Native American Creation Theories free essay sample

There are many different theories dealing with the creation of the world. The Native Americans have several, but there are two very popular creation myths that are supported. The World on the Turtle’s Back and When Grizzlies Walked Upright. Each offers a unique perspective on how the world was created, yet many similarities tie them together. In the beginning of both stories, there is a god-like creature that comes down from a place called â€Å"Sky-World†. In The World on the Turtle’s Back, the woman either fell or was pushed after peering down a hole into the dark emptiness below, a result of her own foolishness. Foolish curiosity once again appeared in When Grizzlies Walked Upright, when the young girl stuck her head out of the top of the volcano, even after her father had expressly warned her not to, and was carried away by the Wind Spirit. Wind Spirit was hardly mentioned, but right away, I got the idea that he was the mischievous character. We will write a custom essay sample on Native American Creation Theories or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page In The World on the Turtle’s Back, there is a mischievous character called the left-handed twin, who is told to be the very first trickster to walk the earth. Both of these creation myths are full of unusual and unexplainable things; One of the weirdest is the matter of how the daughters became pregnant. In When Grizzlies Walked Upright, the girl marries a grizzly bear and â€Å"bears† his children, who later grow up to become the indians. In The World on the Turtle’s Back, the daughter happens across a strange man, who literally appeared out of thin air, and faints from the shock. As she is lying on the ground, unconscious, he lays two arrows across her stomach. Suddenly, she is pregnant with twins. The two stories certainly share many bizarre features, however they also have very different explanations for things. In The World on the Turtle’s Back, after the woman falls from the Sky-World onto the back of a turtle, she creates the earth from a crumb of dirt and several roots and plants that she had brought down when she fell. In When Grizzlies Walked Upright, the earth was already created except for the animals, which the man from the Sky-World, called Sky Spirit, created using wood from his walking stick. The World on the Turtle’s Back also has an explanation for the appearance of the animals. Several animals were already created, and the rest were made by the two twin brothers, as they competed to get the better of each other. While the story of the turtle explained the appearance of crops, the moon, night, and day, the story of the grizzlies explained how animals, mountains, and volcanoes were created. One of the biggest differences between the stories is the amount of Sky Gods that came down to earth. In The World on the Turtle’s Back, only one woman came down and it was more of an accident than anything else. In When Grizzlies Walked Upright, a whole family of Sky Spirits walked down a mountain onto the earth and built a lodge inside a volcano. In these two creation myths, there are features that link them together and differences that keep them separated. The thing to remember is that these are only two of the thousands of ideas about how the earth came to be. While there are certain theories, the truth behind earth’s beginning may never be known.

Free Essays on Scent Of A Woman

Scent of a Woman â€Å"Then wear the gold hat, if that will move her; If you can bounce high, bounce high for her too, Till she cry ‘Lover, gold-hatted, high-bouncing lover, I must have you!’†- Thomas Parke D’Invilliers From the beginning of time, men have attempted to solve a mystery the answer to which always seems to be just out of their grasp: The Woman. Working with her, or simply trying to â€Å"communicate,† with her can challenge even the most intelligent men. Following the elusive sent of a woman, men are constantly thrown off the circuitous trail that ultimately ends at the woman’s heart- - and the nearby bedroom. Many consider poetry a sort of road map to the desired destination. John Donne’s â€Å"The Flea,† Robert Herrick’s â€Å"To the Virgins, to Make Much of Time,† and Andrew Marvell’s â€Å"To His Coy Mistress,† all seem to have been written with one objective: to charm her into surrender. To ply her with sensual metaphors until she falls helplessly into his bed; but which poet’s strategy proves most effective? It is possible through careful analysis, exfoliation, and gathering of various opinions, to determine which po et displays the firmest grasp of the female psyche and the most powerful wea! pons to win this battle. By its title, one may assume that Donne’s â€Å"The Flea† concerns nothing more than a blood sucking parasite; this, in fact, exposes his speakers strategy. In pointing out the far-fetched, yet ironically logical, similarities between sex and a fleabite, Donne’s speaker hopes to coax his lover into pre-marital relations. MARK but this flea, and mark in this, How little that which thou deniest me is; It suck'd me first, and now sucks thee, And in this flea our two bloods mingled be. (1-4) (This and all other references made to John Donne’s â€Å"The Flea†, Robert Herrick’s â€Å"To the Virgins, to Make Much of Time, and Andrew Marvell’s â€Å"To His Coy Mistress† ... Free Essays on Scent Of A Woman Free Essays on Scent Of A Woman Scent of a Woman â€Å"Then wear the gold hat, if that will move her; If you can bounce high, bounce high for her too, Till she cry ‘Lover, gold-hatted, high-bouncing lover, I must have you!’†- Thomas Parke D’Invilliers From the beginning of time, men have attempted to solve a mystery the answer to which always seems to be just out of their grasp: The Woman. Working with her, or simply trying to â€Å"communicate,† with her can challenge even the most intelligent men. Following the elusive sent of a woman, men are constantly thrown off the circuitous trail that ultimately ends at the woman’s heart- - and the nearby bedroom. Many consider poetry a sort of road map to the desired destination. John Donne’s â€Å"The Flea,† Robert Herrick’s â€Å"To the Virgins, to Make Much of Time,† and Andrew Marvell’s â€Å"To His Coy Mistress,† all seem to have been written with one objective: to charm her into surrender. To ply her with sensual metaphors until she falls helplessly into his bed; but which poet’s strategy proves most effective? It is possible through careful analysis, exfoliation, and gathering of various opinions, to determine which po et displays the firmest grasp of the female psyche and the most powerful wea! pons to win this battle. By its title, one may assume that Donne’s â€Å"The Flea† concerns nothing more than a blood sucking parasite; this, in fact, exposes his speakers strategy. In pointing out the far-fetched, yet ironically logical, similarities between sex and a fleabite, Donne’s speaker hopes to coax his lover into pre-marital relations. MARK but this flea, and mark in this, How little that which thou deniest me is; It suck'd me first, and now sucks thee, And in this flea our two bloods mingled be. (1-4) (This and all other references made to John Donne’s â€Å"The Flea†, Robert Herrick’s â€Å"To the Virgins, to Make Much of Time, and Andrew Marvell’s â€Å"To His Coy Mistress† ...

