The American Dream in Arthur Millers Death of a Salesman :: Death of a Salesman

The American Dream in Arthur Miller's Death of a Salesman Within the tragic play, Death of a Salesman, Willy Loman destroys himself trying to achieve a dream. Yet, the dream that destroys Willy is not one that he has chosen. Willy Loman does not choose this destructive dream because he does not know himself, Willy Loman does not choose a dream at all, one is forced upon him by society. Willy Loman spends the expanse of the play trying to achieve wealth, fame, and the like of others. These ideas epitomize the American Dream, to become a successful, well-liked businessman. Willy's true dream, however, was very different from this. Throughout the play you can see evidence that Willy feels trapped by this dream that he feels obligated to fulfill. Society has dictated to Willy that the American Dream is "the" dream, and no other dream is acceptable. Because of this dictation, Willy abandons his true dream of living on his own, in the country, where he can support himself by farming, and living from the land. The proof of Willy's true dream appears in short scattered bits. "God, timberland! Me and my boys in those great outdoors! Yes, Yes! Linda, Linda!" he cries exuberantly at the idea of moving away from the city. By the idea is quickly killed by the society surrounding him. "You wait, kid, before it's all over we're gonna get a little place out in the country, and I'l l raise some vegetables, a couple of chickens..." once again, society surrounding Willy crushes this dream, his true dream, forcing it back into the subconscious of Willy's mind, where it remains for the duration of the play, only surfacing at a few times, when the dream that Willy is trying to fulfill becomes so horrible that he remembers that he had another dream, or when the false dream is looking as if it might be coming to a close, and he will be able to move on to take on his real dream. In the climax of the play, when Willy realizes that he is loved by his sons, a slight awakening occurs in Willy's mind. He begin to understand that his true dream, of living in the country, is identical to that of his beloved son, Biff. Biff has never been able to follow his dream because of his father pushing him into the false dream of being a businessman.

PHI – Employee Health Information

Employees of an organization should expect for their health information to remain private. Just as the government has found it necessary to create laws to protect employees from discrimination, they have had to create laws to safeguard an employee’s protected health information (PHI). These laws include: Health Insurance Portability and Accountability Act of 1996 (HIPAA), Americans with Disabilities Act (ADA) and Occupational Safety and Health Act (OSHAct). While each law explicitly protects employee health information, it also allows employers to use certain PHI to meet certain requirements of each law and to ensure the safety of employees. What is Protected Health Information? What is protected health information? According to Davis and Salver-Malyska, protected health information is defined as individually identified health information transmitted electronically or maintained or stored on any electronic media (2003, p. 31-32). In the United States the HIPAA Privacy Rule allows employers if acting as Plan Administrator to obtain certain PHI. There is no way around this, because the administrator must ask the employee’s doctor to complete certifications and provide back the employers. Companies that have an HMO and also have Workman Compensation, Family Medical Leave Act (FMLA), Short-term and Long term Disability plans will require the doctor or the employee to provide medical certifications that support the need for the employee to be on leave or restricted duty. Under the FMLA, companies are required to also get PHI for an employee’s family member is the leave is requested to take care of a sick or injured family member. Other types of PHI collected by employers include, pre-employee physical information, drug testing prior to employment and random testing. This information is required as part of the hiring process or company liability coverage depending on the nature of the business or job. According to Cascio, the employer is required to indicate if a leave is FMLA and the reason for the leave (2010, p. 9). Ethical and Trust Issues At issue with each type of PHI collected or reviewed there is the potential of the employee’s privacy being compromised? If companies to not set standard, required policies and procedures for those employees requesting and handling the PHI, then there could be major breaches. Once the breach as occurred, an employee’s trust is eroded. Managers and supervisors should be provided training, as most of the information for Workman Comp, FMLA or STD claims is already provided to the employee’s management. But even still, employers cannot directly ask health care providers the nature of an employee’s situation unless the employee has provided or agreed to release the information. According to Colquitt, Lepine and Wesson, trust by an employee is their implied and explicit agreement to allow themselves to be vulnerable to a trustee (2009, p. 219). Just the thought of PHI being made accessible to individuals who may not be trustworthy creates considerable distress by the employee. An example, of distressed trust, would be an employee who is HIV positive, who is required to take a pre-employment physical. While in theory and supposed practice, an employer is not to request a pre-employment physical until after the offer I made. Nonetheless the employee would still have feelings of reluctance to allow the testing just to get a job. Another example includes the employee who is covered by the ADA, where a company must make reasonable accommodations for the employee’s disability. Which means management and HR must ask the question and place into service, the items or accommodations they employee need to meet the projected expectations. In January 2009, the Bush administration published updated FMLA regulations. One key section clarifies the rules regarding who may request additional information about an employee’s FMLA certification—and how it should be sought†. Recommendations In my experience as a manger, I refrain from asking employees PHI regarding them or their families. When you have employees who have small children, elderly parents and a disabled spouse, managers must ensure that they never ask an employee â€Å"what is wrong†? Not only should HR provide training on basic requirements for Workman Comp and HIPAA. Each manager must put safeguards in place to ensure employee records are not compromised. My company has established a process that removes the need to certify or review medical information for return to work instances. Employees submit items directly to an HR professional and not to the manager or supervisor. By doing this it removes the possibility of deliberate or unconscious violation of the employee’s privacy rights. References Colquitt, J. A., Lepine, J. A., & Wesson, M. J. (2009). Organizational Behavior;Improving Performance and Committment in the Workplace. New York: McGraw Hill. Cascio, W. F. (2010). Managing Human Resources: Productivity, Quality of Work Life, Profits. New York: McGraw-Hill Companies, Inc. Davis, V., & Silver-Malyska, T. (2003). Employers Liability for Use and Disclosure of Individual Health Information: HIPAA Privacy and Employer Functions. Benefits Law Journal, 16(2), 29-46.

