Tesco Supermarket Case Study Example | Topics and Well Written Essays - 2000 words

Tesco Supermarket - Case Study Example Organizational culture is the highly important aspect of today's corporate life. Culture is defined as a set of assumptions, beliefs, customs, traditions and other personal, social and organizational methods that are owned and practiced by a group of life (Teegarden et al., 2011). This definition clearly mentions two important aspects: beliefs and group. For a culture to exist and perform the function, it is highly essential that it must have both these elements without their existence, a culture will not exist and nor will be able to perform. Based on this definition, organizational culture can be defined as â€Å"the way things are done in an organization† (Karwowski, 2006.p. 2204; Cameron and Quinn, 2006). In simple words, organizational culture reflects that how employees think, carry out their actions and make decisions within an organization (Karwowski, 2006). In this regard, it is also important to highlight that every organization has its different culture which is alw ays unique and because of this uniqueness, each organization is culturally different and unique as well (Karwowski, 2006). On the other hand, organizational culture has also been identified as diverse and complex because numerous and range of behaviors, attitudes, and activities are being carried out simultaneously (Vavrusa, 2008).Before going to highlight Tesco supermarket’s organizational culture, it is highly essential to mention that organizational culture has different dimensions for Tesco customers and Tesco employees.

Thalia, Muse Of Comedy Essay Example for Free

Thalia, Muse Of Comedy Essay Venue is defined simply as the appropriate place of trial. In criminal cases, fairness and convenience to the defendants are the underlying policy in determining venue. It has been often ruled that the basic requirement of placing venue in the district wherein the crime has been committed must be determined from the nature of the crime alleged and the location of the act or acts constituting it. However, courts must consider such factors as convenience of and fairness to the defendants and witnesses and the prompt administration of justice in setting venue and considering motions for the change of venue. Questions of venue in criminal cases are not merely matters of formal legal procedure. They raise deep issues of public policy in the light of which legislation must be construed (United States v. Johnson cited in VENUE- Cases). In order to comply with this public policy, courts will allow a change of venue if injustice will result and prejudice so great will exist against the defendant or if the procurement of witnesses will be difficult if no change of venue will be made. The Texas Code of Criminal Procedure allows a change of venue upon three instances, to wit: upon the judges own motion, upon motion of the state prosecution, and upon the defendants own motion (Chapter 31). On the other hand, the Federal Rules of Criminal Procedure allows change of venue for trial only upon defendants own motion (Rule 21). Curiously, the Federal Rules only allow change of venue for prejudice and for convenience on the part of the defendant alone, and only upon his own motion. On the other hand, the Texas Code of Criminal Procedure allows change of venue not only for the convenience and to avoid prejudice against the defendant but also to afford a fair and impartial trial to the State and upon the motion of the judge or of the state prosecution. The inevitable conclusion is that the Federal Rules seek to afford a fair and impartial trial in favor of the accused alone in interpreting the public policy behind the determination of venue in criminal trials, while the Texas Code of Criminal Procedure seeks to afford a fair and impartial trial in favor of both the State and the accused in determining the venue in criminal cases. References Federal Rules of Criminal Procedure. Retrieved from the world wide web on Nov. 22, 2007. http://www. law. cornell. edu/rules/frcrmp/Rule21. html. Texas Code of Criminal Procedure. Retrieved from the world wide web on Nov. 22, 2007. http://tlo2. tlc. state. tx. us/cgi-bin/cqcgi. Zalman, Marvin. Venue-Cases. Retrieved from the world wide web Nov. 22, 2007. http://law. jrank. org/pages/2247/Venue. html.

