’ . There is emphasis throughout the article on women’s free choice, yet romances such as Spellbound establish the hegemonic ideology of monogamous marria ge and the vital need to find a man to complete one’s life, and thus refuses to provide other options for female fulfilment. Douglas corroborates this, claiming that courtship in romance novels is reduced to ‘coupling in the wary primitive modes of animal mating’ , thus providing limiting horizons for women. As Modleski sees it, romances encourage the reader ‘to participate in and actively desire feminine self-betrayal’ , as indeed Bryna waits and relies on Calen for one thousand years with no question of this commitment begged from the reader. On the other hand, a significant aspect of the sex and shopping novels such as The Stud centres around the idea that women can enjoy free sex without shame, but in doing so it negates any emotional connection and reduces it to hedonistic insignificance. Thus, both portrayals are limiting in portraying female fulfilment. In addition, the lack of depth and complexity in the writing style of both texts further in dicates a lack of intelligence as a vehicle for women, both in terms of the characters presented and the metatexual concept of low-brow popular fiction associations. In The Stud, the emphasis on glamour and materiality serves to highlight the retaining of femininity of women in a masculine role of dominance and economic autonomy. However, to a critical rather than a pleasure reader, this may portray the postmodern view of the social construction of gender, drawing on Judith Butler’s theories of gender performativity as a social construction. To this extent, the overtly camp aesthetic of the lifestyle and characters in the novel serves as a form of ironic resistance of hegemonic gender roles. Andrew Ross asserts that in camp presentation the exaggeration of the characterisation helps undermine and challenge the accepted normality of essentialist gender roles , linking to Robertson’s ideas on gender parody as a means of critique . Considering this, one might look to the Brechtian technique of verfrumdungseffekt , as the exaggerated characterisation of the camp aesthetic estranges the audience in order to give them detached judgment of dominant gender roles. However, with ethnographic consideration, it is clear that the majority of the anti-romance audience are passive, pleasure readers, meaning one must assume that most would not read this deeply. As Robertson remarks, ‘camp is a reading/viewing practice which, by definition, is not available to all readers; for there to be a genuinely camp spectator, there must be another hyperbolical spectator who views the object ‘normally’’ . This again asserts the idea of a divided audience between the Adorno’s idea of ‘passive dupes’ and the critical readers. Moreover, as a piece of popular culture, one should not necessarily read such text socio-politically. Indeed, Susan Sontag remarks that the constructed and stylised manner of the camp aesthetic, by its very nature, is apolitical , the point being its utter frivolousness and not its ability to critique. It is certainly difficult to read such a text as a serious social critique, especially considering the authors.Authorial celebrity and homology, exemplified by Jackie Collins and Nora Roberts, provides evidence for their novels being a celebration rather than critique of this lifestyle and position of women. Certainly, sex and shopping novels almost instruct the reader on social mobility within the lifestyle of the rich and the famous, and the intertextual evidence of authors’ own celebrity depicts an encouragement for the values displayed in the novels. For example, Collins socialises within real-life celebrity circles, and makes a living on revealing secrets to the population on chat shows and online forums. This denotes a voyeuristic fascination rather than distanced critiquing; it seems to aim for readers to live out their fantasies through the characters. This celebratory re presentation appears to condone a new definition of femininity, though that definition still includes engendered roles, as men are needed to fund women and provide them status. In order to determine the effects of such representations, one has to ethnographically evaluate how such texts are received. Both The Stud and Spellbound represent mythic genres that depict exceptional, extraordinary heroines. The pleasure here is from viewing this extraordinary femininity, and thus does not denote commentary of social reality. Indeed, this follows Robertson’s logic of ‘the pleasure of masquerade’ , that is distanced from reality. As Adorno and Horkheimer would see it, the readers of romance and anti-romance ‘seek novelty, but the strain and boredom associated with actual work leads to avoidance of effort in that leisure time which offers the only chance for really new experience. As a substitute, they crave a stimulant’ . In this way, the readers are not nece ssarily expected or expecting to directly refer to reality when reading these texts. As Douglas sees it, romances ‘are porn softened for the needs of female emotionality’ , and The Stud, while not passionately or explicitly sexual, acts as a form of female pornography in its titillation of female power and dominance. In either case, the categorisation of ‘pornography’ indicates a lack of realism, and more an indulgence for reason of pleasure, rather than reflections on reality. However, the potential for real-life association would be more plausible in The Stud, which may be read as a vision for a desired reality because the descriptions of commodity culture are very much existing and prospering, as well as the authors indulging in that very lifestyle and almost encouraging it. Meanwhile, the fantastical world of Spellbound exemplifies the reader’s escape into a mythic world and is not expected to reflect reality. It seems, then, that anti-romanceà ¢â‚¬â„¢s close correlation with real-life makes it more demeaning in its reflection of reality, as opposed to an escapist’s utopian sensibility that does not necessarily reflect real-life desires. Nonetheless, romances may be seen, as Regis asserts, as an ‘enslaver of women’ , implying that romances have hegemonic repercussions in the real world of restricting female aspirations to heterosexual, monogamous wifehood. This subjective inconclusiveness directs us to Roland Barthes, whose ‘Death of the Author’ voices the concept that it is for the reader to find meaning, relegating authorial intent and majority reception to irrelevancy. To this extent, the reader is free to produce any reading of the texts; despite the lack of intention, there still exists the potential for any implicit meaning to be found, thus negating any possibility of conclusively determining which genre imparts the more damaging representation of women. Overall, considering both t he authorial intent and the mass reception of these novels, the bourgeois idea of cognitive connection to culture is seemingly unfitting to a study of popular fiction; instead the focus is on pleasure, not critical analysis. As Andrew Britton explores the concept of Hollywood blockbusters, so too is popular music to be ‘consumed’ rather than ‘read’ with the postmodern logic of spectacle over content . Undoubtedly, such forms of ‘art’ are created chiefly for the marketplace, and thus do not deliberately operate ideologically. However, if one were to read such texts as indicators of the female role, it seems evident that, despite its feminist intention of empowering women, the anti-romance genre, exemplified by The Stud, signifies an equally restricting and demeaning representation of women as may be seen in romance novels; it merely appropriates concerns of finding a male to the ascertaining of wealth and status through manipulation and exploita tion, both reducing the female to two-dimensional life aspirations. Bibliography:Adorno, Theodor, and Max Horkheimer, Dialectic of Enlightenment, (Stanford University Press: 2002).Adorno, Theodor, Essays on Music: Theodor W. Adorno, (London: University of California Press, 2002).Barthes, Roland ‘The Death of the Author’ in Image, Music, Text trans. By Stephen Heath (London: Fontana, 1977). 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