Employee relations Essay Example | Topics and Well Written Essays - 3000 words

Employee relations - Essay Example It also includes the ongoing evaluation of performance of employees, managing it, ensuring that ‘laws and regulations’ are followed and also to solve the employees disputes (Society for Human Resource Management, 2011). Good employee relations denote peaceful, pleasant, abundant relation between labour and management. Sound relation regulates the production by minimising conflicts. It improves the worker’s strength by resolving their problems through negotiation and consultation. It improves the status of employees, evades any kind of disputes and thus, preserves ‘industrial democracy’. Employee relation is the virtual balance of negotiating influence between the employees and management. In every organisation, an efficient ER executive provides instruction about how a company can manage with the grievances, penalising process and legislative recognition process of the Employment Relations Act (1999). For managing the employee relation the managers mu st act in a reasonable and logical manner towards the employees and labour unions. It is vital for personnel authorities to ascertain standards of activities which are rational (Gennard & Judge, 2005). In this context, the study will evaluate the employee relations related challenges as faced by Royal Mail. Analysis of Organisation Royal Mail is a public limited company controlled by the government of the UK. Their annual turnover is more than ?8 billion and it has almost 200,000 employees. In the UK, Royal Mail operates under its well-known brands: Royal Mail; Post office and Parcel force Worldwide. Royal Mail has gone through a restructuring process to reduce costs, improve effectiveness to compete with other rivalries in the postal sector. It ensures delivery of sustained high quality services effectively (CSR Case Study Series, 2005). Basic Organisational Structure Royal Mail Group serves mails and parcels throughout the UK. It has almost 168,000 employees in the UK. It has 11,9 05 Post Offices and manages almost 400 million parcels per year. The network of Royal Mail includes almost 11,500 branches throughout the UK. Royal Mail Group has five non–Executive Directors and three Executive Directors who take all the managerial decisions for Royal Mail. The CMU (Communication Workers Union) is the labour union of Royal Mail which stands for non–managerial employees. The company follows the bureaucratic organisational structure. The flow of communication goes through different layers of management which causes slow decision making. With respect to employee relation, organisation can adopt unitary or pluralistic approach (Royal Mail Holdings plc, 2010). Industrial Relation Theory There are three theories of industrial employees’ relations namely unitary, pluralist and radical. Unitary: In unitary system, the organisation is a harmonious system. There is no trade union. Mangers and workers both share similar interest, purpose and objective. Pl uralistic: In pluralism, there are two parties in the organisation namely trade unions and the management. Any conflict is dealt with collective bargaining, mutual agreement or negotiation between trade union and management. Marxist

Adas Muteness and Voice Essay Example | Topics and Well Written Essays - 2750 words

Adas Muteness and Voice - Essay Example This is the kind of social situation that is described in opening pages of The Piano as the main character Ada describes her preparations to leave her home and cross the sea to New Zealand where she will meet the husband that her father has just married her to without having consulted her at all. This introduction makes an instant connection between her muteness in voice and her muteness in her society and even in her own life. Throughout the story, Ada is trapped in a man’s world, even when she goes as far away as New Zealand and its untamed frontier which is where most of the story takes place. However, in the character of Ada, Jane Campion shows how a woman without a voice made herself heard even to those who wouldn’t listen, demonstrating how a voice could be used as a tool of power in an otherwise powerless world. It is helpful to gain a bit of historical understanding regarding the female voice in order to fully appreciate the significance of Ada’s silence and returning voice by the end of the story. Anne Carson provides a strong analysis of how concepts regarding the woman’s voice evolved out of ancient history. According to Carson, women expressed the moments of extreme joy, grief, fear and hope within the regular and climactic moments of life through the sound of the ololyga: â€Å"a high-pitched piercing cry uttered at certain climactic moments in ritual practice †¦ or at climactic moments in real life †¦ and also a common feature of women’s festivals† (Carson, 1995: 125). Because the noise could be irritating to those not actively engaged in the celebration, these rituals were usually held outside of the range of hearing of the men and the city. Over time, this had the tendency to reinforce ideas of women as savage mysterious outsiders. Their religio us rites were often female only, they made strange sounds while practicing and they practiced outside of the city limits, making them seem like wild animals in the wilderness.   Meanwhile, the proper role of the man was to disconnect from his emotions enough to control the escape of unintended, uncontrolled sounds.  