Classical Music Essay

Introduction Music is found in every known culture, past and present, varying wildly between times and places. Since all people of the world, including the most isolated tribal groups, have a form of music, it may be concluded that music is likely to have been present in the ancestral population prior to the dispersal of humans around the world. Consequently music may have been in existence for at least 50,000 years and the first music may have been invented in Africa and then evolved to become a fundamental constituent of human life. The music of the Classical period is characterized by homophonic texture, or an obvious melody with accompaniment. These new melodies tended to be almost voice-like and singable, allowing composers to actually replace singers as the focus of the music. Instrumental music therefore quickly replaced opera and other sung forms (such asoratorio) as the favorite of the musical audience and the epitome of great composition. However, opera did not disappear: during the cla ssical period, several composers began producing operas for the general public in their native languages (previous operas were generally in Italian). Along with the gradual displacement of the voice in favor of stronger, clearer melodies, counterpoint also typically became a decorative flourish, often used near the end of a work or for a single movement. In its stead, simple patterns, such as arpeggios and, in piano music, Alberti bass (an accompaniment with a repeated pattern typically in the left hand), were used to liven the movement of the piece without creating a confusing additional voice. The now-popular instrumental music was dominated by several well-defined forms: the sonata, the symphony, and the concerto, though none of these were specifically defined or taught at the time as they are now in music theory. All three derive from sonata form, which is both the overlying form of an entire work and the structure of a single movement. Sonata form matured during the Classical era to become the primary form of instrumental compositions throughout the 19th century. The early Classical period was ushered in by the Mannheim School, which included such composers as Johann Stamitz, Franz Xaver Richter, Carl Stamitz, andChristian Cannabich. It exerted a profound influence on Joseph Haydn and, through him, on all subsequent European music. Wolfgang Amadeus Mozart was the central figure of the Classical period, and his phenomenal and varied output in all genres defines our perception of the period. Ludwig van Beethoven and Franz Schubert were transitional composers, leading into the Romantic period, with their expansion of existing genres, forms, and even functions of music. PERIODS Medieval †¢When we explore Medieval music, we are dealing with the longest and most distant period of musical history. It includes the Gregorian chant. Gregorian chant is monophonic, meaning music that consists of only one melodic line without accompaniment. Polyphony, music where two or more melodic lines are heard simultaneously, did not exist (or was not knotted) until the 11th century. Unlike chant, polyphony required the participation of a composer to combine the melodic lines in a pleasing manner. Renaissance †¢In the mid-1500s, a prominent bishop commented that music composed for the church should reflect the meaning of the words so that the listeners would be moved to piety. This concept seems like a no-brainer today, but it was a fairly new idea at the time. To suggest that Medieval composers had no desire to write â€Å"expressive† music would be unfair. But, it was the rediscovery of ancient Greek ideals in the Renaissance that inspired many musicians to explore the eloquent possibilities of their art. †¢The increased value of individualism in the Renaissance is reflected by the changing role of the composer in society. Unlike most of their Medieval predecessors, the great masters of the Renaissance were revered in their own lifetimes. †¢Sacred music was still predominant, though secular music became more prevalent and more sophisticated. The repertory of instrumental music also began to expand significantly. New instruments were invented, including the clavicho rd and virginal (both keyboard instruments) and many existing instruments were improved. Baroque (1600-1750) †¢Johann Sebastian Bach, George Frideric Handel, Johann Pachelbel, Antonio Vivaldi †¢Baroque music is often highly ornate, colorful and richly textured when compared with its predecessors. Opera was born at what is considered to be the very beginning of the Baroque era, around 1600. †¢Music’s ability to express human emotions and depict natural phenomenon was explored throughout the Baroque period. †¢Although imitative polyphony remained fundamental to musical composition, homophonic writing became increasingly important. Homophonic music features a clear distinction between the melody line and an subsidiary accompaniment part. †¢The orchestra evolved during the early Baroque, starting as