The cinema of shane meadows

The cinema of shane meadows Over the last ten years Shane Meadows has helped to create a realistic portrayal of Working classed Britain. Director of films such as; Twenty four seven, A Room for Romeo Brass, Dead mans Shoes and This is England, Shane Meadows has helped to bring and to create social realist films for a new generation. His films stand side by side with more mainstream titles such as Brassed off, The Full Monty and Billy Elliot, each helping to bring the working classes and the social issues which they have faced to the forefront of National British cinema. What this essay intends to do is to explore Shane Meadows work as a director of British films, looking directly at how the past reflects the aesthetics and conventions within his films, how his cinema embodies the spirit of working classed identity and the social issues that are touched upon within his work and also why Meadows has become a popular film maker in contemporary Britain. The essay will look at three of Meadows films in particular; TwentyFourSeven, A Room for Romeo Brass and This is England, and will analyse the relationship that each film has with one another and why he has constructed an autobiographical take upon each of these films. Shane Meadows born in 1972 in Uttoxeter, Staffordshire, grew up within a working classed community. Meadows teenaged years were in a time which saw great political change for many people in the 1980s, with the working classes seeing only negative outcome to a new British government. Industrial areas, most notably within the North of England, saw the threat of unemployment around every corner and the very essence of working classed life was destroyed by Thatchers government, in her quest for a post industrial, classless society. Meadows experiences as a youth and the political and social changes that took place within the 1980s have been established throughout Meadows works. I think my 1980s is a richer time to draw on than any other.† Meadows has said when questioned on the reasons why his own childhood experiences are prominently featured in many of his films. As a British Realist film maker, Shane Meadows has distinctly borrowed from recognisable techniques and traditions from movements of the past. His notable influences are in the New wave cinema of film makers such as Karl Reisz, Lindsay Anderson and Tony Richardson from the 1960s and Mike Leigh and Ken Loach who have contributed to socio-realist cinema throughout the 1980s up until present day. What this has meant for Meadows is that his films are able to create a recognisable identity for a nation that people can be able to associate with. By creating a bond to the cinema of New wave and Realist cinema, Meadows is able to critique our nation through the use of a popular and recognisable aesthetic which is associated with many British dramas. The British New Wave cinema was the first step into creating a realist aesthetic in British narrative films. Through the inspiration of Documentary and the Italian neo-realist films that had come before, its film makers such as Karl Reisz and Lindsay Anderson were able to create a cinema which focused upon the intent of bringing social issues to the screen through realistic interpretations. Before they contributed to narrative cinema, Anderson and Reisz focused their talents upon Documentary, in which they created a movement, known at the time as the Free Cinema movement. Their approach was opposed to the traditional expository mode which British documentary film maker John Grierson produced within his production company; GPO pictures. Griersons documentaries sought to tackle the social problems of the working class misrepresented in British cinema, by siding with them. The voice of god narration and selective viewpoint was avoided within the Free Cinema movement, providing a poetic approach that stripped their documentaries of voice-overs and the right wing political stand point of the Grierson styled documentary, became left wing, criticising the British political system by focusing on the real working class, although, from a distance. I want to make people ordinary people, not just top people feel their dignity and their importance.† Lindsay Anderson said of his commitment to presenting the working class within his works. Although Griersons approach was highly criticised by the filmmakers of the free cinema movement, it was from Grierson himself who said that documentary was The Creative treatment of actuality.† This broadly used term could simply be interpreted as the way the film maker is able to create a display of artistic elements, from the construction of real people with real problems in real settings. Implicit in the Free cinema formulation were two related conceptions of freedom: on the one hand, a freedom from commercial constraint and, on the other, a freedom to give vent to a personal or unusual, point of view of vision.† The importance of the realist aesthetic within the Free cinema documentaries and the New wave narrative film was to make it clear that the artist was at the centre of the work. This did not necessarily mean that he was involved within the film itself, but the style of the film, ideologies and messages were that the film maker was trying to get across. The other importance was the ability to create the feeling of something new, to transform the real from Meer observation but to create a poetry which was able to work upon more than one level, and it was through the representation of a group of outsiders (the working class) that the film makers were able to do this. Films such as The Loneliness of the Long distance runner, A taste of Honey, A Sporting Life and Saturday Night, Sunday Morning, shifted the emphasis from middle class idealistic families, to a focus upon the youth living and working within industrial cities, situated in the Northern areas of England. The late 1950s/early 1960s became the first time since the Second World War that workers started to benefit from decent salaries and some, an almost disposable income. The youth in particular were able to separate themselves from their work lives and the authority figures that held a grasp over them, enabling them to spend their wages on the consummation of the latest in fashionable products. This is also true of New Wave films, which focused less on the importance of work within the lives of the characters but on their leisurely activities. The decline in the working class traditions and the rise of the working classed youth became notable. They were becoming defined not by what they produce but of what they consume and this was an indicator of the times. When looking at Saturday night Sunday morning by Karl Reisz, the main protagonist, Arthur Seaton (Albert Finney) may work within the confines of a factory, but when his working is shown, it is briefly and only to underline the important images or to support the leisurely aspect of his life. E.G. when he is finishing work. By wasting his money upon a sex, drugs and almost rock and roll lifestyle he is separating himself from the authority figures that keep him in his place during his working hours. Its not a unity of a working class that can be seen within this film or many of the New wave films of the 1960s, it is very much about issues of one person in particular, in the case of Saturday night, Sunday Morning, it is Arthur. Writer John Hill stated that Despite the ostensive commitment to represent the working class, the British New Wave, through their adoption of conventional narrativity and realism, tend to have the opposing effect, that is, the creation of an accentuated individualism.