The Number Of Juveniles Committing Crimes - 1745 Words

The number of juveniles committing crimes seems to be decreasing every year, but the numbers are still high and police force can’t seem to figure out what the problem is. Though no one answer can tell people why numbers are going up, researchers are determine to figure out what may be the root of the issue. It has been stated by many studies that the environment a child comes from can determine whether they will become a criminal. There are 3 main categories that have been discussed that researchers believe may affect the way a juvenile acts. These categories are family disruptions, single parent households, and lower class living. All these categories are things that come up in every study done to figure out whether a juvenile is affected†¦show more content†¦A child’s mind can be massively affected by divorce and this is what makes them delinquent. A child who is use to seeing marital discord in their home is sometimes prone to delinquent ways. Marital discor d is the lack of concord or harmony between two married people. Many parents experience unhappy conflicts where they bicker a lot amongst each other and sometimes in front of the children. While most hostile parents get divorced, some decide to stay together for the sack of their children. These parents do not always understand how exposing their children to ongoing conflict can be very harmful to them. The children can be emotional and physical affected in ways such as depression, anti-social behavior, and aggressive delinquent behavior. The social learning theory argues that aggressive behavior is learned because children tend to imitate what they see. Researchers have come up with three major relationships between family disruption and delinquency which are trauma theories, life course theories, and selection theories. The trauma theories suggest that the loss of a parent has a damaging effect on children, most commonly because of the effect on attachment to the parent (Juby and Farrington 2001). Life course theories focus on separation as a long drawn out process rather than a discrete event, and on the effects of multiple stressors

The Role Of Global Manager - 2384 Words

To play the role of global manager, it is not only about having good skills for leadership but they have to learn about differences in many cultures. Then if global managers have ability to adapt them together, they can cross the wall of difference between each nation in workplace. However, managing people who come from different countries and cultures is not easy because people from different areas have different behaviour and preference for working both individual and collective style. Sometimes there are some problems about manager from one culture works with subordinator who from another culture. It is usually cause by leader’s emotion. After the problems occurred managers must know how to deal with it. This essay provides emotional intelligence framework within five steps to get rid of bad mood. And also provides link between emotional intelligence with cross culture. Furthermore, there are some examples that illustrate how to adapt the framework for using in multicultura l teamwork. The inside story of a successful organisation has some people play the role of worker that work and drive the organisation. It is sure that only one person cannot make succeed especially for a big organisation. A big organisation that has many kind of job, it will divide to be department and distribute the job to the leader in that particular department. They will work together as a teamwork. The leader will be the person who control employees to work and remain the work standard forShow MoreRelatedMultinational With Global Business Operations Essay1384 Words   |  6 Pagesthere’s no such thing as universal global manager instead, global manager is characterised by the nature of the work he or she does within an organisation with global operations. He or she has the capability to manage the complexity of business that is conducted across divergent cultures and time zones. (Financial Times Lexicon). Multinational with global business operations instead require four types of m anagers to succeed. They develop four kinds of managers and then unite them in a common purposeRead MoreGlobal Team1436 Words   |  6 PagesWhat challenges do managers face in managing global teams? How should those challenges be handled?† 25st of November 2011 Student number: B00600693 Words: 1145 The purpose of this essay is to examine the characteristics of effective teams as well as the challenges faced by managers to lead global teams. It will also analyse how these challenges should be handled. It will provide a definition of an effective and global team. 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This essay will also touch on the impact of managers and their decisions on the globalization of business as a whole. Managers of today require aptitude in the use of technology, understanding of culture, and implementation of certain skillsets in order to be successful. This paper will draw from the text of Carpenter, Taylor, and Erdogan (2009) as wellRead More Multinational Corporations And The Global Economy1256 Words   |  6 Pagesone of the most prevalent types of firms in the global economy. In comparison to domestic corporations, MNC accounts for about 25% of the world’s product and approximately half of the total world trade (Guillen, n.d.). MNCs are increasingly becoming an important in the global economy and they are three times more common today than 20 years ago. In order to maintain competitiveness, multinational corporations must be able to change and adapt to global requirements. In order to progress and sustainRead MoreThe Role Of Management During The 21st Century : Challenges And Opportunities1080 Words   |  5 PagesThe role of Management in the 21st century: Challenges and Opportunities The development in management studies has flourished largely; it is with no doubt that the internet and information technologies have caused this major development. On one hand, the classic management practices became less effective in organisations. On the other hand, the effects of the global economy have introduced new management concepts that shape the world business activities. Historically, the industrial revolutionRead MoreThe Role of the International HR Manager Essay1347 Words   |  6 PagesThe Role of the International HR Manager For many people international HR management (IHRM) is synonymous with expatriate management. IHRM, however, covers a far broader spectrum than just the management of expatriates. It involves the worldwide management of people. Although International HR (IHR) managers undertake the same activities as their domestically-based colleagues, the scope and complexity of these tasks will depend on the extent of internationalisation of the organisation. In thisRead MoreReview of the Article Sex Stereotyping Managerial Positions859 Words   |  3 Pages Article review: Global leadership Exercising leadership can be challenging even in a uni-cultural context. Leadership needs vary from situation to situation, and organizational culture to organizational culture. This becomes even more sharply manifest in multicultural arenas. The 2012 article Sex stereotyping managerial positions from Gender in Management discusses a common leadership challenge--the difficulty of female managers to exert their authority differs in an American versus an EgyptianRead MoreUse Of Mintzberg s Management Roles1356 Words   |  6 Pagesobjectives but also the non-tangible goals and objectives such as completing the project on time and without any overrun. 3.4 Management Roles Based on the research interview, Jacobs is also using Mintzberg’s management roles within 3 categories: †¢ Decisional Roles Both top and middle managers of Jacobs Australia have decisional roles to do. The top management is generally involved on deciding when to initiate new projects or programs and approve significant other organisational decisions. HoweverRead MoreCase Study of Roche Diagnostics1082 Words   |  4 Pagesemployees, as well as capitalize on their knowledge and skills in the best possible manner. (1) The company as such invests significant time and resources to train its staff members and an essential role in this sense is played by the global leaders. The global leaders are commonly understood as the managers in charge of international projects. They have to respond to a wide array of challenges pegged to international operations, such as the need to promote the companys culture in all its international