an â€Å"accompanist† for operatic and vocal music. By the mid-1600s the orchestra had a life of its own. The concerto was a favorite Baroque form that featured a solo instrumentalist (or small ensemble of soloists) playing â€Å"against† the orchestra, creating interesting contrasts of volume and texture. †¢Many Baroque composers were also virtuoso performers. For example, Archangelo Corelli was famous for his violin playing and Johann Sebastian Bach was famous for his keyboard skills. The highly ornamented quality of Baroque melody lent itself perfectly to such displays of musical dexterity. Classical (1750-1820) †¢Johann Christian Bach, Ledwig van Beethoven, Franz Joseph haydn, Wolfgang Amadeus †¢The word Classical has strong connotations, conjuring up the art and philosophy of Ancient Greece and Rome along with their ideals of balance, proportion and disciplined expression. The late Baroque style was polyphonically complex and melodically ornate. The composers of the early Classical period changed direction, writing music that was much simpler in texture. †¢Homophony–music in which melody and accompaniment are distinct–dominated the Classical style, and new forms of composition were developed to accommodate the transformation. Sonata form is by far the most important of these forms, and one that continued to evolve throughout the Classical period. Although Baroque composers also wrote pieces called sonatas, the Classical sonata was quite different. †¢One of the most important developments of the Classical period is the growth of the public concert. Although the aristocracy would continue to play a significant role in musical life, it was now possible for composers to survive without being the employee of one person or family. This also meant that concerts were no longer limited to palace drawing rooms. Composers started organizing concerts featuring their own music, and often attracted large audiences. The increasing popularity of the public concert had a strong impact on the growth of the orchestra. Although chamber music and solo works were played in the home or other intimate settings, orchestral concerts seemed to be naturally designed for big public spaces. As a result, symphonic music (including opera and oratorio) became more extroverted in character. Composers gradually expanded the size of the orchestra to accommodate this expanded musical vision. Romantic (1820-1915) Johannes Brahms, Claude Debussy, Frederic Chopin, Felix Mendelssohn, Piotr Ilyich Tchaikovsky †¢Romanticism implies fantasy, spontaneity and sensuality. †¢The Classical period focused on structural clarity and emotional restraint. Classical music was expressive, but not so passionate that it could overwhelm a work’s equilibrium. Beethoven who was in some ways responsible for igniting the flame of romanticism, always struggled (sometimes unsuccessfully) to maintain that balance. Many composers of the Romantic period followed Beethoven’s model and found their own balance between emotional intensity and Classical form. Others reveled in the new atmosphere of artistic freedom and created music whose structure was designed to support its emotional surges. Musical story-telling became important, and not just in opera, but in â€Å"pure† instrumental music as well. The tone-poem is a particularly Romantic invention, as it was an orchestral work whose structure was entirely dependent on the scene being depicted or the story being told. †¢Color was another important feature of Romantic music. New instruments were added to the orchestra and composers experimented with ways to get new sounds from existing instruments. A large palette of musical colors was necessary to depict the exotic scenes that became so popular. †¢In addition to seeking out the sights and sounds of other places, composers began exploring the music of their native countries. Nationalism became a driving force in the late Romantic period and composers wanted their music to express their cultural identity. This desire was particularly intense in Russia and Eastern Europe, where elements of folk music were incorporated into symphonies, tone-poems and other â€Å"Classical† forms. †¢The Romantic period was the heyday of the virtuoso. Exceptionally gifted performers–and particularly pianists, violinists, and singers–became enormously popular. Liszt, the great Hungarian pianist/composer, reportedly played with such passion and intensity that women in the audience would faint. Since, like Liszt, most composers were also virtuoso performers, it was inevitable that the music they wrote would be extremely challenging to play. †¢The Romantic period witnessed an unprecedented glorification of the artist–whether musician, poet or painter–that has had a powerful impact on our own culture. Modern (ca, 1915-Present) Aaron Copland, George Gershwin †¢The late Romantic period featured its own extremes: sprawling symphonies and tone-poems overflowing with music that seemed to stretch harmony and melody to their limits. It is certainly possible to view some early 20th century music as an extension of the late Romantic style, but a great deal of it can also be interpreted as a reaction against that style. †¢20th century music is a series of â€Å"isms† and â€Å"neo-isms.