† The emphasis on the individual in this working class aesthetic of the New wave films may come down to the absence of work as a dominant presence. Instead it seems that the importance of working class life, as a youth, is separating themselves from the authority figures and dominant forces of work and instead making leisure and the way in which the characters separate themselves from work in their free time. In Meadows work, there is a felt presence of the New wave films throughout his work The focus upon just one main protagonist and their personal struggle rather than the united struggle of the working class is that it is extremely difficult to represent political problems within narrative film, without a need to create a bond to the personal effects that the political has upon the working class within realist cinema. But what exactly did the filmmakers do to try and create a believable and purposeful reality, and at once avoid the idealistic and theatrical approach that the Traditional Hollywood films employed? The main focus of reality in these New Wave films is by Meadows first feature film TwentyFourSeven was released in 1997. A resurgence in British Realism lead to a shift in focus for many of the films released within the 1990s. Whereas the films of the New Wave in the 60s, focused upon the employed youths personal struggle with working classed life and the hedonistic, anti-establishment attitude they portrayed in their leisurely pursuits and the 80s saw reactions against the Thatchers governments destruction of traditional working classed values and perceptions, the 90s took upon a different perspective, with Britain very much a post industrial nation, class now determined not what they made and who they were as a unified work force, but instead was now determined by what they consumed. This perspective now shifted upon the youth of today, from pre pubescent Children to teenagers growing up on rough, poverty stricken council estates. Unemployment has left the youth in the same position and status. Samantha Lay stated that Dramas focus more tightly on family relationships and partnerships. Poverty, unemployment and social exclusion are not the driving forces of their narratives, but are merely signalled as contributory factors to family strife, so that it is the working class family that has failed, not the state or capitalist society.† British Realist films focus upon the effect that politics have had upon the class system, specifically the working class whos inevitable decline since the 1950s has lead to an alienation of masculine identity and the emphasis as class as a unification. Meadows films are about the alienation of family life and the journey of finding a place to really belong. The perspective of a child or in the case of Twenty Four Seven; Young Adults, gives Meadow a chance to see the Working Class from a different perspective. What Meadows films do which many mainstream British films do not do is to question the stereotypical view of the average British person, by keeping to a low budget, Meadows keeps the focus upon the identities within his own regional upbringing. Unemployment plays a big role within the films of the British realist aesthetic that were made within the 1980s up until our contemporary time. Children and the youth are not affected in the same in which the adults are but their perspective is of the upmost importance. The period aspect to this is England, Twenty Four Seven and A Room for Romeo Brass gives you an aspect of political change. Within the 90s and the 2000s working class focused films created a way of escaping from the reality of the situation. Characters were able to find success from the economic situations that have dragged them down, most notably through entertainment. This can be seen within films such as Billy Elliot, Brassed off, The Full Monty and to an extent Trainspotting. Each of these films proved popular to the British movie going audience and tried showing how the working class could develop and escape from the working class life that had been dragging them down. Meadows approach, although not entirely pessimistic is about the positive which comes out of the negative situations, or the defeat of people. Unstable protagonists at the start of each three films, struggle with the uneven situations that their parents are entangled within, often dragging the children down with them. It is this alienation from family life which causes distress and change from these characters. Their questionable actions often ending in violence leads to the chance meetings in which potential father figures, genuinely interested in the emotional and physical state of the these characters help the characters from emotional unrest. In This is England, Shauns violent playground fight is caused from the mention of his Dads death. His walk home from school leads to the meeting of a Skinhead gang, most notably Woody who notes Shauns unhappy presence. His happy go lucky attitude and genuine care for Shaun makes him feel wanted in a place where hes alienated not only from family life but from being part of a sub culture which will accept him for who he is, which is evident from the mocking attitude of some of Woodys friends who are not as caring as Woodys father attitude to the situation is. In A Room for Romeo Brass, the fight between Romeo and the two boys leads to the rescue from Morell who is alerted from nearby. Again, the importance of chance turns a violent hateful act, into one with positive outcomes, in which children/teenagers are brought into the world of the adult. The Subculture is what draws the children into an adults world. Leisure drives them from the woes of family life and from the authority figures which are bringing them down. The masculine father figures within Meadows films help to refocus the output of the violence of the youth that they have taken under their wing. The troubled teenagers caught in violent episodes, find new ways in which to focus their negative energies. This frustration for life in post industrial estates, in which domestic problems of parents causes great angst often leads to violence. By refocusing these ill thoughts and actions through healthy attitudes, the Father figure is able to guide the youth away from everything that is holding them back. Woodys optimistic and peaceful father figure for fatherless tearaway Shaun in This is England, enables his alienation from a social perspective to be reinstated into a group in which he belongs. The anger and frustration of these Skinhead youths does not lead to the targeting of people, but of decrepit, rundown buildings on council estates.