Research Methods Essay Example | Topics and Well Written Essays - 500 words - 6

Research Methods - Essay Example Rather, they just have a general Facebook page of the company, with other regions of the world given their own Ford or Chrysler Facebook pages. Also, an article was found on the Automotive News website (â€Å"Cliques through clicks: How brands use Facebook†).4 This article details the Facebook marketing campaigns of Ford and FIAT respectively. First of all, the number of likes on a Facebook page can show how popular a certain brand is. For the FIAT USA Facebook page, the total number of likes is over half a million. But, compared to Ford, this is a small number. The Ford Motor Company Facebook page has more than 1.5 million likes. This is to be expected, however, because Ford is a long-established American company. For Chrysler though, the total number of likes was only 300,000. This tends to suggest that Chrysler was late to enter into Facebook marketing and that is why the number of likes is so low. All of these Facebook pages contain posts of new and upcoming models that are to be released into the American market. FIAT should focus on increasing its exposure on Facebook by getting more than one million likes. Facebook will continue to be a successful marketing tool for automobile companies, especially among young, male Facebook users. The Automotive news article states that Ford spends 25% of its marketing budget on social media such as Facebook. This is because Ford recognizes the true value that Facebook has in promoting new automobiles. One positive for FIAT is that it is giving away 10 new Fiat 500s for any of its Facebook users that have liked the Facebook page. Only those Facebook users that had a correct six digit code could have a chance to win one, but this marketing initiative did encourage Facebook users to like the Facebook page and then check to see if they had

Leadership Among Senior Managers in an Organization Research Paper

Leadership Among Senior Managers in an Organization - Research Paper Example The research will be conducted at Sky Digital which is a digital satellite broadcaster for the UK. They have 8.1 million customers and are still growing. The broadcasting industry is going through a very competitive phase, and it becomes necessary that staff in senior positions stay achievement oriented and focus on personal growth. This is essential because it impacts company performance.   The research question examines the level of existing need for achievement and personal growth among 900 senior managers in the cancellation department of Sky Digital. For the purpose of this study 100 randomly selected managers will be surveyed. 1. A one on one interview will be conducted with 100 randomly selected senior managers of the cancellation department for open-ended questions. For closed-ended questions, the response sheet will be left with the manager and anonymity will be maintained. The selection of managers will be based on simple random/probability sampling method. The lottery me thod will be used. A list of all senior managers in the cancellation department will be obtained from the HR department and every 3rd manager will be selected for the survey. 2. As and when data is collected, the responses to the survey will be updated in an excel spreadsheet. To survey the achievement needs of senior managers, a questionnaire is prepared, adapted from the achievement motivation scale published by W.W.Norton and Company (n.d.). A question is formulated for each attribute critical to need for achievement, to ascertain whether a manager manifests the need for achievement. The questionnaire has mostly close-ended questions but also includes open-ended questions to help analyse the organization’s role in supporting these managerial attitudes. Since senior managers give direction to the company and are responsible for motivating their subordinates, it is necessary that they exhibit a high level of need for achievement and personal growth. This is the reason for th e project proposed.

Assignment Essay Example | Topics and Well Written Essays - 250 words - 9

Assignment - Essay Example Ebay is a monopoly in the online auctions market with no close competitors or substitute products. Ebay is considered as a good monopoly as it has able to derive down the cost of searching for buyers and sellers besides allowing small sellers to find effective resell market. It has therefore helped to reduce the information asymmetry in the market however, its partnership with PayPal as the only payment processing service for settling payments between buyers and sellers is considered as a relatively unwanted move to dominate two different segments of the market through single platform. Royal Mail of UK is a State owned postal service offering low cost inland and foreign postal services in UK. It is considered as a good monopoly because it has been able to derive the cost down for the consumers without effectively altering supply in the market. Reuters. iTunes Monopoly? Apples Jobs Ordered by Judge to Answer Anti-Competition Charges. 23 March 2011. 2011 March 2011

