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Friday, July 16, 2021

Biography: Edith Wharton

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Edith Newbold Jones was born in New York City in 186. She was the youngest child and only daughter of a socially prominent family. She was educated privately, in which case she spent most of her childhood traveling with her family in Europe, mostly in Italy and France. In 1885 at the age of twenty-three she did what she was expected to do and she married Edward "Teddy" Wharton, an affable Boston banker. The Whartons began their married life in New York and were soon part of the New York social scene, dividing their time between New York, Newport, and Bar Harbor. Later they built a home in Lenox, Massachusetts. But for Edith Wharton the year's high point was the couple's annual trip to Europe.


Wharton was twenty-nine before she sold her first short story. Her first novel, The valley of Decision, set in eighteenth-century Italy, was published in 10, when she was forty. It was in The House of Mirth, (105), however, that she found her true subject the tightly structured world of New York society into which she was born and which she observed with clarity and sympathetic irony. The Age of Innocence (10), for which she won the Pulitzer Prize, is an in-bred world she both mocked and celebrated.


An ambitious writer, in addition to her novels Wharton wrote masterful short fiction, ghost stories, and New England winter's tale, the grim novella Ethan Frome (111). She was also knowledgeable writer on such subjects as gardens, landscaping, furnishings, and travel. Divorced from Teddy Wharton in 11, she spent almost no time in the United States, preferring Paris and her wide circle of friends, among them Henry James, who was a literary influence as well as a traveling companion, and Bernard Berenson. Wharton's surroundings where important to her and her personal wealth made possible the ordered and stylish life she craved.


During World War I, Wharton remained in France and worked with refugees and the wounded, for which the French government warded her the Legion of Honor in 116. She died at Saint-Bricesouis-Foret, France, in 17.


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Multinational Corporations

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Multinational Corporations


Other corporations grow so large that they virtually become multinational in scope. Multinational, then, are corporations built in industrialized and powerful countries that have branches in different nations. It is in effect, a citizen of general country at one time. As such, it is subject to the laws of, and is likely to pay taxes in each place where it has operations.


How do you know if it is a MNC? Well, first, it has a manufacturing base or other form of direct investment that gives its roots in at least one foreign country. Second, when it begins to plan, organize and coordinate production, marketing, R&D, financing, and staffing. For each of these operations, the firm must find the best location. Another characteristic is that the foreign sales are 5% or more of total sales and last, they develop new products in its native country and manufactures them abroad.


MNC have lots of advantages, and these are some of them These companies give job opportunities to many people and pay taxes that support the social services of the growing country, Multinational Corporations can introduce new technologies and learnings in governing the industry and MNC's are big help for the small industries because of the big demand of MNC for the products and services of small companies.


If there are advantages, of course there would also be disadvantages like Small businesses will lose profit because they cannot compete with MNCs, MNCs may not share their knowledge in technology and abilities in running the industry. Local workers could only work in lower positions while the higher levels would be given to foreign workers. And last, due to power and wealth, MNC's may influence the activities of the national and local government.


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Thursday, July 15, 2021

The Scarlet Letter - Nathaniel Hawthorne

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The Scarlet Letter, authored by Nathaniel Hawthorne is a historical novel based in, and written relatively shortly after early American puritanical times. Its focus is on a bleak New-England village that has crafted a limbo of Judeo-Christian order out of the vast North American wilderness.


The book was Hawthorne's claim to fame, which he fervently produced after losing his job as a customs official. It is the culmination of his previous works, including short story and poetry, many of which also had philosophical and theological themes. Hawthorne himself was a transcendentalist, a self-actualized post Calvin movement, which he and his wife studied and practiced while living on a commune at brook farm, one of the earlier Utopian societies in America. After publishing the scarlet letter, Nathaniel's career as a novelist took off, and he published several books before his death in 1864.


Like the majority of his work, in The Scarlet Letter puritan values are the neutral mud from which Hawthorne creates beautiful and articulate ideas from. Thus the story starts off with the village rabble fixing their gaze expectantly on the sturdy prison doors. Through speculation, it is learned that a woman is to emerge and be led to the pillory and be shamed before the village for her crime of adultery. As the doors open, our protagonist, Hester Prynne emerges, her shame evidenced by the babe in her arms and the blazing satin 'A' that the officials have fixed to her garment.


In the next scene, where she stands question from her station on the pillory sees most of the influential characters introduced. Her interrogator is Father Dimmesdale, the intelligent, youthful pastor, and opposite him in the crowd is Roger Chillingsworth, an aged, recently returned wanderer from Indian lands. The story is that Hester's husband sent her from Europe to live in Boston, but that he never followed, and in the meanwhile Hester pursued a more meaningful relationship that produced her bastard child. She refuses to give away the identity of the father, instead taking shame for her own, and a classic whodunit is born.


