Entrepreneurial characteristics Essay Example | Topics and Well Written Essays - 1250 words

Entrepreneurial characteristics - Essay Example Risk taking Risk taking is defined as a factor thing or element which exposes a person to a certain danger or which has negative impact on the person. Risk taking in business entails venturing into an idea or activity that might have negative impact on entrepreneur yet the same idea can bring positive outcome to the entrepreneur. Successful entrepreneurs need to have the ability to take risks in order to gain maximum benefits in case the idea succeeds. In many condition, opportunities are full of uncertainties as there are no ways to confirm if the move will be beneficial or not. As a result, many entrepreneurs are unable to venture in such ideas an aspect that makes them lose the ability to succeed. This enables an entrepreneur with this characteristic to fully own the idea and reap its benefits without intense competition (Gerber, 2009). If the idea succeeds, other business people utilize the idea but the entrepreneur who invented it will have created customer trust and barriers fo r the competitors to make use of the idea. This helps him in succeeding in the markets through gaining the largest market share and creating loyalty of the target customers towards the idea or product. One of the entrepreneurs who had taken risks in venturing in business is Michelle Moan. Despite her age she took a risk of investing in making bras that were more comfortable. As a result of going against all odds, she became successful and established MJM international which is one of the leading businesses in the world. The success of Moan was as a result of risk taking in an area that looked unpromising for many entrepreneurs. In 2000 she was awarded a world business achiever award which is a prestigious award given to entrepreneurs who has shown outstanding performance and innovation. This puts a challenge to entrepreneurs to be innovative and create ideas out of a challenge that they might be experiencing or a challenge facing the society. For a successful entrepreneur, an idea d espite how challenging it looks must be analyzed to look at its potential. Response to change Response to change is the act of reacting as a result of a certain change that has occurred in the sector, government or country at large. The world has become dynamic with many changes being experienced each day. For an entrepreneur to be successful he must monitor these changes as they might create an opportunity. New government policies are some of the changes that might create an opportunity for an entrepreneur. When an opportunity unveils an entrepreneur must be quick to respond to it through investing. This provides the entrepreneur with the opportunity to retrieve maximum benefits from the opportunity (Gerber, 2009). Response to change in case of an opportunity is determined by the flexibility of an entrepreneur. A flexible entrepreneur is one who is ready to shift from one way of doing things to another in order to fit in the new procedures that might be of great benefit. The best s trategy for an entrepreneur to become flexible is through setting aside capital that could be used to invest in a new opportunity. Such an act creates a difference between successful entrepreneurs and those who are not successful. In an example, changes in technological levels in the world created an opportunity for Steve Jobs to start Apple Inc which deal with various electronics such as iPod, iTunes, Mac laptops, desktop etc. His reaction was first despite the risks that faced investing in a sector that recorded major failures from previous

Medusas Creation In Clash Of The Titans Film Studies Essay

Medusas Creation In Clash Of The Titans Film Studies Essay An examination of analogue and digital tools utilized in the creation and animation of Gorgon Medusa in Clash of the Titans (1981) and in Clash of the Titans (2010). This essay aim to discuss, compare and bring forth an understanding of the tools and techniques implemented in the creation of the Medusa Creature in Clash of the Titans (1981) using the technique of stop-motion animation and miniatures and in the use of digital computer generated model and motion-capture in Clash of the Titans (2010). Clash of the Titans (1981) is a Greek Epic which was directed by Desmond Davis and Produced by Ray Harryhausen and Charles H. Schneer. Ray Harryhausen, the most successful, innovative and leading animator and Visual Effects artist. He is the landmark for the stop-motion animation. A man who has inspired us all, one frame at a time. (THE SECRET LAB DISNEY FEATURE ANIMATION AND WALT DISNEY COMPANY). He was inspired by King Kong (1933) which was animated by Wills OBrien, first Stop-Motion Animator, and it changed his life. Ray Harryhausen and Charles H. Schneer are long-time colleagues. Their first combination movie was It Came from Beneath the Sea (1955). Both decided to produce Clash of the Titans (1981), a low budget product with a predictable and dependable margin of profit but it happened to develop into a big-budget production (Cinefex, 1981). Because of big-budget Ray produced extra dose of stop-motion effects. Movie took nearly three years of development and