Music Essays- Rave Culture Music

Music Essays- Rave Culture Music Rave Culture Music Since its emergence in the late 1980s, the subculture referred to as â€Å"rave† has become a significant global youth phenomenon. Postmodern scholars tend to treat the rave subculture as one of disappearance and pleasure. The â€Å"armchair† approach of postmodernists is inherently flawed because it fails to acknowledge the meaningful spiritual experiences of those attending raves. Scott R. Hutson’s â€Å"The Rave: Spiritual Healing in Modern Western Subcultures†introduces an opposing theory that raving is a spiritual practice wherein the symbolic processes embedded in culture create appropriate frameworks for healing. Gilbert Rouget’s conceptualization of trance and how it is managed in the ritual context provide the analytical foundations for this spiritual practice. This paper will analyze the role of the DJ as a leader of a possession trance ritual who â€Å"aided by key symbols, guides the ravers on an ecstatic journey to paradise- a pre-soci al state of non-differentiation and communitas† (Hutson 1999:54). Raves have increasingly become the focus of books, movies, and media coverage, and the culture has been the undercurrent behind some of the latest music and fashion trends. Described by Merchant and McDonald as â€Å"the most vibrant, popular and visible cultural expression of young people† (Merchant and McDonald 1994:16), rave culture has had such an enormous impact on the mainstream youth and popular culture that it is now often considered part of the mainstream. The electronic and rhythmically repetitive nature of the music, the long hours of dancing, the semi-legal secret location, and the ingestion of psychoactive substances, differentiate raves from other youth parties. When combined, these features are specifically designed to promote feelings of connectedness, spirituality, and a state of â€Å"ecstasy† among contemporary youth. At the heart of these proceedings one encounters the individual responsible for the success or failure of the event: the Disc-Jockey or DJ. Using equipment to manipulate the rhythm, sound, and lighting, the DJ guides individuals through a psychological journey of what some have described as healing, identity transformation, and spiritual growth. Get help with your essay from our expert essay writers A small body of recent publications on raves reflects the growing recognition that the rave scene provides a spiritual outlet for many contemporary youth. The DJ’s position within this culture as a spiritual leader and guide has also been noted. What is uncertain, however, is the specific nature of this role. Poschardt contends that the DJ’s tendency toward â€Å"laconic autism† has made him a difficult object of study that has â€Å"remained untouched by academic study† (Poschardt 1995:17). Similarly, Fikentscher observes that â€Å"his gradual rise in the hierarchy of the music industry has not been accompanied by a corresponding growth in academic literature† (Fikentscher 2000:33). Although similarities have been noted between the function of the DJ in the rave culture, and that of the shaman in traditional cultures, a precise and in-depth academic analysis of the DJ’s work is lacking. It is often assumed that what ravers experience during raves is â€Å"ecstasy,† but a definition or thorough investigation of this state of consciousness is lacking. Similarly, references to â€Å"trance† or hypnotic states are also presented as fact but explanations and interpretations of these states and how they are elicited are usually glossed over. Some authors appear to be completely baffled by the altered states of consciousness (ASC’s) encountered at raves, their position clearly illustrates a poor understanding of ASC phenomena. One author explains that â€Å"ravers move in a hypnotic delirium which has been described as a ‘trance dance.’ It is as if some sort of spell has been cast over them causing the throng to lose themselves in their own thoughts while the pounding of the music remains starkly unobtrusive† (MacDonald et al. 1998:243). Postmodern scholars seem to avoid the subject of ASC’s altogether, while acknowledging the ineffable quality of the experience as grounds for its exclusion from academic inquiry. Additionally, the DJ’s expertise and the symbiotic relationship he develops with the dancers has also been neglected, perhaps due to the embodied, performative, and intuitive elements under which these processes are informed. In an attempt to explain this neglect, Gerard states that â€Å"while the dance music press, insider accounts and testimonials from DJs and dancers suggested a fertile ground for investigation, scholars tended to avoid the dialectical possibilities inherent in performance analyses or phenomenologically inspired investigations by simply treating such interactions as somehow ineffable† (Gerard 2004:170). Another embodied element so central to raving is body movement, that is the dance experience, and as Malbon remarks â€Å"I note the reticence and/or inability of both clubbers and academics to discuss dancing† (Malbon 1999:71). It is probable that this reticence is partially rooted in the limitations of an â€Å"armchair† approach. It is obvious that many scholars of rave and club culture have never physically participated in the contexts they are writing about. This armchair methodology is addressed by Gerard and Sidnell who call for an approach that is instead framed in the â€Å"immediate:† Rather than attempting to extricate symbolic meanings or covert subcultural agendas, future studies of contemporary dance music would be best served from the dance floor and not the armchair. If as a number of authors have suggested, these music and dance spaces can be likened to ritual events, we should approach them as such-not by serving enactment from text, as Bruce Kapferer has cautioned, but by framing analysis in the immediate and locally organized contexts of performance (Gerard and Sidnell 2000:36). This paper is an investigation the precise function of the DJ within the rave culture. This involves an investigation of the DJ’s training, of his techniques of the mechanisms involved in inducing altered states of consciousness (ASC’s) in the rave context, of the experience of the participants with these states, and of the relationship between the DJ and rave participants. Much of the DJ’s elevated status and recent success has to do with the artistic license and technological innovations in music production that afford today’s DJs with seemingly limitless opportunities for creative development. This forces the DJ into a role as a paradoxical artist, a meta-musician whose performance is based on prerecorded music. The profession thus questions the traditional notion of live performance and as Poschardt states, â€Å"questions the traditional concept of the artist, blows it apart and re-establishes it in overhauled form† (Poschardt 1995:15-16). An emblematic figure of the postmodern era, the DJ has been likened to a writer, an editor, and even a weaver of mosaics and tapestries. This is largely due to the techniques of mixing, remixing, and sampling, procedures that make each performance spontaneous, unique, unexpected, and thus â€Å"live† as opposed to prerecorded. Combining two records is referred to as mixing, remixing in volves altering and therefore reinterpreting and existing song, and sampling consists of inserting any sound, musical passage, or rhythm into an existing track at any desired point. This is where the creative element and metaphor of the DJ as writer is relevant: I love the idea of continuous sampling: like remixing everything as you go so writing is like that. Just like you’re probably going to do edits, cuts and splice when you’re editing this tape, I mean you do that with language, even when you’re speaking, you’re always picking and choosing what words you’re using, the way you’re going to describe something so everything is a mix. I’m mainly a writer, DJ’ing to me†¦ every DJ is a writer, you’re using the urban landscape as your book, as your novel, as your text, so everything is writing (‘DJ Spooky’ in Reiss 1999). The ability to create new sounds and sample virtually anything also emphasizes the freedom of the artist. While there are â€Å"DJ schools,† information resources on the internet, and technical manuals available to those entering the DJ profession, most DJs are self-taught and the process of learning and refining skills for oneself seems to be the ultimate rite of passage into the trade. For the most part, DJs seem to frown upon professional schools that offer courses in DJ’ing, feeling that these schools are no more than the product of a recent fad. Most seemed to agree that experience and intuition are the greatest tools for learning available to an amateur, and these cannot be acquired in an academic institution. The notion of being self taught still allows DJs to be influenced by others or to have their careers assisted along the way. Fikentscher characterizes DJ’ing as an oral tradition where knowledge is passed down to new artists from the DJs that come before them (Fikentscher 2000:44). Like raves, DJs on the rise develop a following through word of mouth and the circulation of their music. At clubs and raves, the local and unknown DJs are given the opportunity to spin in the peripheral rooms while the headliner DJs spin in the main room. Through this kind of exposure, a DJ can develop a following and eventually graduate to the central room which houses the best lighting and sound equipment. DJs have also been known to collaborate with other musicians in producing records, and even tour with other DJs thus picking up techniques along the way. A DJ must have an extensive knowledge of music tracks and remember such details as the rhythm, the vocals, and key structure, so that the current song will be complementary to the track that it is being combined or sampled with. Just as many ravers note an alteration in the way they perceive Techno music through continued participation in the subculture, DJs also identified a change in their musical perception that is oriented toward the more technical aspects of the music. Evidence for this kind of neural entertainment is supported by the finding that the analytic left brain tends to dominate musical processing in trained musicians, whereas for the untrained it is the right hemisphere that dominates (Wilkinson 2000:1). While there has been considerable discussion surrounding MDMA or Ecstasy use as a prerequisite for fully understanding and appreciating electronic music, in