Management of Hazardous Wastes Free Essays

Everday we hear more bad news about our planet. Reports tell us that wildlife and forests are disappearing at an alarming rate. Newscasts give the latest word on how quickly earth is losing its protective shirld and warming up. We will write a custom essay sample on Management of Hazardous Wastes or any similar topic only for you Order Now Newspapers lament the pollution of our air, water, and soil. What can we do in the face of such widespread gloom? In fact, we do not have to feel helpless. We can each learn practical ways to better our environment. For example, saving and recycling newspapers has a number of positive results. First, recycling newspaper saves trees. The average American consumes about 120 pounds of newsprint a year-enough to use up one tree. That means close to 250 million trees each year are destroyed for paper in this country alone. If we recycled only one-tenth of our newpaper, we would save 25 million trees a year. Second, making new paper from old paper uses up much less energy than making paper from trees. Finally, this process also reduces the air pollution of paper-making by 95 percent. Another earth saving habit is â€Å"precycling† waste. This means buying food and other products packaged only in materials that will decay naturally or that can be recycled. The idea is to prevent unrecyclable materials from even entering the home. For instance, 60 of the 190 pounds of plastic-especially styrofoam-each American uses a year are thrown out as soon as packages are opened. Be kind to your planet by buying eggs, fast food, and other products in cardboard instead of styrofoam cartons. Buy beverages in glass or aluminum containers instead of plastic ones. Buy in bulk to reduce the amount of packaging, you will save money too. Finally, when you can, buy products whose packing shows the â€Å"recycled† logo. Materials that have been recycled once can be recycled again. Wise management of hazardous household wastes is yet another way of taking action for the planet. Hazardous wastes include paint, old car batteries, oven and drain cleaners, mothballs, floor and furniture polish, pesticides, and even toilet bowl cleaners. First of all, we should store hazardous materials properly by keeping them in their original containers, making sure they are clearly labeled, and keeping them in a cool, dry place that is out of the reach of children. Second, we can reduce our use of these products by buying only what we need and by sharing anything that might be left over. Third, we should take great care in disposing of hazardous wastes. Certain wastes such as old car batteries and motor oil can be refined and reused, and in some cities can be turned in for special burning. However, local authorities have to be contacted because disposal practices vary so much from place to place. These personal actions may not seem important. At the very least, though, they can relieve some of the helplessness we all feel when faced with the threats of global disaster. If carried out on a larger scale by millions of individuals, they could greatly improve our environment and lives. How to cite Management of Hazardous Wastes, Essay examples