Marxism Concepts of Art | An Analysis

Marxism Concepts of Art | An Analysis The nineteenth century was significant in Europe because it spawned or brought to the forefront revolutionary new forms of culture and theology. Among these movements were feminism, Marxism, the romantic period of music, and the impressionist period of art. Marxism has been critically acclaimed for its adherence to the popular utopian traditions of past ages and its determination to exterminate the inequities of the feudal class system. Marxism was a nineteenth century behemoth, its shadow influencing not only social and political thought but also provoking minds around the world. Critics of ideologys influence on art harangue the latter as a restrictive form of interpretation, one whose hold over arts beholder evokes themes that override those intended by the artist. However, art created in the impressionist period was created on the basis of the artists perception, and if no one can recall exactly what the artist intended, then using ideologies of the time remains a logical basis o f interpretation. Marxism promotes the involvement of all aspects of society in its ideology. However, when used as an exclusive method of art, Marxism can be quickly dismissed as stringent and a useless art method. In his Theory and Philosophy of Art, Meyer Schapiro contends that ideology constricts the freedom of artistic expression. Schapiro insists that philosophers using ideologies in artistic interpretation forgo the artists rendering and draw their own conclusions, therein ignoring the prevailing themes and purposes behind the artists creation. Through intense speculation of an object, the philosopher has [deceived] himself in assertions which are not sustained by the picture itself but rather in his own social outlook (Schapiro 1994, p. 134). For example, Japanese aesthetics value the imperfect, almost deifying the worn and blemished. A rusty spade in a tool shed would be perceived by classical Japanese aesthetics as beautiful because of its natural state. The traditional Japanese artist would have painted the shed to exemplify its imperfections and the subtleties of its presentation. A Marxist contention might be that the artist presented the spade as a token of the working class, a tribute to the agrarian utopia sought after by many of the period. By making these assumptions, the individual perceiving the Japanese spade would be detracting from the paintings meaning; though agrarian utopia is a beautiful image, it is ultimately deviant from the artists purpose and casts the painting in a whole new light. Using a school of thought such as Marxism endeavors people to [imagine] everything and [project] it into the painting, causing them to experience both too little and too much in [their] contact with the work (Schapiro 1994, p. 138). Schapiro and his contemporaries are concerned with the nature of the work, not the beholders perception. Arts grandeur is in its presentation, which if misinterpreted bypasses the artists intentions, altering the state of art. Recurrent themes might be based on philosophy, but the concept of [the] metaphysical power of art remains a theoretical idea (Schapiro 1994, p. 139). It is irrelevant that there may exist a hidden message within the subject perceived. What is of consequence is rather what the object portrayed means to the artist. Projection and personal interpretation negates the fundamental aspect of the artists presence in the work, and metaphysical integration in interpretational method stints the potential of arts full meaning (Schapiro 1994, p 139). Marxism specifically denigrates the self in favor of the whole, therein detracting from art as a representation of the artist himself or herself. As a means of interpretation, Marxism is useless as the art becomes solely focused around the objective nature of the subject. Painters such as van Gogh and Monet did not popularize the impressionist movement because their objects were more true to reality than others of the age; they popularized the movement because their interpretations were revolutionary and unlike that of their contemporaries. In effect, all art becomes a piece from a self-portrait; the subject is turned to the spectator as a part of the artist, not an instrument of political ideology (Schapiro 1994, p. 140). Schapiro describes shoes as a recurrent theme in van Goghs paintings to solidify his argument. The focus of several paintings, van Goghs worn shoes are a portion of the self, a revealing theme (Schapiro 1994, p. 140). They do not signify the work ethic of a communist, nor does the weathered nature of the shoe imply the subject had anything to do