Diary Of Hatchet Essay -- essays research papers

Diary of Hatchet Brian Robeson, the main character, is a very interesting kid. After the first few pages you could tell that he was strong-minded, twelve or thirteen year old kid. His parents were divorced and he spent some time with his dad. He lived far away so Brian had to take a plane. From the back of the book I knew that he gets in to a plane accident and has to survive on his own. I was surprised that the author went right to the plane wreck. I thought it would have a somewhat boring beginning like most other books I read. Brian keeps talking about how his parents got divorced and he cries every time he thinks about it. He calls it the big "secret." Brian keeps describing visions of his mom kissing some new man, not his father. You can tell that he takes the divorce very seriously and sometimes gets emotional. 10/05 In this part of the book, Jake, the pilot, has a heart attack and dies. To be honest, I, myself, have thought about what I would do if I was on plane and the pilot died. I really don't know what I would do, I don't know how to fly a plane. Luckily, Brian had been taught by Jake how to fly the plane. Brian didn't know how to land so he flew the plane into a lake. This part of the book was hard to believe, there was a lot of "coincidents." Brian showed his intellectual side when he realized that when Jake was suffering from his heart attack he turned the plane to the left. That could greatly increase the time it ...

Examination Day

The short story Examination Day written by Henry Sleasar, is a story about young children being tested by the government to get knowledge of how smart the kids are. The government keep control of the kids and all the families. The government summon every kid that turns twelve, to come into their head quarters for an exam to prove how clever the kids are. The government summons a twelve year old boy in for his exam. The boy Dickie and his parents were having breakfast when his mum brings up the subject to Dickies father. His father just tells her not to worry that every thing will be alright. Dickie and his father go into the government head quarters for Dickies appointment. When it was Dickies turn to set the exam he was given a glass of liquid drink. This drink makes you tell the truth and be honest with what you say. They connected Dickie up to some machines ready for the examination. Dickies father went home to his wife to wait for a phone call to see if their son was alright or not. After the exam Dickies parents got a disappointing and sad phone call about their son. Dickie had pasted the exam so he was put down by the government because he had been one of very few to past the exam. Every child that passes the exam has to be put down. If they fail the exam they are sent home to your family and they get to live on with their lives. This exam determines if you live or if you die.