Monika Mezyk Essay Example For Students

Monika Mezyk Essay In Ann Radcliffes The Italian, the very first thing that we see described is a veiled woman:It was in the church of San Lorenzo at Naples, in the year 1758, that Vincentio di Vivaldi first saw Ellena di Rosalba. The sweetness and fine expression of her voice attracted his attention to her figure, which had a distinguished air of delicacy and grace; but her face was concealed in her veil. So much was he fascinated by the voice, that a most painful curiosity was excited as to her countenance, which he fancied must express all the sensibility of character that the modulation of her tones indicated (5). Even without knowing anything about Gothic elements, this indicates very clearly what the quality and tone of the book are going to be like. Vivaldis pursuit of the veiled woman is a signal that his is the pursuit of the mysterious, with the certainty that it will be beautiful. This certainly does seem to be a great fascination in the novel; it is a component and often a catalyst for that anxiety which runs throughout. It is this anxiety which causes the heightening of our emotions; our emotions are heightened as we watch the characters pursuit of the mysterious; and our curiosity is excited more and more until we are nearly begging for its gratification. But Radcliffe heightens our emotions without satisfying our curiosity, or at least not enough. For example, the very first chapter establishes a sense of mystery about the assassin in the Church. The Englishman inquires as much for himself as for us about the assassin. His concern and state of shock invoke our own inquiry into this odd circumstance and then his Italian friend tells him a mystery without actually telling him anything:He the assassin sought sanctuary here, replied the friar; within these walls he may not be hurt'(2). He makes it clear that there is a story here but that it is long and suspenseful, maybe shocking:It is much too long to be related now; that would occupy a week; I have it in writing, and will send you the volume' (3). What it is exactly, or what the tale is going to be is only hinted at in a very curiosity invoking way: as if it is a secret. Instead of the Englishman and his Italian friend going down to the street caf and relating the story, the Italian friend says that he will send him something written the following day and then the passage stops. We are tempted, as is the Englishman, by these curious circumstances and yet nothing is revealed to us other that the implication that soon all will be revealed (after a couple hundred pages). What Radcliffe does is that she creates our sensation of terror; she suspends our disbelief that much longer, building our curiosity and our need to know to a brilliant height and then-nothing: the story takes a different turn and gratification is postponed while our expectation and anticipation is increased. This happens in the very beginning passage in which Radcliffe starts The Italian by providing just enough information to suck us into her tale and, then, just as we expect pay off, she postpones it a little further while providing just enough information to keep us intrigued. And, before we know it, we, the reader, are entangled in her Gothic quicksand and greedily reading in search of the secrets she buries before our eyes. When Vivaldi rushes into the Villa after the mysterious cloaked figure that has escaped him, he emerges pale: we know something has happened and await his tale but he tells us nothing, he refuses to say anything and, thus, we are left suspended in the wake of mystery. Another example when we are suspended in the wake of mystery occurs when Vivaldi and Paolo are in the dungeon imagining the garments lying on the floor to be moving. We do not find out whether or not these garments belong to someone murdered until the end of the novel; so this incident leaves us in a state of suspense:It moves! exclaimed Paolo; I see it move! as he said which, he started to the opposite side of the chamber. Vivaldi stepped a few paces back, and as quickly returned; when, determined to know the event at once, he raised the point of his sword, and perceived, beneath, other remains of dress, heaped high together, while even the floor below was stained with gore (77). .u1b1a4c66808f488a4ac348d83e90c101 , .u1b1a4c66808f488a4ac348d83e90c101 .postImageUrl , .u1b1a4c66808f488a4ac348d83e90c101 .centered-text-area { min-height: 80px; position: relative; } .u1b1a4c66808f488a4ac348d83e90c101 , .u1b1a4c66808f488a4ac348d83e90c101:hover , .u1b1a4c66808f488a4ac348d83e90c101:visited , .u1b1a4c66808f488a4ac348d83e90c101:active { border:0!important; } .u1b1a4c66808f488a4ac348d83e90c101 .clearfix:after { content: ""; display: table; clear: both; } .u1b1a4c66808f488a4ac348d83e90c101 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u1b1a4c66808f488a4ac348d83e90c101:active , .u1b1a4c66808f488a4ac348d83e90c101:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u1b1a4c66808f488a4ac348d83e90c101 .centered-text-area { width: 100%; position: relative ; } .u1b1a4c66808f488a4ac348d83e90c101 