with attaining an agrarian utopia. For van Gogh, the shoes were a memorable piece of his own life, a sacred relic (Schapiro 1994, p. 141). Paintings of the shoes were brilliant because of what they meant to van Gogh. The virtuosity of van Goghs style and presentation make him unique; shoes by themselves mean nothing without the artists rendering. What makes a painter unique is his or her ability to present him or herself, manifesting personality into unconventional objects in such a way that an audience can connect and relate to the emotion evoked. The object presented means nothing without the artists intimation. A shoe, for example, is mere ly a protective covering in the real world. It does not exist to testify to the greatness of Marxism and its superiority over other ideologies. In art, objects do not exist to signify metaphysical forms or ideas, but to serve the artists meanings. The efficacy with which an object portrays the artist is what makes it extraordinary. Theology is useless as an interpretive method of art history because of its constrictive nature on the purpose of art; Marxism is particularly inhibiting because of its emphasis on the nature of being and the individuals position in society. If a painter were to create a work solely to advertise Marxist doctrine, the artistic creation itself would be impeded. Practical aims, rules methods, [and] fixed notions of style hamper virtuosity and the artistic process (Schapiro 1994, p. 202). Schapiro continues, stating, the creation of art has rested on the activity of self-directed [people] who regard their work as a free expression of their natures (Schapiro 1994, p. 204). Ideologies are not naturally occurring in society as a whole; they are indoctrinated and therefore are alien concepts. Marxism is not a natural conclusion, but rather one that had to be indoctrinated into the bourgeois, who in turn had to give up their advantageous statuses in order to better society. Because Marxism is forced by nature, it cannot be a viable art method in Schapiros system of interpretation. Though Schapiros passion for the personal and physiognomic on behalf of the artist is commendable, it too easily dismisses the possibility that social ideology played a part in the artists choice of subjects (Schapiro 1994, p. 139). Marxism changed the way men and women viewed society, and hence altered individual perception. Empiricism, or the theory that all knowledge is based on experience, is a testament to artistic presentation. Theoretically speaking, van Gogh may have painted his shoes because he was an avowed Marxist and chose to present a commonplace object in a Marxist light. Those testifying otherwise can prove their points only by having known the artist themselves, or by proving through communications relayed by the artist suggesting the contrary. Marxism, like other ideologies, is not an impossible basis of inspiration. For example, the twentieth-century composer Dmitri Shostakovich chose to proclaim his disdain with Soviet Russia through music. Political ideologies suc h as Marxism are revolutionary because they alter perception and opinion. As an inspirational method, Marxism is very useful. Ideologies and social movements lend form and base to art; whether they positively or negatively affect an artist, ideologies are an inspirational basis for many works. Marxism does not necessarily diminish art as a form of self-portrait in inspirational form. It molds and manipulates the course of the art. Though it changes the direction of interpretation (possibly detracting from the artists meaning), it is feasible as part of the subject if determined to be a prevailing theme of the work in question. Schapiro describes the philosopher Martin Heidegger and his interpretation of a painting as an [illustration of] the nature of art as a disclosure of truth (Schapiro 1994, p. 135). Contrary to Schapiros contentions of arts theoretical metaphysical implications, Heidegger purports art is metaphysical in nature. The artist is therefore presenting the object from a different vantage. The nature of art is metaphysical in its individuality, so ideology is not to be dismissed as a viable method of art history. Marxism in particular has the capacity to be an effective method of art solely because of its paradigm shift in the concept of individuality. Marxism, like other ideologies, is an irrevocable aspect of society, especially in nineteenth century art. Society is part of what makes an artist individual; it is the lifeblood of creativity and influence. Movements such as impressionism are themselves fashioned by society and altered interpretations. Schapiros stance is that society is