† The primal energy of Stravinsky’s Rite of Spring has been called neo-Primitivism. The intensely emotional tone of Schà ¶nberg’s early music has been labeled Expressionism. The return to clearly structured forms and textures has been dubbed neo-Classicism. These terms have been employed in an attempt to organize the diversity of styles running through the 20th century. †¢Nationalism continued to be a strong musical influence in the first half of the century. The study of folk songs enriched the music of numerous composers, such as Ralph Vaughan Williams (England), Bela Bartok (Hungary), Heitor Villa Lobos (Brazil) and Aaron Copland (USA). Jazz and popular musical styles have also been tremendously influential on â€Å"classical† composers from both the United States and Europe. †¢Technology has played a increasingly important role in the development of 20th century music. Composers have used recording tape as a compositional tool (such as Steve Reich’s Violin Phase). Electronically generated sounds have been used both on their own and in combination with traditional †¢instruments. More recently, computer technology has been used in a variety of ways, including manipulating the performance of instruments in real time. Characteristics Given the extremely broad variety of forms, styles, genres, and historical periods generally perceived as being described by the term â€Å"classical music,† it is difficult to list characteristics that can be attributed to all works of that type. Vague descriptions are plentiful, such as describing classical music as anything that â€Å"lasts a long time,† a statement made rather moot when one considers contemporary composers who are described as classical; or music that has certain instruments like violins, which are also found in other genres. However, there are characteristics that classical music contains that few or no other genres of music contain. Literature The most outstanding characteristic of classical music is that the repertoire tends to be written down in musical notation, creating a musical part or score. This score typically determines details of rhythm, pitch, and, where two or more musicians (whether singers or instrumentalists) are involved, how the various parts are coordinated. The written quality of the music has, in addition to preserving the works, enabled a high level of complexity within them: Bach’s fugues, for instance, achieve a remarkable marriage of boldly distinctive melodic lines weaving in counterpoint yet creating a coherent harmonic logic that would be impossible in the heat of live improvisation. Instrumentation The instruments used in most classical music were largely invented before the mid-19th century (often much earlier), and codified in the 18th and 19th centuries. They consist of the instruments found in an orchestra, together with a few other solo instruments (such as thepiano, harpsichord, and organ). The symphony orchestra is the most widely known medium for classical music. The orchestra includes members of the string, woodwind, brass, and percussion families. Electric instruments such as the electric guitar appear occasionally in the classical music of the 20th and 21st centuries. Both classical and popular musicians have experimented in recent decades with electronic instruments such as the synthesizer, electric and digital techniques such as the use of sampled or computer-generated sounds, and the sounds of instruments from other cultures such as thegamelan. None of the bass instruments existed until the Renaissance. In Medieval music, instruments are divided in two categories: loud instruments for use outdoors or in church, and quieter instruments for indoor use. The Baroque orchestra consisted of flutes, oboes, horns and violins, occasionally with trumpets and timpani. Many instruments today associated with popular music filled important roles in early classical music, such as bagpipes, vihuelas, hurdy-gurdies, and some woodwind instruments. On the other hand, instruments such as the acoustic guitar, once associated mainly with popular music, gained prominence in classical music in the 19th and 20th centuries. While equal temperament became gradually accepted as the dominant musical temperament during the 18th century, different historical temperaments are often used for music from earlier periods. For instance, music of the English Renaissance is often performed in meantone temperament. Keyboards almost all share a common layout (often called the piano keyboard). Form Whereas most popular styles lend themselves to the song form, classical music has been noted for its development of highly sophisticated forms of instrumental music:[11] these include the concerto, symphony, sonata, suite, à ©tude, symphonic poem, and others. Classical composers often aspire