contrast to the majority of rave-goers who advocate drug use to â€Å"get into† the music, all of the DJs interviewed in a study by Dr. Melanie L. Takahashi disagreed with this view. Although a majority had tried MDMA or other dance related drugs, the sentiment that the music combined with the skill of the DJ in its own right were enough to elicit an ASC appeared to dominate. The DJ’s adeptness for musical perception and producing musical triggers for trance states could explain the incongruity between DJs’ and participants’ views concerning drug use. All subjects interviewed performed their sets without taking drugs, the reason given being that these substances would negatively affect the concentration required to perform a live show. Instrumentalists of possession rituals are reported to not ingest psychoactives or enter into trance during performances for similar reasons. According to Rouget, â€Å"to do so would be incompatible with their function, which is to provide for hours on end and sometimes on several consecutive days, music whose execution must continuously adapt itself to the circumstances† (Rouget 1985:103-104). Rouget argues that these musicians must therefore be external to the cult, such that they are not vulnerable to the music, or they must be experienced adepts who are able to withstand the effects of the music (Rouget 1985:104). As the DJ is given the power to introduce the participants to an experience, it becomes increasingly important for the DJ to sustain the integrity of that experience. In Gerard’s 2004 article â€Å"Selecting Ritual: DJs, Dancers and Liminality in Underground Dance Music,† Gerard describes the importance of flow by framing the dance experience, and the process of mixing, as conduits for â€Å"liminality† as defined by Victor Turner (Turner 2003:176). The DJ employs what Gerard coins as â€Å"techniques of liminality† which create periods of uncertainty for the dancers following the resolution. When the flow is interrupted by poor mixing â€Å"the flash of spontaneous communitas is potentially threatened; dancers are often drawn out of their ecstatic state; they return to an increased awareness of both setting and self, and sometimes abandon the dance floor† (Gerard 2004: 176). In order to avoid losing experiential integrity, DJs function in a manner similar to instrumentalists in possession rituals by developing an intimate and symbiotic relationship with the dancers. The dancers’ ability to achieve an â€Å"ecstatic† state is dependent on the DJ’s stage presence, his proficiency in intuitively â€Å"reading† and responding to the crowd, and his ability to form a temporary bond with the dancers. Without these skills, the techniques of trance induction on their own right are generally inadequate for eliciting what participants call an â€Å"ecstatic† state. In ceremonial possession, the notion of performance is a central element to the ritual. Instrumentalists perform for an audience, and irrespective of an individual’s familiarity with the music, the trance state is only induced within the ritual context in the presence of others. Furthermore, additional aspects of raves that are paired with the music (i.e. lighting, psychoactives) are generally absent at home even though they play an important role in trance induction. Also absent outside of the rave context is the interpersonal relationship between the DJ and the participants. Similarly on the subject of possession rituals, Rouget emphasizes the importance of the connection between the instrumentalists and the dancers, stating â€Å"in order to induce trance in a particular person the priests and musicians establish a special relationship with him, make him an object of their ‘solicitude,’ address themselves to him in an exclusive way, and become at the same time very attentive to what he himself is feeling† (Rouget 1985:112). At raves, participants recognize that a DJ must be selfless in order to establish this special bond. Although most DJs have a general idea of the style of music and the songs that they will play, it is accepted that flexibility is more important, and this is particularly relevant for touring DJs who must also adapt to regional differences in music taste: I know the records that are good to start the evening, but I don’t prepare my set in advance. I watch and I react. I try to adapt. Every city is influenced by the people who initially created the scene. You have to adapt and still be true to yourself. In Germany, I play techno. In Belgium and Switzerland, it’s more funky tech house. In Spain, it’s predominantly techno, except in Barcelona and Ibiza where it’s house (‘Jack de Marseille’ in Huegli 2002:69). The active role of the crowd in shaping the mood and atmosphere of the party also favors a more spontaneous approach. It is believed that DJs who prioritize the tastes of the crowd over their own, are humble DJs and that this quality is a precondition to a â€Å"people’s DJ† (Brewster and Broughton 1999:11-12). Cues indicating a DJ’s humbleness that were remarked upon, are gestures suggesting appreciation and gratitude toward the crowd such as bowing, clapping, eye-contact, and smiling. These gestures also play an important role in breaking the artist/spectator barrier and this strengthens, and reifies the connection between the DJ and the dancers. Breaking the barrier between the artist and participant is another reason why DJ booths are centrally located at raves. It is important that the DJ see the dancers so that he can respond to them, and it is equally important for the participants to be in close physical proximity to the DJ, so that his personality and presence are able to come through: I don’t feel like I have to hide and say, â€Å"No one should see me when I DJ. It’s all about the music.† Bullshit! People always need someone they can connect to and they can identify with. I always felt that I could bring the music across in a more convincing way by using my personality. Because I give people an honest feeling. The most important thing is to see people standing happily on the dance floor in the end (Sven Vath in Huegli 2002:18). All of these factors are conducive to breaking the barrier between the DJ and the dancers. The communication that occurs between the two is much more than music, lyrics, and the dance movements, or what Rouget refers to as the â€Å"level of the code† (Rouget 1985:113). In reference to possession rituals, communication is established â€Å"at the personal level, the emotional level of direct person-to-person relationships† (Rouget 1985:113). The active role of the dancers also reinforces the dismantling of the barrier between the performer and audience, and this is where the concept of the feedback loop between the DJ and participants is relevant. As DJ Spooky puts it, â€Å"the DJ/audience relationship is like a symbiosis you know, it’s like a biological structure you know, I mean it’s like you are sending out information and pulses that the crowd in a way then sends back to you, and like you’re like a focal point of the energy of these gathered people† (Reiss 1999). There is also an emotional element involved in this symbiotic relationship which targets the DJ with responsibility for the emotions of the crowd of dancers. The DJ’s emotional state can be transmitted to the crowd through his music and consequently impacts the condition of the dancers. A DJ’s seeming lack of enthusiasm, his failure to make eye-contact, smile, or dance are indicators suggesting that he isn’t having a good time, and this has consequences on the crowd. While the crowd is sensitive to these nonverbal indicators of the DJ’s affective state, the DJ’s mental state can influence his choice of music, and this too will impact the experience of the dancers. While electronic music has been accused by some of being repetitive, bland, and even minimal, there is a strong correlation between the genres of Techno music and affect. For example, Terrorcore, Industrial Hardcore, Jungle, and Drum n’ Bass, are noted for bringing out aggressive and negative emotional states in some individuals. Bold, militant rhythmic patterns, sounds of machinery, people screaming, and vocals with coarse language, are the kinds of sounds attributed to some of these music styles. It is generally felt that the people who are looking to experience negativ e and aggressive states seek out these types of events. In contrast, Trance, House, and Happy Hardcore, are generally characterized by warm melodic styles and positive lyrics that are noted for engendering such feelings as love, a sense of well-being, connectedness, and spirituality among participants. Depending on his mood, the DJ can choose tracks with vocals and melodies that accentuate positive themes, or tracks with sounds and lyrics that concentrate on the darker aspects of life. This is why a participant’s sense of trust in the DJ is so important. It becomes evident that there is a shared feeling of uncertainty arising from the inability to pinpoint the DJ’s intentions: I realized that the DJ had POWER over me. I was basically prostituting for the DJ: I was a slave to what he had (the promise of the climax) and he was flexing his power and tweaking with me to see how much I could stretch myself out for it. It really scared me†¦ I think some DJs definitely hold the power of a cult in their turntables and in their speakers, and it’s really not something that I want to get down on my knees for. Just a thought, I’m not bagging here. I still think rave is one of the best things the 20th century has to offer, but I think that if left unchecked, it could turn on us (cited in Takahashi and Olaveson 2003:86). At raves, the trance state is very much dependent on the individual’s willingness to let go and trust the DJ in allowing him to guide the nature of his or her experience. One DJ regards the dancers as having a responsibility to meet him half way, â€Å"As long as they are open for a while and let themselves go, they have the opportunity to feel things the way I intended them to† (Heiko Laux, in Huegli 2002). Here again, the similarities between possession rituals and raves are apparent. Rouget characterizes the relation of the possessee to the musicians as â€Å"the submission of the former to the latter† (Rouget 1985:112). The following description of the ndop ceremony highlights many of these striking resemblances including the instrumentalist’s ability to observe and respond to the dancers’ movements, and the bond established between the two: In fact, a close interpersonal relationship develops at this point between drummer and possessee. The drummer takes charge of her, so to speak. Keeping very close to her, never leaving her side, concentrating on her slightest movements, incessantly observing her behavior in order to: speed up the tempo, or, on the contrary, relax it; select the necessary types of beat; and adjust the intensity of the stroke. Communicating the rhythm of the dance to her, he holds the possessed woman in his sway and leads her into the ever more violent whirlwind of his music. But if he is able to lead her in this way, and finally guide her where he wishes, it is because he has been able to establish a close understanding with her. It is because he can follow her that he is able to dominate her and impose his will upon her. He is the master of the game, but within a dialogue. He speaks music and she replies dance (Rouget 1985:112). The theme of submission is also apparent in possession ceremonies in relation to the spirit beings that possess cult members. In the case of Haitian Vodou, for example, Bourguignon highlights extreme passivity as one of the prerequisites for trance induction: However, one aspect of submission-dominance seems of importance in relation to possession trance: in person, as we have seen, is said to be â€Å"mounted† by the spirit, to be his â€Å"horse.