preproduction and its budget was $16 million and become the 11th highest grossing film of 1981 (CG World, 2010). He did lot of work for creating city of Argos miniature, puppets of winged horse Pegasus, Calibos, snake-tailed Medusa, Dioskilos, Scorpions and the Kraken. This was Rays last film; he took retire after the Clash of the Titans. Its been 29 years since Ray Harryhausen and Desmond Davis released the original Clash of the Titans (1981). Now the Greek Gods are back again for another battle in Warner Bros. Pictures remake of the original Clash of the Titans, directed by Louis Leterrier. Louis Leterrier was a fan of the original Clash of the Titans and he wanted to make sure this new Clash of the Titans. Nick Davis, the visual effects supervisor divided the visual effects work into three main parts because of 900 visual effects shots and short postproduction. Postproduction completed in 25 weeks by artists at The Moving Picture Company, Framestore and Cinesite (Cinefex, 2010). A colossus of stop motion goes head to head with the new giants of CG, as Jim Thacker discovers how three VFX houses re-imagined Ray Harryhausens final creature feature for the digital era (3D World, 2010). We divided it into three main parts, playing to the strengths of the different houses, and locking together those sequences that, logically, would stay together. Whoever did the Kraken, for example, would have to do the city of Argos. So that block of work stayed together and went to MPC. The Scorpioch battle was very much a stand-alone sequence, and we felt it lent itself quite well to the skill sets of Cinesite. That left everything else Hades, Medusa, Calibos, and all of the other environments to Framestore. By Nick Davis (Cinefex 2010) CLASH OF THE TITANS (1981) GORGON MEDUSA, terryfying female creature in Greek Mythology, She is one of the three Gorgon sisters. Medusa had once looking good, but after a assault in Athena Temple the goddess, Aphrodite, turned her into a weird creature having serpents on the head instead of hair and her lower body look like snake, upper body is albeit green and covered in reptilian scales and her curse of turning human life that looked at her into stone. Ray Harryhausen developed Medusa into a dynamation( it is the name of the technique used by Ray Harryhausen used to combine stop-motion footage with live action by means of split screen and rear projection) character. He researched about the Medusa creature how the art and literature painted and he discovered two paintings by Caravaggios Medusa and Leonardo da Vincis Testa di Medusa (An Animated Life, page 272). By watching the portrait of Caravaggios Medusa Ray realised that this look attractive rather than Gorgon. He saw an attractive statue of Perseus holding frightening Medusas head by Cellini in Florence and decided to design Cellinis Medusa in his film. The torso of her should give the ugliness to her face so he decided to give her a non human body. After a long debate Ray opted to twelve snakes on the head, instead of arise from the skull he laid them on head to take more space and for the lower body added a rattlesnake tail for the interesting opening sequence. When he was setting up for animation he had no idea about how the Medusa is going to move because of her lower snake body and the heavy weight of her top. He took a reference image from the 1932 Tod Browning Film Freaks, in this film a handicapped man move forward by the support of hand (An Animated Life, page 272). The model of Medusa is 14 inches high and 24 inches long from the tip to the head of the Medusa. The Medusa contains 150 armature joints (the kinematic chains used in computer animation to simulate the motions of virtual characters). Initially Ray planned to build two Medusa characters one with full body and another with only head for the close up shots. But for the close up shots with big head had to use bag filters to look good so he decided to manage with the single Medusa it is enough to shoot her face, tail and lower body individually. The animation of Medusa took days for the simple movement like moving her hand to reach the bowstring and few more days to pick the arrow and few more days to release the arrow. And also animating the general movement of the mouth, eyes and fingers and the realistic movement of her tail took more time to complete the perfect animation. Including this he had to animate the twelve individual snakes at every point on the head and the head and tail of the twelve snakes are separate and he had to move them separately, so totally twenty four movements plus one more around her wrist (An Animated Life, page 274-275). In the film the Medusa sequence is six minute and it contains fifty-three stop-motion cuts (The Stop-Motion Filmography, Page 139). The most successful achievement of the medusa sequence is it doesnt appear like composite photography. The whole shots of medusa were shoot on a full size set of chamber except some steps and the pillar is constructed in miniature. To show the creepy in the scene the opening sequence of the medusa is seen only in the part of shadows, the raising tail on the wall and the head with snakes on her hair writhe, in this part of the sequence the wall and the column are the miniatures set, placed