constraining and the ideologies of which it is comprised imperil [artistic] liberty (Schapiro 1994, p. 201). Marxism is only constraining, however, when applied to capitalist societies. It is impossible for a human being to be completely unbiased and unaffected by ideologies as every human being has some affiliation with a school of thought. Marxism has the ability to inspire just as much as it has the ability to constrict and limit artistic freedom. Though Heidegger may ignore what those shoes meant to van Gogh himself, he may have also suggested a new side of van Gogh, one that is revealed in a new light just as van Gogh presented shoes in a new light (Schapiro 1994, p. 147). Marxism further may serve as a basis of ideas and concepts. Schapiro himself admits, a disciplined classic style needs a source of ideas, a continuously renewed energy of concept ionotherwise [art] is a sterile routine (Schapiro 1994, p. 201). Ideology, by nature, is a set of conglomerated beliefs and observations. Why, then, does Schapiro assume it to such an inefficacy as a method of art history? Schapiros conclusions border on myopic as he fails to consider the possibility that ideologies can also serve as inspirations, as a possible source of ideas rather than the only source. All ideologies become constrictive if used exclusively. More constrictive on the artistic process is the elimination of ideology as a viable method; by consciously restraining interpretive vehicles, art is stinted and the liberty Schapiro so treasures becomes finite. As far as impressionism is concerned, Marxism is as effective as any other method of art history. The word impression refers to the objective, what the mind itself perceives. The very nature of impression is derived from the illusory rather than reality. Speculation, when observed within moderate means, is the purpose behind an object. Using an ideology such as Marxism does not impede interpretation so long as it is not used exclusively. Schapiro describes Heideggers speculative method as detracting and self-serving, purporting that he conjectures that his reader could imagine himself wearing [van Goghs] old leather shoes (Schapiro 1994, p. 149). The speculative approach to impressionism is its very basis. Had van Gogh intended to portray the shoes as part of his history, perhaps he would have painted himself wearing them. That he chose to focus on still life and not a self-portrait insinuates the possibility that van Gogh wanted to portray the shoes as open to outside interpretation as well. Marxist interpretations would not be indicative of useless method in the aforementioned perception so long as the interpretations outside the obvious are secondary in nature. To further his argument against ideologies such as Marxism as viable methods of art history, Schapiro addresses the opinions of French philosopher Denis Diderot. He describes Diderots preoccupation with freedom, considered in its inner and outer circumstances (Schapiro 1994, p. 201). If utilizing Marxism is a transgression on freedom, then it is a safe assumption to make that no artist will ever be free. All forms of thought are constrictions so long as they are regarded as limiting the abstract. Artistic production is reliant on the power of suggestion. The power to create is reliant on the power to envision, and the power to envision is subsequently dependent on the power of suggestion. Schapiro, however, takes Diderots stance that the artists inner freedom is the impulsive, unaccountable flow of the pencil an d brush, of images and ideas; verve, enthusiasm, spontaneity, and naturalness are its outward signs and without that flow, there is no authentic art (Schapiro 1994, p. 201). Marxism, therefore, would erstwhile be an obstacle in the artistic process. However, impulses are drawn from ideas, and spontaneity requires inspiration, both of which may be derived from ideologies. Schapiro supports this contention, writing that the conditions most favorable to the flow in art are not only a matter of temperament but are also social (Schapiro 1994, p. 201). Art history reveals that social ideologies such as Marxism are not only viable methods, they are also intrinsic in the creation of art. Diderot anticipated a dilemma of artists: they wish to be free creators, unconfined by any goal external to art but also wish to participate in the most advanced consciousness of their society and to influence it by their work (Schapiro 1994, p. 207). If ever there was an ideology that encapsulated total social involvement, it was Marxism. So if artists participate in the most advanced consciousness of their society, how can they be truly free by Schapiros