† The personality of the individual, one of his souls called â€Å"gros bon ange,† is displaced and the body is taken over by the spirit. In other words, there is total subjection to the spirit and total submission to him (or her). The spirit, as a powerful superhuman entity, can do as he pleases, both with the horse he has mounted and with other human beings present. We thus have an expression of extreme passivity in this interpretation of possession trance (Bourguignon 1976:40). At raves, references to the power of music in directing the body are reminiscent of possession’s horse and rider metaphor. According to Sylvan, these accounts of submitting to the music â€Å"suggest a trance state very similar to possession, in which music becomes the rider and the body becomes the horse, but without reference to any specific possessing spirit† (Sylvan 2002:129). In the rave locale, the DJ is equally influenced by the emotions of the crowd, where participant feedback is transmitted at the visceral level. While it is not unusual for participants to demonstrate their admiration for a DJ by whistling or chanting his name, for the most part, crowd feedback is nonverbal. Occurring as sets of coordinated body techniques that all ravers seem to intuitively know and all DJs can follow, these moves are acquired at the corporal level and most ravers seem to be unconscious or unaware of these movements. The responses to the DJ are well coordinated from an observer’s point of view. Fikentscher calls the sum of individual dancing bodies the â€Å"collective performance† wherein the bodies of the dancers can potentially unite to form â€Å"one musical instrument† (Fikentscher 2000:58-59). As McCall suggests, this process is mediated by dancers’ observation of subconscious cues. These cues create a system where â€Å"people are helping each other dance without knowing it, feeding off the collective anticipation for that moment of synergy where it feels like utter madness: cheers, claps, whistles, hands in the air. Suddenly everyone is dancing in unison† (McCall 2001:93). When the dancers are in sync with one another, the boundaries between individuals seem to vanish as the crowd appears to function as one organism (McCall 2001:95). This process of synchronization also encompasses the entry into a collective psychic space. In Music and Trance: A Theory of the Relations Between Music and Possession, Rouget emphasizes that rituals of possession are embedded within rich cultural traditions wherein trance is a learned and culturally patterned process. In these traditions, the musical motifs, instruments, and dance steps are localized to specific gods and myths, and thus the music operates as â€Å"the principal means of socializing trance† (Rouget 1985:323). Rouget argues that it is the possessee’s ability to identify emotionally with the music and dancing as signifiers of cultural knowledge, that enables him to enter the trance state. This is where electronic music departs from possession music. Although raves are emotionally charged events, the music and dance movements are not rooted in a specific cultural tradition other than rave. Nevertheless, there is an inherent power in the music to evoke extraordinary states of consciousness and this is where the universal agents involved in trigger ing trance are paramount. DJs have not only utilized these mechanisms to induce trance among participants, but the available technology in sound and music production has given artists the means to refine these practices into a science of precision. To a certain extent, these technological advancements compensate for the lack of cultural signifiers, as DJs have access to a range of equipment that is clearly absent in ceremonial possession. Electronic music producers are creating works that are intended to elicit specific states in the brain, and advancements in sound and visual effects at raves create the optimal listening environment for these tracks. Even though the sophisticated scripted process of initiation as observed in ceremonial possession is lacking at raves, these features when combined with the DJ’s proficiency in track selection and crowd interaction, and the learning on the part of participants in recognizing and responding to the DJ’s cues, account for the ASC’s that people are reporting at raves. Many DJs as well as experienced rave participants have developed their senses in such a way that they perceive Techno music differently than those who have never been exposed to it. This shift in musical perception is a learned by-product of repeatedly exposing the auditory system to new stimuli, and this transition is a key part of the scripted process as well as a prerequisite to ASC induction. For DJs and their fans, listening entertainment is only a small part of the electronic music scene. Specifically, the tones, frequencies and beats of electronic music are designed by producers and further refined by DJs to target the body in precise ways. Electronic music is intended to be physically experienced and this is evinced by the fact that many veterans of the rave scene describe the music as having a three-dimensional vibrational quality that transcends the traditional way music is perceived. The body-centered quality of the music is deeply intrinsic to electronic music culture and this is the common thread that links the numerous classifications of rave music. Computer technology has provided the DJ with the power to totally control the means of perception at raves. Whereas â€Å"the tonalities and structures of traditional music are limited by the parameters of the instruments on which they are played† electronic music â€Å"sets tonality loose releasing creativity from the discipline-and exclusivity-of musicianship† (Hemment 1997:29). As Gauthier remarks, â€Å"Techno becomes a presence that cannot be ignored-more, it is a shock whose intensity is only matched by the body’s urge to give in to it, an aggression made positive through the festive context† (Gauthier 2004:75). The dominance of the music is also supported by the high volume of the music. According to Fikentscher, this ensures the authority of the DJ as the music establishes â€Å"absolute priority over other acoustic phenomena: conversation, handclapping, foot stomping, yelling, whistling† (Fikentscher 2003:85). Some electronic musicians are even experimenting with sounds that go beyond the human auditory range. Fritz argues that sounds that vibrate through the body without being heard â€Å"may be partly responsible for the powerful emotional response people have when listening to rave music† (Fritz 1999:78). While the majority of DJs are not necessarily versed in the scientific literature on trance states, or use scientific language to describe what they do, there is an underlying intuitive knowledge of what works with the crowd at raves. Rouget observes that an interruption in the music’s flow is used cross-culturally to induce trance. Such catalysts as the acceleration of tempo, the crescendo in volume, the use of polyrhythm, rhythmic changes such as syncopation, and even a brief cessation of the music, are techniques that interrupt the music’s flow, triggering trance (Rouget 1985:80-84). Rouget notes that most possession ceremonies begin slowly, gradually intensifying throughout the evening with the onset of possession being the climax of the event (ibid 1985:80-84). The methods implemented by instrumentalists in interrupting the music’s flow function to intensify the sound and atmosphere of possession rituals. With electronic music, the idea of tension and releas e is a built-in characteristic of all classifications of rave music. Thus while Trance, Jungle, and House may differ with regard to tempo, meter, instrumentation, and use of lyrics, the same techniques of building tension are employed by DJs in all three genres. As Reynolds notes â€Å"rave music has always been structured around the delay of climax† and the anticipation of a â€Å"plateau of bliss that can be neither exceeded nor released† (Reynolds 1994:56). This paper examined the role of the electronic music DJ, and how DJ’ing has evolved into an art-from as well as a science. Technology has played a pivotal role in shaping the development of rave culture. At its core, the music that binds this global culture together is created, exchanged, performed, and experienced through computer-mediated technology. According to Wilson, â€Å"a reverence to and celebration of technology, and an implicit and explicit belief in ‘progress through technology,’† is one of the underlying doctrines of rave culture (Wilson 2003:386). As Gauthier remarks in reference to rave culture, â€Å"technology is synonymous with possibility, and stands as a prerequisite for creation, gathering and effervescence† (Gauthier 2004:71). Raves would be crippled without technology and this reinforces Reynolds’ point that rave music is not about â€Å"what the music ‘means’ but how it works† (Reynolds 1998:9). The DJ is the expert in knowing how electronic music works. His expansive knowledge of repertoire, aptitude for musical memory, technical prowess at the turntable, charismatic presence on stage, and ability to interact with, read, and manipulate the crowd, have awarded him the power to take his dancers on what participants have described as an â€Å"ecstatic† journey.