in front of the rear-projected with flaming braziers ( The Stop-Motion Filmography, page 140). Miniature is a representational model which are built, operated and photographed so as to appear to be genuine in character and full-scale of size ( Special Effects of Cinematography, page 322). Rear-Projection and Miniatures were the common tool for the visual effects artists in early history. Miniatures presents three -dimensional, lighting can be changed from shot to shot. In long shot Medusa drags herself along with her arms enter into the scene. This is the scene which was composited by rear-projection technique. A rear projector and camera positioned on either side of a central assembly consisting of a rear process screen and an intermediate pane of glass between it and the camera. Small areas of live-action footage to be projected onto the screen and then surrounded with elaborate glass paintings. Background temple is a live action footage which was projected on to translucent screen by rare projector and camera is used to shoot on to the translucent screen, in between the camera and the translucent screen Medusa is placed and animated. To interact the character with background they used a brazier on the left of the rear projection. Fig. Dynamation by Ray Harryhausen Fig. Rear-Projection Technique In the next two shots, a composite of Medusa into the centre of shield of Perseus by using a matte technique. Matte is a technique of combining foreground and back ground image elements into one final image by compositing. In those days before computer graphic technology they used glass shots, mirror shots, travelling matte shots, in camera matte shots, optical printing and aerial image printing for matte. In this movie they used travelling matte to compose Medusa onto the Perseus shield. In travelling matte the compositing is done on a optical printer. Both the foreground and background scenes are printed onto a duplicate negative. While compositing the Medusa onto the shield the background image (Perseus with shield) looks like a still image it is used to avoid more complicate on the scene. Fig. Travelling matte Fig. Medusa on the shield of Perseus using matte. Another rear projection used in this movie is when the Medusa looks into the fallen soldier and he turned into stone because of her curse. This is a scene where the background is a live action shoot and the Medusa is composed onto background by using rear-projection. In the foreground the camera zooms in from the medium shot to close up of Medusas face to show her eyes more lighting and the skin with scaly green and her jagged teeth ( The Stop- Motion Filmography, page 140). In this scene her eyes are composed for lighting by using matte. Fig. Medusa with lighting eyes to show her power to turn into stone. In the next shot Medusa passes behind a statue. It shows the depth between the foreground, midground and the background. In the background is the live shoot and in the midground Medusa passes along on her tail and in the foreground a statue. The statue is actually a miniature and some brazier is used for lighting on a statue. This is a scene mixed of rear projection, miniature and matte techniques. The next scene Perseus is ready to cuts off the Medusas head. In this sequence the foreground Medusa puppet is actually a far off and behind live action figures. In this scene they used a camera technique by using dollies to show the foreground puppet is beside the Perseus to create the depth in the scene. This type of technique is called reality sandwich , it fools the eye to think that a foreground puppet is actually far off and behind live action figures ( The Stop-Motion Filmography, page 141). The sequence fallowed by cutting the head of the Medusa. This scene is shot by using wires for the animation of the separated head of Medusa. And one of the Medusas hand scratches with the fingernails onto the pillars. In this scene the pillar, it is actually a miniature and the scratches are drawn on a cardboard and they animated it after the Medusas hand. After the body fell down the red goo comes out from the neck, actually the goo was shot separately, it is mixed of red-tinted wallpap er paste. They cut a tube that would match the size of the neck and it is tied with the black velvet and it is poured it down the tube, it looks like oozed out. After that it is matted it into the scene ( An Animate Life, Page 274). The Medusas sequence ends with a final shot with static matte contains Perseus stands and holding the Medusas head on right and to the left the lower body of Medusa lying in a pool of red ooze ( The Stop-Motion Filmography, page 141). CLASH OF THE TITANS (2010) Warner Bros. Pictures remake original Clash of the Titans. Much as the fondly remembered 1981 feature is a reworking of the myth of Perseus, this 2010 release is director Louis Leterriers reimagining of the Harryhausen original (3DWorld, page 30). Aaron Sims Company (Production and Character Design Company) designed the variety of creatures based on the Greek mythology characters and the characters appeared in Rays original film. Weve seen so many Greek mythology characters done in films, Aaron Sims. Sims team designed more than 1000 designs by the end of the project time. The