standards? Is it because they have made a conscious decision? Their choices, however, are influenced by their desire to be a part of something larger. In effect, they are limited by their desires, which are concrete aims and goals. Marxisms all-encompassing doctrines are a reflection of scientific method, designed with multiple factors and social tenets in mind. Stephen Eisenman presents Marxism as a useful method of art in his Nineteenth Century Art, presenting evidence that certain critics consider the scholarly (scientific) method and subject matter [of art] perfectly merged (Eisenman 1994, p. 9). Marxism is based on a single concept: total egalitarianism. To serve that end, Marxism lists several factors and instructions. Art is similar, centered on a singular subject or theme. Different details delineate and instigate thought on the aforementioned subject, drawing further parallels between art and ideology. Eisenman furthers his contentions opposite that of Schapiro by stating outright how empiricism has dominated studies of nineteenth century art but has rarely been explicitly acknowledged as a methodology, whether inspirational or interpretive in nature (Eisenman 1994, p. 10). In defining true expression, many scholars reject the purist tyranny of abstract and absolutist systems such as those defined previously by Schapiro, insisting t hat art historians should be as flexible, various, and comprehensive as possible in their approaches, and be willing to consider anything from the history technology to the abiding mysteries of genius and psychology as potentially illuminating their ever more vast subject (Eisenman 1994, p. 10). Therefore, Eisenman counters critics who lambast ideologies as limiting, stating that by closing interpretive doors on art methods, one further inhibits the freedom of expression. Separating artists from society alienates the artist from humanity, therein isolating the artist as potentially self-deprecating. Diderots dilemma of the artist seeking to be creatively free and yet still a driving force of society is a paradoxical query answered by Eisenmans assertions in favor of Marxism. Eisenman supports the statement that art history itself, especially art history of the nineteenth century, has been significantly transformed by the prevailing attitudes of radical scholars; Marxist philosophy has played a signal role in overturning the formerly prevailing confidence that art history could be told as a straightforward, descriptive narrative independent of the interests, politics, gender, or ideology of artists, audiences, and critics (Eisenman 1994, p. 10). The aspects listed by Eisenman encapsulate what drives artists to create. Marx postulates that while humans by their nature as humans have senses and perceptions, these are rude and unformed in the absence of their specific development and cultivation, which only occurs historically (Eisenman 1994, p. 11). In the Marxist school of thought, Diderots emphasis on creative freedom still remains paramount to artistic creation. However, Marx stipulates that the abstract is only given form by prevailing attitudes of the day. Eisenman supports Marxism as a method of art, writing, all the senses are differently developed according to the nature of the particular society in which the person lives: a capitalist society in which the sense of having dominates is clearly different in its sensual or perceptual capacities from a feudal or Communist society which does not subscribe to the concept of private property (Eisenman 1994, p.11). Ultimately, art methods are only viable given the freedom of interpretation they allow. Marxism is viable because it promotes inspiration on part of the artist, as well as affording an observing art beholder a unique avenue of interpretation. The only caveat to employing ideology as a method of art is its constrictive nature. When applied exclusively, any single art method exudes glaring inefficacy in the face of constricted artistic freedom. However, the singling of any art method as a useless art method lends itself to the practice of restriction, defeating the requisite observation of creative freedom, whether the artist or the one perceiving art practices that freedom. Marxism, in turn, is just as useful an art method as any other ideology, so long as it is utilized as one possible perception among many. Marx argued, the cultivation of senseswhether in the form of art, music, or literaturein its turn plays a significant role in the historical unfolding of a society, and it is an untenable fact that history plays a part in shaping art, whether in the form of ideology or any other aspect of humanity (Eisenman 1994, p. 11).