Fraternity Gang Rape Essays -- college rape on campus sexual assault

Of 24 documented cases of alleged gang rape by college students, fraternity men perpetrated 13. The problem of group sexual assault on college campuses mainly occurs in an environment where group behavior and acceptance is important to the men involved, i.e. fraternities (Bechhofer & Parrot 144). Looking at the environment surrounding this type of group one can see what causes the prevalence of this type of assault in fraternities. Why does this violence occur within these groups and how is it handled? The dynamics involved in the fraternity’s system causes a â€Å"group-think† mentality that promotes and sometimes causes group sexual assault. This group influence, along with the fraternity’s selection of men and their adherence to traditional sex role stereotypes reinforces myths of acceptable behavior in men and women and how these play a role concerning consequences.   Ã‚  Ã‚  Ã‚  Ã‚  Specific dynamics come into play when discussing how groups of people who might not otherwise act individually take part in sexual assaults with other members of their group. The theory of diffusion of responsibility suggests that in situations where the presence of others acting in a similar fashion diminishes the feeling of responsibility any individual feels for the harmful consequences of his or her own behavior† (Bechhofer & Parrot ed. 147-148). With respect to fraternities, the brother feels less like his own self and more like he is just participating in something that all his â€Å"brothers† are doing as well. They share the blame. A fraternity brother begins to think of the activity as something his â€Å"brothers† are doing and joins in under the influence of a shared activity. Other things may play into the idea that the assailant is not acting alone and is not solely responsible for his actions.   Ã‚  Ã‚  Ã‚  Ã‚  Deindividuation is a theory of group behavior that refers to a state of loss of self-awareness, including awareness of one’s beliefs, attitudes, and self-standards. This promotes group spirit. In fraternities, Alcohol is used to get group consensus by allowing an escape from one’s self-consciousness. Group loyalty will also cause people in a group to deindividualize by taking on the group’s identity (Bechhofer & Parrot 148).   Ã‚  Ã‚  Ã‚  Ã‚  In an environment such as a fraternity where incoming pledges are looking to be accepted by a group of men who have the power to reject them, they are ... ...3 Hirsch, Kathleen. Fraternities of fear—Gang rape, male bonding,   Ã‚  Ã‚  Ã‚  Ã‚  and the silencing of women. Ms.; Vol. 1; pp. 52-6; S-O   Ã‚  Ã‚  Ã‚  Ã‚  1990. Hummer, Robert A. and Patricia Yancey Martin. â€Å"Fraternities   Ã‚  Ã‚  Ã‚  Ã‚  and Rape on Campus.† Violence Against   Ã‚  Ã‚  Ã‚  Ã‚  Women the Bloody   Ã‚  Ã‚  Ã‚  Ã‚  Footprints. Ed. Pauline B. Bart and Eileen Geil Moran.   Ã‚  Ã‚  Ã‚  Ã‚  California: SAGE Publications, Inc., 1993. 114-129. Koss, Mary P.; Cleveland III, Hobart H. Commentary: Athletic   Ã‚  Ã‚  Ã‚  Ã‚  participation, fraternity membership, and  Ã‚  Ã‚  Ã‚  Ã‚  date rape: The   Ã‚  Ã‚  Ã‚  Ã‚  question remains--self-selection or different causal   Ã‚  Ã‚  Ã‚  Ã‚  processes? VIOLENCE AGAINST WOMEN,V.2, NO.2, JUNE, pp. 180-  Ã‚  Ã‚  Ã‚  Ã‚  190; 1996. ISSN: 1077-8012 Sanday, Peggy Reeves. Fraternity gang rape: sex, brotherhood,   Ã‚  Ã‚  Ã‚  Ã‚  and privilege on campus. New York: New  Ã‚  Ã‚  Ã‚  Ã‚  York University   Ã‚  Ã‚  Ã‚  Ã‚  Press, c1990. Sanday, Peggy Reeves Commentary: Rape-prone versus rape-free   Ã‚  Ã‚  Ã‚  Ã‚  campus cultures. VIOLENCE AGAINST WOMEN, V.2, NO.2, JUNE,   Ã‚  Ã‚  Ã‚  Ã‚  pp. 191-208; 1996. ISSN 1077-8012 Schwartz, Martin D.; Nogrady, Carol A. Fraternity membership,   Ã‚  Ã‚  Ã‚  Ã‚  rape   Ã‚  Ã‚  Ã‚  Ã‚  myths, and sexual aggression on a college campus.   Ã‚  Ã‚  Ã‚  Ã‚  VIOLENCE AGAINST WOMEN, V.2, NO.2, JUNE, pp. 148-162; 1996.   Ã‚  Ã‚  Ã‚  Ã‚  ISSN: 1077-8012