team started with pencil designs, Photoshop paintings and 3D models, textured and rendered lot of 3D characters still images. These were given to the visual effects crews and previsualization team to utilize them in the production (Cinefex 2010). Fig: Medusa Designs of Aaron Sims company (Character Design Company) Because of the short time of post production and the 900 shots of computer graphics Nick Davis divided work into 3 parts and gave to three main visual effects houses in London. Framestore got the work of Medusa, Hades and Olympus. Framestore carefully distributed the snakes on Medusas head to convince the viewer that her head and neck are capable of bearing thier weight ( 3DWorld, page 30). Based on the designs of Aaron Sims Company visual effects artists made Medusa with a massive snake body on lower part and snakes replaced with hair on the head of the Medusa and her body slithers into a womanly shape. Medusa is a beautiful lady because of the curse by gods she turned into gorgon, so they took some reference photos of Natalia Vodianova to design the face of Medusa. We had to try to make the snake body merge seamlessly into a human body and still feel snake-like, Webber says. The 50-foot snake starts changing into a human body and still hips. You see a slight bulge, a hint of stomach muscle, and the scales smooth out. She has metal armor a kind of metal bra with a snake design.( CGWorld, ) In Clash of the Titans(2010) Medusa is completely designed and animated by using Computer Graphics. When compared to original movie Ray Harryhausen used a puppet Medusa and rear projection techniques for mixing the live footage and the Medusa character for the entire sequence. To animate snakes on her hair they wrote a plug-in for Maya (Autodesks) to manage the scales. Every snake is individually animated by using this plug-in. In the original movie Ray is the only person who animated the snakes individually by hand. Eventhough she doent have any dialouges, she had facial expressions based on the Vodianova, they had full-on facial animation rig to show creepy in the audience. They modelled two models in 3D, both are animatable. One with beautiful face and the another with scary snake. They used morph to change from beautiful face to scary snake. When she pertifies people, her head changes from beautiful women to a scary snake (CGWorld, ). In the morphing the model could change, the texture could change, and the skin surface could change. It is not possible to change all at same time. She again changes from scary snake to human, in this scene the animators managed the timing for the morph and for the snakes. Because of the individual behavior of the snakes procedural techniques are not worked and so the animation of snakes ended up a lot with a hand animation. Fig. Medusas head transform from scary snake to beautiful women

Perrault and Robinson Versions of Puss in Boots :: Compare Contrast Puss Boots Essays

Perrault and Robinson Versions of Puss in Boots Puss in Boots, like many folk and fairy tales is found in varying versions of the same story. Two of the many versions of this tale which are still told today are the classic version by Charles Perrault and one retold by Harry Robinson, an Okanagan Native Storyteller. Robinson's version was recorded and then transcribed and may be found in 'Write It On Your Heart - The Epic World of an Okanagan Storyteller.' This paper will examine and compare the content of both these tales with regards to plot and attempt to explain why the differences and similarities occur with regards to characters and places. Though both versions share a common goal of assuring a good life for the son who inherits the cat, the reasons vary considerably from version to version. In Perrault's tale, the son is destitute and the cat sets out to ensure his master's survival and comfort. Robinson's version, on the other hand, portraits a cat that seeks to right a wrong and return to his master that which was stolen from his family. A significant difference between the two tales is the number of events that take place. The openings to these two tales are very different from one another. In Perrault's tale, the father is already dead and the children are about to split their meagre inheritance: a mill, an ass and one cat. Robinson launches instead into an extended preamble identifying the story to be told along with some pertinent facts concerning its source. He identifies its source as being non- Native. "This is white people stories." (Robinson, 282) Unlike Perrault's poor miller, Robinson's father figure is identified as a well-to-do rancher with lots of cattle, several horses and many acres of cultivated fields. In fact, the farming operation is so large that there are many farmhands to tend to the various tasks (Robinson, 283). The father is very much alive and continues to be an integral part of the story for one third of the tale. Perrault's sequence of events is compact and straightforward. Once the sons have divided the assets, the two oldest siblings are removed from the tale. The cat requests some boots and a bag and sets off to provide for his master. Upon snagging each day's catch, he presents it to the king as a gift from his master whom he dubs the Marquis of Carabas.