to imbue their music with a very complex relationship between its affective (emotional) content and the intellectual means by which it is achieved. Many of the most esteemed works of classical music make use of musical development, the process by which a musical idea or motif is repeated in different contexts or in altered form. The sonata form andfugue employ rigorous forms of musical development. The other notable form in classical music is opera. Technical execution Along with a desire for composers to attain high technical achievement in writing their music, performers of classical music are faced with similar goals of technical mastery, as demonstrated by the proportionately high amount of schooling and private study most successful classical musicians have had when compared to â€Å"popular† genre musicians, and the large number of secondary schools, including conservatories, dedicated to the study of classical music. The only other genre in the Western world with comparable secondary education opportunities is jazz. Complexity Professional performance of classical music repertoire demands a significant level of proficiency in sight-reading and ensemble playing, thorough understanding of tonal and harmonic principles, knowledge of performance practice, and a familiarity with the style/musical idiom inherent to a given period, composer or musical work are among the most essential of skills for the classically trained musician. Works of classical repertoire often exhibit artistic complexity through the use of counterpoint, thematic development, phrasing, harmonization, modulation (change of key), texture, and, of course,musical form itself. Larger-scale compositional forms (such as that of the symphony, concerto, opera or oratorio, for example) usually represent a hierarchy of smaller units consisting of phrases,periods, sections, and movements. Musical analysis of a composition aims at achieving greater understanding of it, leading to more meaningful hearing and a greater appreciation of the composer’s style. Society Classical music regularly features as background music for movies, television programmes, advertisements and events. Nessun dorma from Giacomo Puccini’s opera Turandot for example was the theme tune for the 1990 FIFA World Cup. Relation to Education Throughout history, parents have often made sure that their children receive classical music training from a young age.Some parents pursue music lessons for their children for social reasons or in an effort to instill a sense of self-discipline. Some believe that knowledge of important works of classical music is part of a good general education. During the 1990s, several research papers and popular books wrote on what came to be called the â€Å"Mozart effect†: an observed temporary, small elevation of scores on certain tests as a result of listening to Mozart’s works. The approach has been popularized in a book by Don Campbell, and is based on an experiment published in Nature suggesting that listening to Mozart temporarily boosted students’ IQ by 8 to 9 points This popularized version of the theory was expressed succinctly by a New York Times music columnist: â€Å"researchers†¦ have determined that listening to Mozart actually makes you smarter. â€Å"Promoters marketed CDs claimed to induce the effect. Florida passed a law requiring toddlers in state-run schools to listen to classical music every day, and in 1998 the governor of Georgia budgeted $105,000 per year to provide every child born in Georgia with a tape or CD of classical music. In 1996–1997, a research study was conducted on a large population of middle age students in the Cherry Creek School District in Denver, Colorado, USA. The study showed that students who actively listen to classical music before studying had higher academic scores. The research further indicated that students who listened to the music prior to an examination also had positively elevated achievement scores. Students who listened to rock-and-roll or country had moderately lower scores. The study further indicated that students who used classical during the course of study had a significant leap in their academic performance; whereas, those who listened to other types of music had significantly lowered academic scores. The research was conducted over several schools within the Cherry Creek School District and was conducted through University of Colorado. This study is reflective of several recent studies (i.e. Mike Manthei and Steve N. Kelly of the University of Nebraska at Omaha; Donald A. Hodges and Debra S. O’Connell of the University of North Carolina at Greensboro; etc.) and others who has significant results through the discourse of their work. SUMMARY Personally, I listen to classical music and this is my topic for my ongoing thesis, listening to classical music somehow brings you back to old times, helps me to appreciate art and improves my cognition. Classical music is a music that never gets old, a gift that we, the new generation must take care of.