Alibaba Case Study Essay

1.Lock-in effect is the phenomenon whereby technologies remain dominant as a result of large sunk investment costs, complimentary technologies, and widespread usage. Since Alibaba.com is the first portal market mover in China, it will be difficult to create another portal market which is just as successful as Alibaba.com. The lock-in effect causes people to have preference for Alibaba.com than any other portal market because they have already established their brand. Some customers also develop loyalty while other prefer brands that are familiar to them. It was also mentioned that many of Alibaba.com’s registered members are happy with the results they obtain, as indicated by the annual membership renewal rate, which exceeds 70%. This just further proves that it will be very difficult for a second mover or a new portal market to compete with Alibaba.com since they provide excellent service to their customers. 2.Alibaba.com charges foreign sellers an annual fee of about $400 for a TrustPass membership because he sees that global companies focus in doing business with large companies. In order for global companies to do business with SMB’s in China and all over the world, Alibaba.com created an affordable deal which is the annual fee of $400 for a TrustPass membership. However, SMB’s in China pay $8000 as their annual membership fee because by being members of Alibaba.com, these SMB’ save a handful amount of money; by being registered to Alibaba.com, they no longer need spend extensive money to travel and meet with suppliers. This fee is also charged because Alibaba.com translates and lists their information. In summary, Jack Ma charges SMB’s a higher price because companies like these needs Alibaba.com. However, it is Alibaba.com that needs the foreign companies in order to work with SMB’s that are pursuing to do business internationally.

Cardiff Bay Redevelopment

Cardiff Bay Development Research Cardiff Bay is Europe's largest waterfront development. Cardiff Docks as it was then called was the world's largest coal exporting port. It is also Europe's largest waterfront development and it has a wealth of leisure activities available both on and off the water. Cardiff bay has been turned into a vast freshwater lake with the introduction of a barrage. A number of boat tours operate from Mermaid Quay, which allow you to gain an understanding of the history and fauna of this exciting area.A new water taxi service is available which operates throughout the year from the Bay to the city centre and Penarth. Cardiff Bay is home to a number of attractions such as Techniquest Science Discovery Centre – ideal for all the family, Craft in the Bay, The Welsh Assembly at the Pierhead, Butetown History and Arts Centre, Goleulong 2000 Lightship, the Norwegian Church Arts Centre and the brand new Wales Millennium Centre, a stunning and international arts centre.The Atlantic Wharf Leisure Village provides further options for family entertainment. The harbour at Cardiff Bay experiences one of the world’s greatest tidal ranges up to 14m. This has meant that at low tide, it has been inaccessible for up to 14 hours a day. The new barrage will eliminate the effect of the tide, which has acted as an inhibitor to development, releasing the potential of the capital city's greatest asset – its waterfront. The construction of the barrage is one of the largest engineering projects in Europe.Completed in 1999, it has created a 500 acre freshwater lake with 8 miles of waterfront and it is hoped it will stimulate the future development of the Bay as a tourist and leisure destination. The Cardiff Bay Development Corporation was set up in April 1987 to regenerate the 1,100 hectares of old derelict docklands of Cardiff and Penarth. It was part of the British Governments Urban Development Programme to regenerate particularly deprived an d run-down areas of British inner cities.The mission statement for the regeneration project, set by the then Welsh Secretary of State, Nicholas Edwards was: – To put Cardiff on the International map as a superlative maritime city which will stand comparison with any such city in the world, thereby enhancing the image and economic well-being of Cardiff and Wales as a whole The five main aims and objectives identified for the regeneration project were: – To promote development and provide a superb environment in which people will want to live, work and play. To re-unite the City of Cardiff with its waterfront.

Identify any Difficulties Encountered in Supporting the Learning Activities Essays