New Hire Orientation: A New Approach Essay

It is the first day of your new job. After arriving, suddenly you flashback to the last time you were in this situation. A dreadful feeling comes over as you recall how boring and useless that first week was. Five days of your life you will never get back. It was so awful; the thought of turning around and leaving crosses your mind. Is this job really worth it? Little do you know that this time it will be different because you are working for Peabody Energy. They have just launched an innovative New Hire Orientation program that will leave a positive impression. Never again will the words New Hire Orientation cause drowsiness! New research has proven that there are better ways to introduce new employees to a company than have been practiced in the past (Hemsley, 2012). Seeking out the most efficient and effective programs is becoming common practice with most Fortune 500 companies. It is important that they get the biggest return on investment possible in this economy (Hemsley, 2012) . While there is no easy answer, the process of changing and implementing any training program is no easy task. The following analysis of Peabody Energy’s New hire Orientation will describe the process in which it was developed, the content, the format in which is administered, and finally the evaluation. After consulting with Katie Schaller, Learning & Development Representative at Peabody Energy, there were many considerations that had to be assessed before they started. Taking into account all of the negative baggage that is associated with a New Hire Orientation, they started with reviewing past surveys. They also interviewed subject matter experts from each department to identify the scope of information the new employees should receive about their respective areas. These responses helped guide the new program development. Objectives are important in any project. Starting out with solid list of expectations increases your chances of success by 300% (Morris, 2009). The fi rst step in the process, before creating the objectives, is to perform a needs assessment. This is critical to determine if the training is even necessary (Noe, 2013). This first step should confirm that the need is not a performance issue, that it covers the correct content, and that the expectations are defined (Noe, 2013). In this assessment, it is presumed that the new employee could not have a performance issue, they need to know certain information in order to function at the company, and a timeline and  budget were established. History In the past, the New Hire Orientation at Peabody consisted of spending three full days in a conference room going over procedures, watching videos, and trying to keep your eyes open. It lacked engagement and consideration for different learning styles. This was a simple evolution of the company growing much bigger and faster than was planned. The old traditional training for a company of 50 employees needed to be restructured for a company of thousands located throughout the world. Not only did the physical locations grow, but the spectrum of talent matches. The company employs everyone from miners who work below the Earth, to Vice Presidents who hardly see the sun. Understanding that there is some common knowledge that they all need in order to be effective on the job is important. Fifty years ago, the company had less than 100 people and operated in three states. Technology was hardly a consideration. Most of the general company information was learning on the job. Having such a sm all pool of resources, it was fairly easy to navigate policies and procedures in different departments. In 2002, the company began expanding internationally. This brought with it many new challenges. Cultural difference, communication barriers, and logistics are just a few. It was during this time of growth that the Human Resource Department created a designated person to handle the training and development. That was not exactly a strategic goal; it just happened to fall on the person who took the most initiative. As things progressed, it was evident that a universal New Hire Training program should be established. Fast forward to 2008 when Katie Schaller joined the team with her work cut out for her. She brings with her a wealth of relevant knowledge in the training and development field. Objectives It is in this context that objectives were created based on the company’s business goals. The goal is to onboard new employees and acclimate them to our current systems as quickly as possible using minimal resources. Focusing on that, the program needed to streamline the information and use technology. The first objective was to modify the content and consider separating certain aspect of the training into more specified sections. For instance, if they were hired for Information Technology, learning about the  different types of coal mined was beside the point. Sure, it would be nice to the difference between sub-bituminous and metallurgical, but not necessary in the first days of work. Basically a list of every job description was created and the common key words became the core of what the orientation should cover. Topics, such as the example about coal types, could be studied later in follow up training and development courses, like Coal 101. The next priority considered was learning styles. According to the study done by Claxton and Murrell, there are four approaches to learning style. They are personality, information processing, social interactions, and instructional methods. Matching a student’s preferred method to their learning style can improve the learning experience (Claxton & Murrell, 1987). Who doesn’t want to do that? Trying to encompass all of those facets is tricky. They used the surveys to find out what matters most to the new hires and decided upon a mixed approach to appeal to the masses. It would be a computer-based training with the option of meeting in person for certain lessons. One way to implement the social interaction element is to host on-site meetings for the group of new hires in the relevant departments they will be interacting with. This will give them the opportunity to meet key contacts as well as get to