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u1b1a4c66808f488a4ac348d83e90c101 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u1b1a4c66808f488a4ac348d83e90c101 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u1b1a4c66808f488a4ac348d83e90c101:hover .ctaButton { background-color: #34495E!important; } .u1b1a4c66808f488a4ac348d83e90c101 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u1b1a4c66808f488a4ac348d83e90c101 .u1b1a4c66808f488a4ac348d83e90c101-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u1b1a4c66808f488a4ac348d83e90c101:after { content: ""; display: block; clear: both; } READ: Great Wall of China EssayThis leads me to speak of imagination, which is such a huge part in telling the story. There is such an enormous emphasis on perceptions, belief and feelings. It seems that everything that happens is filtered through the lens of one of the various characters. There is a constant projection of their thoughts into what is happening:As they passed, Paolo observed, that the walls were stained with what appeared to be blood (74). It did not necessarily have to be blood, but we see it through Paolos perceptions, which leads us to the most sordid conclusion. Immediately after this, they see a figure standing in the shadows which disappears by the time they arrive; Vivaldi and Paolo conclude that it must have been an evil spirit to haunt them. Although it can be argued that is the sense of the impending danger that gives the book its impetus, it is more probable that it is the perception of the impending danger, of the gruesome, of the revealing that which is dark, which is the impetus. That is a significant difference. By doing this, Radcliffe wants to make sure that we are in sync with the characters thought by thought and breath by breath. A cloudy sky cannot just be shown as a cloudy sky, which would seem depressing to some or not important to others; it has to take the perception and imagination of Vivaldi to make it foreboding. It is also significant that Radcliffe purposefully constructs characters of a susceptible nature, characters that are easily swayed by appearances and not facts. By creating the character of Vivaldi, it seems that Radcliffe has created a character that is more susceptible than the average person to the sublime and the gothic. He calls the strange monk super-human on numerous occasions, overly excited to prove himself correct. The narrator even says as much, hinting that after all the trouble Vivaldi put himself through to discover the identity of the monk, a simple, rational explanation would be disappointing. It seems as if Vivaldi is searching for trouble, in a sense, and he does not shy away from dangers. It also seems that he enjoys the clandestine nightly excursions to the arch where the strange monk appears. To Ellena, just like to Vivaldi, a simple rational explanation would also be disappointing. In volume 2, when Ellena is taken to Spalatro and locked in her room overnight, she begins to suspect an attempt on her life. In the darkness, she imagines moving shadows and creaking floors, yet she is unable to confirm her fears. Instead of using her common sense by thinking that if they really wanted to her dead, they would have killed her before she reached the cabin, she prefers the non-rational explanation of Spalatro trying to assassinate her. Like to Vivaldi, to Ellena just a rational explanation would be disappointing and, to us, the audience, such a rational explanation would decrease our sensation of terror instead of increasing it, which would, in turn, be disappointing to our expectations. Ellenas fears certainly do not seem to be based on evidence. Even when Spalatro brought her the meal, I was not sure if Ellenas fears were justified. It seemed that Ellena was looking for someone to assassinate her, so anything she saw would be a part of that conspiracy; everything Spalatro did would be suspect and it was. Her susceptible nature often led her into the suspicion out of which the novels Gothic tone is constructed; just like Vivaldis and Paolos susceptible natures lead them to jump to most horrifying conclusions earlier in the novel. When talking about perceptions, it is impossible to omit the distinction between the real and unreal in The Italian. The strand of reality, interwoven with fantasy, seems to be a driving force in the plot. In the episode involving Ellena, her suspicions are confirmed; her fantasy becomes confirmed as reality as her fears about Spalatros intentions are confirmed (although not until the end). Of notice is also Vivaldis constant desire to solidify his fantasy (getting married) with Ellena; as if the real thing will finally restrict the fearful possibilities into a single reality. Yet it is this reality from which Vivaldi derives his fearful fantasies. It is this drama between what is real and unreal that gives the novel its impetus. For example, when Marchesa is speaking to Schedoni, they are both thinking of murder, but both refuse to say it, as if doing so would make it more real than merely thinking about it.