The Narrator Merges with Ottilie in Porter’s Holiday :: Porter’s Holiday

The Narrator Merges with Ottilie in Porter’s Holiday â€Å"Ottilie, now silent, was doubled upon herself, slipping loosely on the edge of the seat. I caught hold of her stout belt with my free hand, and my fingers slipped between her clothes and bare flesh, ribbed and gaunt and dry against my knuckles. My sense of her realness, her humanity, this shattered being that was a woman, was so shocking to me that a howl as doglike and despairing as her own rose in me unuttered and died again, to be a perpetual ghost. Ottilie slanted her eyes and peered at me, and I gazed back. The knotted wrinkles of her face were grotesquely changed, she gave a choked little whimper, and suddenly she laughed out, a kind of yelp but unmistakably laughter, and clapped her hands for joy, the grinning mouth and suffering eyes turned to the sky.† (Page 434) This passage shows how the narrator finalizes her exile from the story by merging with Ottilie. The storyteller excludes herself throughout the tale by never being identified with a name or origin; she is in a state of â€Å"perpetual exile.† The narrator allies herself with Ottilie halfway through the story when she describes a filament connecting them â€Å"so that her life and mine were kin, even a part of each other† (427). Here, they become one so that the narrator and her personal life safely disappear from the story. Ottilie â€Å"doubled upon herself† represents the doubling of the two women. In the next sentence, the words â€Å"her† and â€Å"my† are used back-and-forth five times, almost as if one possessive pronoun could be exchanged for the other. In this sentence, the narrator’s fingers slip between Ottilie’s clothing and flesh, and thus their bodily contact merges the two physically. The following sentence describes Ottilie as a â€Å"shattered being,† perhaps because her new being is mixed with the narrator’s presence. The narrator never feels real in her own right, and it’s only when she senses the â€Å"realness† and â€Å"humanity† of Ottilie that she feels a breakthrough. However, she no longer has thoughts/feelings/sounds of her own; her reactionary howl is described as being Ottilitie’s as it rises unuttered and dies again. Therefore, the narrator finds her own identity when allied with Ottilie. She is hereafter described as a â€Å"perpetual ghost† because she no longer exists in and of herself, but in Ottilie.

Physical Beauty to Inner Beauty

We are human beings, we need both physical beauty and inner beauty. We are not angels to search only for inner beauty. Also we are not devils to search only for outer beauty. We have eyes, first of all we look at someone physical, but as the time goes by we know the real people whether having inner beauty or not. The three aspects i am going to discuss are respect, confidence and relationship. The three aspects i am going to discuss are respect, confidence and relationship. The are many different between physical beauty and inner beauty and the most important is respect.Inner beauty is responsible for providing the person with more respect and status in society. Also physical beauty play role but if you're not good with your soul then the outer beauty role remain for less period but if you are good at your soul then you are talked everywhere. We may find a good and charming looking person but unless he or she is not good at soul we can not play a relationship. The other different is to be in confidence. The physical will always attract because of the hormones in our bodies but I also think that people have different ideas of what they are attracted to.But today's society and cultures play a huge influence on what people should think is attractive but the people that today's society and culture call beautiful exhibit strong confidence in how they appear, so confidence will play role in it too. The last different is in relationship. When you meet someone for the first time, you will acknowledge their physical beauty first and then after you talk to him/her for quite some time you will acknowledge their inner beauty like their personality, their wit and etc.You might not agree with me on this case because some of you might say that inner beauty is the real beauty. But if you ask people around I bet they will say the same thing. The first trigger will be physical beauty. You can take e. g. from the story of Cinderella. Prince choose chooses Cinderella when he spott ed her with beautiful dress and make up nicely not with kitchen uniform, I wonder if the prince will even ask her dance if Cinderella's wear her apron.The outer beauty will always attract but the inner beauty is what will give relationship long evity. In conclusion, we can say inner beauty has higher meaning on how we look at what is attractive. We should be more interested in the inner beauty first before seeking what is on the outside because beauty open locked doors, many people look for external beauty and they forget about feelings but in the end when the beauty is over, the same doors will be closed