Modal Verbs

Modal Verbs Modal Verbs Modal Verbs By Maeve Maddox A reader wonders when the term â€Å"modal verb† began to be applied to the following helping verbs: can, could, may, might, shall, should, will, would. Writes the reader: When I was young, no teacher or college professor whose subject was English ever mentioned modal with respect to verbs.   So, whats with the modal stuff?   Modal seems to me to be nothing more than a current trend.   Can you tell whence and when modal sprang into being? Like this reader, I went a very long time before hearing these helping verbs called â€Å"modals.† The first time I heard the term was in graduate school- and I’d taught high school English for several years before going there. The Ngram Viewer shows the existence of â€Å"modal verbs† in printed books as early as 1848, but the term’s use begins to soar in the 1960s. The earliest OED citations for â€Å"modal verbs† in the context of grammar are dated 1933, the year that saw the publication of an influential textbook based on structural linguistics: Language, by Leonard Bloomfield (1887-1949). The importance of structural linguistics declined in the 1950s and 1960s as Chomsky’s theory of â€Å"generative grammar† displaced it, but the term â€Å"modal verbs† remained popular. Modal verbs are also called modals, modal auxiliary verbs, and modal auxiliaries. These helping verbs are used to show if the speaker believes something is certain, probable or possible (or not). For example: I may be able to travel to Tulsa with you. Must you contradict everything I say? Will my car be ready by this afternoon? Modals are also used to talk about ability, to ask permission, to make a request or an offer, and so on. For example: He could not lift the weight. May I go with my friends to the mall? As for being a â€Å"current trend,† the term may have been a trend in the 1960s, but after half a century, modal verbs are in the day-to-day grammar lexicon to stay. Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Grammar category, check our popular posts, or choose a related post below:Direct and Indirect Objects36 Poetry TermsHow often is "bimonthly"?

Should You Tell Your Boss You Hate Your Job

Should You Tell Your Boss You Hate Your Job You hate your job.  You can barely force yourself to get out of bed in the morning to go to work. You’ve lost your passion almost completely. Your work conditions are appalling. And maybe you’re not alone; maybe your co-workers are equally miserable and this company is totally unredeemable. You want to share how you’re feeling with your boss, if only because she’ll have wanted to have the chance to make things better for you- at least to try and convince you to stay. But you’re worried you’ll get a reputation with the higher-ups as a disgruntled employee and then, even if you do get that raise or title bump, you’ll still be miserable at work.You hate your job so should you confront your boss or just conduct a quiet job search and sneak out without making a fuss?Can Your Boss Fix Things?The first thing to consider is whether there are any improvements to your current position or conditions that could convince you to stay. Would you be happier there if you were actually making fair pay for the work you do? Or if you negotiated some other adjustment to your work load that made your job more fulfilling? Before you decide to talk to your boss first, make sure you know how just high your bar is set for staying. And then be clear that you can’t stick around for anything less.Is Your Mind Already Made Up?But no matter how kind and conscientious your boss is, you don’t owe her anything. It’s still well within your rights to quietly get another job, and then give appropriate notice. It’s up to you to decide what you really want. If the answer is that you’re just done and want out? Don’t bother dragging your well-meaning (and probably powerless) supervisor into a decision process wherein your outcome is already decided.Make a graceful exit, don’t burn any bridges, and make sure you don’t fall into the same trap in your next position. Ask for what you deserve!