Identify any Difficulties Encountered in Supporting the Learning Activities Essays Identify any Difficulties Encountered in Supporting the Learning Activities Paper Identify any Difficulties Encountered in Supporting the Learning Activities Paper Describe the Sorts of Problems that Might Occur when Supporting Learning Activities and How to Deal with These Unorganised planning: If a lesson has not had the appropriate amount of planning or if the staff that are involved in the activity are not aware of their role and what is expected it can cause confusion during the lesson meaning it will not flow and the children will have disturb learning. To prevent this it is important that all member of the team are aware of the activity what is going to happen and what level of support nd assistance they are expected to provide. This should be done before the children are in the classroom and before they start the learning activity. Insufficient resources: The majority of activities set by the teacher will require the use of multiple resources for example exercise books, pencils, crayons, scissors, glue, rulers ect. Sometimes, unfortunately there are not always enough resources available for every student which results in a delay in the start of work, due to trying to locate the supplies. To help deal with and prevent this from happening the esources should be located and prepared before the lesson begins ensuring there is enough for the class. Where this is not possible it is important to organise the resourses you do have to enable you to share them out equally and encourage the children to share with a partner whenever possible. Noise: Classrooms can often become a very noisy environment when children are learning and working in groups or individually. This can be a huge distraction for children and prevent them from producing the best work they can and also slow their work pace resulting in unfinished work. To help combat this it is important to remind the children at regular intervals that they should keep there voices to a whisper and raise their hand rather than shout out. Also having a way to get the whole classes attention when they are being far too noisy for example in my setting the teacher would say 1 2 3 and the children would be expected to put down anything they were doing, look at the teacher and reply look at me this would make it easier to know that the teacher had the full attention of all the children when needed. Also outside noise can cause a distraction, for example noise from a eighbouring classroom or hallway a way to help stop this noise always make sure the door is shut during lesson times to minimise disruption. . Wide spectrum of abilities: Having a inclusive class with a wide range of children and abilities could also cause a problem when supporting learning activities, has been set. This can be dealt with by splitting the children in to ability based groups and providing the appropriate work for each group and setting achievable targets. By encouraging the higher ability children to help those struggling will help keep the clas s working at a similar pace. Shy students: Some children may suffer with confidence issues which may affect their individual work and contribution to the class as they are worried they may get answers wrong and getting told off. To combat this you must build a good rapport and relationship with your students and let them know its 0k to be wrong. In my setting we had posters around the classroom made by the children with classroom rules and behaviours, one of them being: Its safe to make mistakes. Build up trust with particularly shy students and encourage them to come out of their shell and ive praise when they try. Students with English as second language: Sometimes a class may have a bilingual student where English is not their mother tongue. This student may need extra support to understand the meaning of words or what is expected of them. If they are particularly bad at English you could provide things such as flash cards and labels on items to help them learn. You could also encourage some more extrovert, friendly, wise students to befriend them to help with their language. Lack of learning motivation and low levels of attention: It may cause problems if ne or more of class have a short attention span and/or lack of motivation to learn. Help to prevent this by make lessons interesting relevant; increase student involvement interaction. Include multiple sources of learning multi-sensory, practicals, field trips, hands on, project work, activities. One or more highly disruptive student :Find out the real reason for such indiscipline and try to sort that out. eg. if the child is a genius, and so causes disruption because of bordom and is way ahead of the class, then provide him/her with work/activity on the side, suited to his/her level.

Advertising Media Identification Essay Example | Topics and Well Written Essays - 1000 words

Advertising Media Identification - Essay Example These include future employment of the children, and the importance and nature of social interaction, which varies significantly between the two advertisements based on gender. Gender has long been something that has been of greatest concern to advertisers and to the advertising consuming public. It is of concern to advertisers because it is an incredibly important part of identity, and advertisers need to tap into identity needs to understand how to best sell to the public. It is of great concern for the public, however, because the public wants to be able to resist advertisers having undue influence on the development of those identities. These concerns are especially prevalent in the case of advertising for children. For some time the main concern of gender advertising has been associated with the main concern for advertising for adults: body image. Children’s advertisers tended to fall into the same techniques as advertisers for adults do: portraying â€Å"limited diversi ty in physical attributes† – usually meaning body type and skin color . But an emerging trend, demonstrated by two advertisements for Lego products, traditional Lego marketed towards boys and a new line, â€Å"Lego Friends,† marketed towards girls,... Both pairs then go on to enjoy their products in varied ways. When delving beyond the superficial, however, it becomes immediately clear that these two ads are not in fact portraying similar things at all, but are rather portraying very different things in regards to the appropriate work roles of people of different gender. The voiceover in the Lego advertisement describes a heavily masculine world view, where â€Å"a man’s home is his fortress,† and the father and son pair then go on to build a house together (Lego 2011). The emphasis here is on construction, and the images support this emphasis: not only is the house always growing and getting new additions, from towers and turrets to walls, windows and propellers, but the colors and patterns involved with those additions is constantly changing and rotating, indicating a flurry of activity on the part of the builders, who are constantly innovating and changing their structure. This thus not-so-subtly implies that a pr oper occupation for male-gendered people is to build things, to be involved with construction and with that kind of physical/mental labor, and that mans nature involves constantly tinkering and innovating to construct new things. It is thus not a stretch to argue that this advertisement perpetuates jobs that require those traits as being male roles: engineers who cannot stop tinkering, construction workers, architects and so on. This advertisement clearly sets out a number of characteristics that male-identified people should possess, and then makes those correspond with jobs and hobbies that men should thus supposedly be engaging in – things that involve using their hands and their heads. While the â€Å"Lego† advertisement is somewhat subtle in its

Capital investment appraisal within an organisation looks at the Essay

Capital investment appraisal within an organisation looks at the acquisition of fixed assets so as to generate wealth for the organisation - Essay Example Capital investment appraisal, which is also called capital budgeting, is the process to use funds to acquire operational assets (Khamees et al. 2010). These investment decisions obtain their guidance and source from the outcomes or results, which are provided by the source of capital investment appraisal. If the outcomes of capital investment appraisal are positive and encouraging, and these outcomes show that a particular investment, if taken, would bring wealth and additional inflows to the organisation, then investment or fund managers do not delay or waste a single minute to give a green signal for the investment project. Additionally, that investment project must ensure that after a certain number of years, the investment project would bring some additional inflows which would be more than the initial cost invested into that investment project. Four investment techniques are the different methods: Payback period, discounted payback period, net present value (NPV) and internal ra te of return (IRR). These four investment techniques are the basic tools used by the investment managers to carry out the process of investment appraisal. Each investment technique is different and is used differently by the fund or investment managers. Payback period is simply takes into account the number of years. Payback period informs that how many years a particular investment project would take to recover the initial cost of investment. The discounted payback period is a bit different to payback period. The discounted payback period uses a firm’s cost of capital for the purpose of evaluating the expected future cash flows from an investment project.... The discounted payback period uses a firm’s cost of capital for the purpose of evaluating the expected future cash flows from an investment project. In the discounted payback period, without using the cost of capital, the application of discounted payback period would not be possible and applicable for the purpose of conducting an investment appraisal. Net present value (NPV) is considered to be a more effective and reliable investment appraisal tool in comparison with other tools of investment appraisal. The main reason for its more recognition and more application among the different fund and investment managers is that net present value heavily relies on the technique of time-value of money concepts. The internal rate of return (IRR) is a discount rate. This discount rate is used by many fund and investment managers for the purpose of evaluating the future cash inflows. The only and most important function of the internal rate of return is to give a figure of cost of capita l; and this figure is used and applied on the different available cash flows to determine their present value. Capital Investment Appraisal For the financial and investment managers, the activity of capital investment appraisal brings a huge amount of responsibility for them. The capital investment appraisal requires purchasing a long term asset with a life of many years. This means, in case that fixed asset is purchased, the company becomes locked in for the duration of the asset’s life. Also, since the purchase of a fixed asset would directly increase the current level of business operations, and the contribution of the fixed asset would also increase in the activities of sales, costs and so on, it becomes necessary for the investment and fund