know the layout of the office (Brown & Rusnak, 2011). Feeling a sense of belonging is vital to succes s (Brown & Rusnak, 2011). Format This self-paced course is designed to provide new employees with information that they need to know and also information that they might want to know as they begin their career with Peabody Energy. It is offered online to allow participates to work at their own pace, from their own computer, with optional face to face discussions. They are asked to complete the dull tax paperwork portion prior to arrival. This ensures they are not bogged down with mundane tasks right off the bat. The remainder of the course should be finished within 30 days of his or her hire date. A network lunch is offered quarterly at the St. Louis office to begin to build a network with new colleagues, team members, and other key stakeholders within our organization. As mentioned earlier, meetings will be scheduled according to schedules, in each relevant department. This will allow hands on experience with the people they will be interacting with and how the processes work.  The learning objectives for this or ientation training are to understand Peabody’s mission, strategy, and history. Employees will become familiar with the company’s Total Rewards’ philosophy. They should understand how to navigate and utilize Peabody’s performance evaluation process. Recognizing Peabody Energy’s Leadership Pillars and how they are demonstrated on the job will be discussed. They will understand the company policies and procedures in areas such as information technology, security, human resources, and travel. Finally, new employees will learn where to go for information and find answers to their questions. Content Upon receiving their invitation via email, they can click on the hyperlink and sign in to begin at their convenience. At any time they can stop the training program and begin again from that point. There are 15 required subjects they need to pass and over 25 additional resource folders. The entire training of the required fields takes approximately 120 minutes. Katie Schaller welcomes with verbal instructions on how to navigate the training program and what is expected of them. Next is a recorded PowerPoint listing the course description and learning objectives. Following is a two minute welcome video from Greg Boyce, our Chairman and CEO. New employees then watch a company video discussing the importance of energy and how Peabody plays a part in the global market. Steve Callahan, Vice President of Corporate and International Human Resources, delivers a presentation explaining how Francis Peabody started the company in 1883, a historic timeline, and maps showing where our offices and mines are located around the world. The presentations continue in areas such as inclusion and diversity, company credit card and out of pocket expense policies, security, information technology, talent management, total rewards, travel policies, community relations, and compliance training. Each area is presented by someone from the respective department. After completing each section, the new employee concludes with a quiz. Upon completion of the entire training, a confidential survey is sent to the participants. This is to gain feedback on how the program was received and any improvements or changes that should be considered. Learning Theories The design of this training program considers several learning theories, all  of which assist in the transfer of information. The main Learning Theory used for this program is the Need Theory. This theory is designed for those who need to know something (Noe, 2013). Anyone experiencing a deficiency in knowledge uses this. Because this targets new employees, they are a clean slate to absorb all the new information before them. They will feel a sense of satisfaction by completing this program. There are levels of satisfaction that have created some controversy between Alderfer and Maslow. Alderfer seems to believe that if the higher level needs of satisfaction is are not met, that employees refocus on lower level needs (Noe, 2013). Other theorists talk about achievement and standards of excellence (Noe, 2013). Reinforcement theory was actually used by the design team when they tailored the program to the results of the recent new hire surveys. They avoided certain topics and added mo re of what was truly needed. They used past outcomes to determine future results. The Adult learning theory, or andragogy, is another approach used because all of the new employees are, in fact, adults. There are definite attributes of adults that have an effect on how they interpret information. Adults need to understand why they are there, they need to be self-directed, and they have a problem-centered approach. Among other qualities, they bring great work experiences to the table. Most obviously, Information Processing theory was used to influence in the internal processes that happen when information is obtained (Noe, 2013). There is scientific evidence surrounding these concepts that prove how attention is affected, perceptions are created, and coding is utilized for best retention (Noe, 2013). Evaluation The Peabody Energy New Hire Training Program uses a level two evaluation (Noe, 2013). The primary goal for the training is to teach new employees information (Noe, 2013). Therefore, the criterion that is being measured is how much information is retained. This section will outline the stages of evaluation that Peabody used when creating this program. Finally, suggestions for improvement will follow. The first step Peabody’s training team had to determine was what, if anything needed to be measured and how they were going to do that. During the initial needs assessment, they created a list of objectives, all of which can be measured. However, because this is a new-hire training specific to general organizational  information, a thorough evaluation was deemed unnecessary. The next consideration was to address how the information can be found later, if needed. Paper books are expensive and difficult to update. They created a file on the network where all of the training materia l can be found at anytime. This is easy to update and reference as