Future-in-the-Past Tense in English Grammar

Future-in-the-Past Tense in English Grammar In English grammar, the future-in-the-past is the use of would or was/were going to to refer to the future from the perspective of some point in the past. As illustrated below, other verbs in the past progressive can also be used to convey this future-in-the-past perspective. Also known as: Prediction in the past Examples and Observations: Matilda stretched herself out, feeling her bones getting longer and longer. In a little while she would be taller than Frances, maybe one day even taller than Elizabeth. Maybe one day she would be the tallest woman in the world and she could join a circus.She was sure that Boyne would never come back, that he had gone out of her sight as completely as if Death itself had waited that day on the threshold.He had not believed her when she said they would meet only once.Fred Ballard, a local playwright friend of my mother, told her that I should go to his alma mater, Harvard and that he would make inquiries on my behalf, which he did without success. Use of Be Going to [T]he future-in-the-past...  is used where the speaker wishes to refer to a past time at which a particular event was still in the future, even though now, at the moment of speaking, it is past. This particular combination frequently makes use of the semi-modal expression be going to since this is readily marked for the past. It is frequently used where some anticipated event does not occur or an expectation is canceled. Consider these examples: I was going to tell him, but he didnt give me a chance.I thought we were going to eat out tonight.She was going to qualify next year, but now it will take longer. Use of the Past Progressive When an arranged-future-in-the-past (or rather arranged-future-from-the-past, as it is a future relative to the time of a past arrangement) concerns a personal arrangement, we normally use the progressive form of the past tense. This parallels the use of the present progressive for arranged post-present situations. [Mary and Bill were stuffing a goose.] They were having guests that evening.[There was no point in inviting the Robinsons, as] they were leaving the day before the party.[The man was very nervous.] He was getting married that morning.[I didnt call him up to tell him the news because] I was going to his office the next day. The use of the progressive past is possible even if the context makes it clear that the action planned was not actually performed. Relative Tenses Relative tenses represent deictic tenses. . . . Thus had sung is the past-in-the-past, has sung the past-in-the-present, and will-have-sung the past-in-the-future. Similarly, would sing is the future-in-the-past, is (about) to sing the future-in-the-present, and will be (about) to sing the future-in-the-future. Coincident (relatively present) tenses are ignored by many contemporary theorists, though Lo Cascio (1982: 42) writes of the imperfect, which is considered in traditional grammar a present-in-the-past, as a past coincident tense. Sources Robert I. Binnick, Temporality and Aspectuality.  Language Typology and Language Universals: An International Handbook, ed. by Martin Haspelmath. Walter de Gruyter, 2001.Joseph L. Cacibauda,  After Laughing, Comes Crying: Sicilian Immigrants on Louisiana Plantations. Legas, 2009.Renaat Declerck, Susan Reed, and Bert Cappelle,  The Grammar of the English Tense System: A Comprehensive Analysis. Walter de Gruyter, 2006Ursula Dubosarsky,  The Red Shoe. Roaring Book Press, 2006.Martin J.  Endley,  Linguistic Perspectives on English Grammar. Information Age, 2010Ted Sorensen,  Counselor: A Life at the Edge of History. Harper, 2008.Edith Wharton, Afterward, 1910.

Choose one of the 4 topics to write on plz about commercialization Essay

Choose one of the 4 topics to write on plz about commercialization - Essay Example Discussion The paper will outline the general implication is launching of new products internationally based on the plan of commercialization. International launch of products occurs when firms launch new products internationally to enhance their market value and increase profit margins and possibilities of success, (Clancy, Shulman & Wolf, 1994). Based on the commercialization plan a company should establish when the product would be launch (launch timing), where it will be launched (location of launching), and the target customers of the new product. International launching process is a challenging experience and has both positive and negative implications. Stages involved in new product launching are logistics, identifying strategy of marketing, proper placement of product and target advertising and marketing is the main step in international launch of a new product, (National Research Council, 1993). A successful launching implies increased production and sales while unsuccessful launching implies significant company loss. On the international market side the evaluation and participation of the customers is crucial for successful new products commercialization; therefore, how customers evaluate, participate, and view the product is crucial, (Gisser, 2008). Companies experience various challenges when launching a new product internationally, for instance, existence of different cultures and intra multicultural countries development. Many firms are under excessive pressure to quicken their new products commercialization to enhance lifetime and cost-effective value of products, and to bear the changing economies trends. The greatest challenge in the launch of a new product internationally is to ensure the company effectively and securely deliver accurate and current brand marketing materials to channels of distribution, retailers, customers, and sales teams. Handlings decentralized costs, supporting public relations across different markets and ensuring that i nternational requirements of products for engineering, sales and marketing are satisfied is a challenge, (Kono & Lynn, 2007). Planning for diverse language press tours, conferences, presentation of products and sessions of training as well as ensuring consistency in product qualification and testing is a challenge. Therefore, following a better commercialization plan helps a company to handle such challenges. Companies may experience problems in meeting growth targets due to changes in demographics traits of customers, high competition in established markets and high spending on services as well as increase in price labels and reduced new brands success rate, (Morley, 2008). Experts agree that providing standardized products for diverse national markets may allow firms to attain fast development of products and multi-national rollout as they benefit from substantial cost benefit. Nevertheless, not all producers in multinational markets are able and willing to adopt a standardized st rategy of products. In cases where technological demands, standards and procedures of approval differ substantially among nations, manufacturers invariably should adapt the brand techniques that fit the unique requirements of each nation. Similarly, extensive customization may cause increased development of new products, rollout times, and enhance the chances of the entire project delays, thus adversely affecting the entire outcome of the new product. Adopting a better