The Role Money Plays

Critical Text-Based Analysis Money plays a vital role in Bahamian society. Throughout the years our governments have placed our cultural identity at risk. They negotiated contracts and decisions based on our country’s financial circumstances. It is evident that our islands are truly â€Å"up for sale† but this can have drastic effects. As the years go by The Bahama Islands are being sold for the naturalness of what they are and are being transformed into something different.Nowadays, there are more aspects of American culture rather than Bahamian culture on display. If this continues our country will eventually succumb to the hands of its main financial provider, the United States. The Bahamas is too dependent on other societies and if we don’t change our mindsets our culture would be destroyed. Immigration has become a major issue in Bahamian society. Many migrants travel here searching for a better way of life. Their values and customs have greatly influenced o ur society.This was indicated by the author in paragraph three, â€Å"Abaco is called ‘Wcylef Jean Refuge’ after its new owner, the Haitian hip-hop superstar, while white Abaconians steam in lobster-red fury at the fact that their land could now be owned by a Haitian. † This agitated the natives of Abaco because their beloved island is now owned by a Haitian. In the Bahamas, Haitians are populating our islands in vast amounts and are influencing our culture. This has led to clashes among the societies which have caused a negative opinion of them. This evidence proves that our native culture is on decline and must be preserved.The Bahamas is known as a tourism country. Most of our income comes from the tourism industry. This has allowed our country to become a popular tourist destination. However the government constantly jeopardizes our main source of revenue. This was stated in paragraph 6, â€Å"Dead dolphins and whales beach daily like drowned slaves. † As a result of signing the Pipeline Contract, many tourists travelled to other countries due to the pollution of the ocean. This was emphasized in paragraph eight when he mentioned how Cuba took over as the number one tourist destination.In addition, Bahamians escaped to Cuba to avoid working under poor conditions at the amusement park and factories. This is quite ironic considering Bahamians love to travel to other countries for their amusement parks. The industry further declined when Junaknoo was abolished in 2015. It was no longer of tradition but of a trend. This was displayed in the twelfth paragraph, â€Å"A thoroughly diluted version on Junkanoo, Junkanoo Lite, is currently serving as the official mascot of the Miami Dolphins. † These instances show how our culture is constantly placed at risk.The writer used various rhetorical techniques to enhance his message. He used similes and euphemisms to give his piece appeal. In addition, the use of sarcasm and humor strengt hened his purpose. Our society is becoming a replica of America. We are adopting customs and policies that are not our own. As indicated by the author our nation is losing its identity. This produced serious consequences in the future which inhibited our growth as an independent nation. Our governments should not sacrifice our culture for money but endeavor to save this special gem.

Personality Traits Example

Personality Traits Example Personality Traits – Coursework Example 4 December Personality Traits My selection of traits presents a favorable picture ofmy personality and so does that of the three students who identified my personality traits. In fact, all of the three students have identified more positive traits in my personality than I myself have. They have not identified a single negative trait in my personality whereas I have identified many. Each of them has identified twenty positive traits in me whereas I have identified seventeen. Respectful is the most positive personality trait in me based on all the ratings. Shy is the most negative trait in my personality based on all the ratings. This type of evaluation of personality is not an objective means of assessment of an individual’s traits. The evaluating students may be influenced by group think. Even if they are asked to evaluate independently, they may not identify the same traits in me if they are asked to make the evaluation at two different times. Their evaluation of my personali ty traits is very much influenced by their latest interaction with me. People tend to forget the past and more remember the latest behavior of an individual. In addition to that, people often make biased evaluations about an individual that is either related to them or has been a friend or enemy to them in the past. However, when a personality trait is identified by three different people in the same individual, it means that the individual can be trusted to have that. However, such an evaluation should be verified by asking the same respondents to grade the same individual at different times.