needed. Regarding measuring the objectives, following each section is a quiz which they are able to take twice. While this is not a pass/fail test, it gives them an opportunity to absorb the information. Another measurement of success is following up the training with a survey to find out how well received it was. Finally, the cost-benefit analysis cannot be measured accurately. The information covered in this training is essential for new employees to be successful. The evaluation level being used in the new hire training at Peabody is level two. The sole purpose is to give information to the employees. The nature of the training does not lend itself to a deep evaluation. Enhancements to the program could be creativity, and incentive, and group projects (Carvin, 2011). By working in small groups and staying in touch with a mentor has many benefits such as new ideas and behaviors (Carvin, 2011). Closing Statement In conclusion, if you are ever so lucky as to have the opportunity and experience a New Hire Training like this one, you will not forget it. The program considers individual learning styles and offering choices. The needs assessment identified requirements, created objectives, and applied learning theories. New hires are passing their quizzes and giving positive reviews. Overall, the process in which Peabody Energy follows in creating and implementing their new hire orientation is second to none. All things considered, the Peabody Energy New Hire Orientation training is a comprehensive approach for all learning styles. It utilizes Power Point presentations, auditory narration by different employees in the organization, and face to face discussion. The new hire is allowed complete it at their own pace and/or meet with SMEs within the first 30 days of employment. The information is consistent among all new employees. The only suggestion would be that current employees participate in th is training so that they are up to date with company facts, policies, and procedures. References Brown, M., & Rusnak, C. (2010). The power of coaching. Public Manager, 39(4), 15-17. Retrieved from http://search.proquest.com/docview/856127114?accountid=8065 Carvin, B. N. (2011). The hows and whys of group mentoring. Industrial and Commercial Training, 43(1), 49-52. doi: http://dx.doi.org/10.1108/00197851111098162 Claxton, Charles S. and Murrell, Patricia H. Learning Styles: Implica-tions for Improving Education Practices. ASHE-ERIC HigherEducation Report No. 4, Washington, D.C.: Association for the Studyof Hither Education, 1987. Hemsley, S. (2012). Academy rewards. Human Resources, , 50. Retrieved from http://search.proquest.com/docview/1172596169?accountid=8065 Morris, L. (2009). Getting your money’s worth from training & development. Journal of Applied Management and Entrepreneurship, 14(3), 105-107. Retrieved from http://search.proquest.com/docview/203905220?accountid=8065 Noe, R. (2013). Employee training and development. (6th ed.). New York, NY: McGraw-Hill. Rowold, J. (2008). Multiple effects of human resource development interventions. Journal of European Industrial Training, 32(1), 32-44. doi: http://dx.doi.org/10.1108/03090590810846557

The Irony in Trifles

Heather Brown Professor Evermind English 1302 2 March 2012 The Irony in Trifles The play Trifles written by Susan Glaspell is set in the nineteenth century. A trifle is a thing of little value or importance, so in the play Trifles the irony of the story is quite humorous. In this time period women were not treated as equals, men believed women did not have as much intellect as themselves, and treated them accordingly. With this in mind the irony of the play revolves around how much better the women were at finding clues and a motive to the murder committed by Mrs.Wright then the men, and how condescending they are of the women. Trifles takes place at a crime scene investigation where a group of men are searching for clues to a murder, and two women who came to get things for the woman who was in jail. As the group of guys began searching for clues to help them charge Mrs. Wright for murdering her husband, the reader begins to see the way men view women in this century by their critic ism of the cleanliness of the house, and referring to kitchen things as unimportant.The irony in this is that the woman start seeing clues in the kitchen, such as all the half finished tasks and a cabinet with a broken bird cage in it. As the play continues the group notices an uncompleted quilt in the living room. The women start discussing how Mrs. Wright was going to finish the quilt: knot it or quilt it; and the men laugh at the women for worrying about something so simple, but ironically the women find another clue inside the quilting basket.The most ironic part of the play is that the two women find the major clue, a dead bird strangled the same way Mrs. Wright's bird was, and the men who were unsuccessful at trying to find clues to the murder were unable to find a single clue or motive left the house still puzzled about the murder. Irony is a tool that can be used to entertain a reader with its great comedic value, and Trifles does this in a unique way that epitomizes the ant i-femninistic views of the nineteenth century.This is a type of humor that readers are able to connect with thanks to the emergence of feminism. Outline Thesis: With this in mind the irony of the play revolves around how much better the women were at finding clues and a motive to the murder committed by Mrs. Wright then the men, and how condescending they are of the women. I. Introduction A. trifle is a thing of little value or importance, so in the play Trifles the irony of the story is quite humorous. B. his time period women were not treated as equals, men believed women did not have as much intellect as themselves, and treated them accordingly. II. Supporting evidence of the irony A. Women find the clues in the unimportant kitchen things. B. Women found the motive in the quilt basket. C. The men are still confused as to the entire murder. III. Conclusion A. is a tool that can be used to entertain a reader with its great comedic value, and Trifles does this in a unique way that e pitomizes the anti-femninistic views of the nineteenth century.