The letter box Essays

The letter box Essays The letter box Paper The letter box Paper John Searles Chinese room argument attempts to explain the difference between working machines and the human mind. Let us imagine that an English speaking man who knows no other language has been put in a small room. On the wall is a letter box and on the floor is a book of rules and a note pad. Every so often a piece of paper with Chinese writing is passed through the letterbox. The rulebook explains how to process the writing, it tells the man to copy certain characters onto the note pad. Thebook gives a code informing the man what should be written according to what is on the paper initially sent through the letter box. Once he has decoded the message he sends the reply back through the letterbox as an answer to the questions he received, obeying the rules contained in the book. As time goes by the man becomes more and more accomplished at his job. To a Chinese onlooker it would seem that the person in the room was a fluent Chinese speaker. Searle compares the activity of this man to the activity of a machine or computer. The man did not need to understand the Chinese to be able to give a perfect answer. In this way the computer does not understand or comprehend what it is doing, it only processes information. Searle said that the man (and hence machine) lacked intentionality and possessed only a syntactical ability as opposed to a semantic one. This means that the machine is unable to be aware of the meaning of the information it processes even though it uses correct grammar to communicate with. Simply producing output in response to input according to certain rules does not constitute human thought. Searle uses this argument to refute the so-called Strong Artificial Intelligence position of some thinkers who believe that computer language does more than just represent human thought (via programming); rather, it really is human thought. A thought experiment arguing against Searles reasoning and supporting Strong AI is the Turing test. Alan Turing, who helped develop the first modern computers, claimed that in future years it could be possible to create a machine that had a mind. Turing imagined the following: There is an interrogator, a machine and a person. The interrogator is positioned in a separate room to the machine and the person. The person and machine are labelled either x or y, the interrogator is unaware which is x and which is y. The interrogator must ask x and y questions, his aim is to guess which is the machine and which is the person. The aim of the machine is to make the interrogator guess that the person is in fact the machine; the objective for the person is to help cause the interrogator to guess correctly. Turing believed that in the future it would be quite conceivable for a machine to trick the interrogator more than seventy percent of the time. Turing believed that this proved machines were capable of thinking. The problem with this argument is that just because the computer is capable of fooling the interrogator into believing it is human does not directly correspond to the conclusion that the machine is a thinking thing. It seems more likely that the computer has merely been programmed with the correct answers to use and in reality has no understanding of what his answers actually mean. Professor Jefferson argued, Not until a machine can write a sonnet or compose a concerto because of thoughts and emotions felt, and not by the chance fall of symbols, could we agree that machine equals brain-that is, not only write it but know that it had written it. No mechanism could feel (and not merely artificially signal, an easy contrivance) pleasure at its successes, grief when its valves fuse, be warmed by flattery, be made miserable by its mistakes, be charmed by sex, be angry or depressed when it cannot get what it wants. 3 Having awareness and knowledge of the content and meaning of thought is what Searle describes as intentionality and is a feature of human thinking which machines could never replicate because of their very nature as fabricated, artificial entities. In conclusion, I feel that it seems impossible for machines to ever have minds. The mind appears to be a purely metaphysical thing that could not be transplanted into a machine. Furthermore the process that a machine goes through is not thought but programming. Everything the machine knows comes from the maker. To say that machines have minds is like saying that even if an evil daemon controlled and planted every thought in our heads, we would still be free thinking beings with conscious minds. Personally I find it hard to conceive the monist approach, though some attempts are made to explain the mind from a monist perspective, which nonetheless gives the mind a special position that could not merely be recreated by fabricated, artificial machines. Such an approach is taken by those who see the mind as an emergent property of the physical composition of the body (specifically brain). A single molecule of water could not be wet or hot or cold; it is only on combining with many millions of molecules in a complex bundle that properties emerge that we associate with water. So with the mind our freedom and intentionality emerge from the very complex arrangement of our organic bodies, which are unique to humans and animals and could not be shared by machines. For most people using an argument from common sense it feels that our minds are free and unattached to our physical bodies. I therefore conclude that a purely physical man-made machine can never have a real mind of its own. And thus in reality it would make it impossible for James the Red Engines thought4 and emotions to actually exist.