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The first character to be brought into the light is Roger Chillingsworth. He poses as a doctor and naturalist and is brought to see to Hester in her cell. As they talk, it becomes obvious that he is her estranged husband. Despite the fact that, in this weird little outpost of humanity, he is constantly reminded of the ruin of their loveless relationship and must live in obscurity, it is here that he finds the most connection. He resolves to uncover the identity of her lover, and swears her to keep his identity and motives secret.


Several years later, Arthur Dimmesdale falls ill with a heart affliction, and Chillingsworth moves in with him to see to his medical needs. He finds that his condition is the result of mental and psychosomatic distress and becomes suspicious of a tie between his and Hester's torment. Then, one day, Roger uncovers a parallel, self-inflicted letter A on Dimmesdale's breast and the situation becomes clear.


Once all the key facts are brought out in the open, the rest of the book deals with the resolution of this sticky situation, and the character's true relations to each other are made the clearer to see.


Hester's struggle was with herself. Before the events of this story, she was a passionate and mercurial woman, full of life and love. It was not a fitting fate that she should be bound to the cold, vampiric Roger Chillingsworth, and indeed she found a way out of it when she met Arthur Dimmesdale. Whatever sin they may have committed, it was wrought out of a pure, complimentary love, and although the mark she wore was meant to symbolize evil and shame, in the end, it was only a mark. Hester acknowledged that her so-called sin was just another chapter in her life, and, understanding it, she embraced and incorporated it into who she was. The only step for her before she could truly move on then was to give her child a father.


Dimmesdale was not so clear and insightful when dealing with the situation. He denied act and internalized the shame, until it grew so great and terrible within him that his body could stand it no longer. But he also learned from and created with the pain, giving his followers original and meaningful spiritual advice to apply to their lives. He then gives one last, ultimate and eloquent sermon as his testament on earth and in the end, he realizes that in order to relieve himself before death he must make things right, and in a moment of braveness he ascends to his rightful place on the pillory beside Hester and his daughter. Pearl kisses him, and he falls into a merciful death.


Roger Chillingsworth is a sad story indeed. The man was twisted and troubled from the moment of his birth, and was never fully able to give and receive in kind. He instead fueled the cold hearth inside himself with the energy of others he lingered on in this place only to exact revenge on Dimmesdale the adulterer, and was responsible for much of his cycle of denial and pain. But even the Pastor was able to come to peace with himself, and after the loss of Hester and his vengeance; he had nothing to sustain him and succumbed to fate.


This book was a stark account of the dogma, hypocrisy and sexism that too often defined colonial America. It is a story about how unnatural inhibitions and orders hampered what would have been two bright and successful lives. Even in the open township, where everything is supposed to be exposed to the judgment of god much is secret and shadow, and often one finds the essential human strength being locked away in kind. Yet, out of all the pain, and the isolation, and the wrongness that this backwards system did the people a questioning, contemplative way was born. Hester was able to put much constructive thought to the inequities and the problems of the social framework, and was able to help other women along their way, while finding her own place in the world. The conclusion of the book shows that often, the human spirit blazes brightest and clearest in time of trial and that there is nothing to lose, and everything to gain from embracing its innate truth and beauty.


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Monday, July 12, 2021

Benefits of Workers Compensation

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Benefits of Workers Compensation


· Medical treatment is provided to an employee, which includes medical, surgical, and hospital care, medicine, medical supplies, and other reasonable expenses such as transportation costs.


· Tax-free payments to help replace lost wages while you're temporarily disabled. Additional payments are made if the injury results in a permanent disability or death.


· Rehabilitation services necessary to get you back to work. The amount of the payments, and when and how they're paid, are part of state law. Only the State Legislature can change the amounts. · Temporary Disability Payments is paid to an employee while unable to work


· Vocational rehabilitation is provided to an employee who is permanently precluded from returning to the pre-injury position but who, after retraining, can reasonably be expected to obtain suitable gainful employment.


· Permanent Disability Payments is paid to an employee who has sustained a permanent medical disability.


· Death Benefits are paid to the surviving dependents of an employee.


Workers' Compensation at Present


Many changes were proposed and implemented over the years. At present, California workers' compensation law provides injured workers with a faster and a fairer way for them to be taken care of. These laws do not require evidence of who's at fault in order to provide medical expenses and lost wages. Employers pay for this job-injury insurance and are then supervised by the state. If a worker is unable to work due to a job-related injury or illness, workers' compensation pays for their medical bills and provides funds to shoulder their expenses until they are able to return to work.


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Blade Runner as a postmodernist film

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Blade Runner as a Postmodernist Film


Postmodernism is a term that is difficult to pin down but it used more and more widely to describe aspects of the culture of the last three decades. One of the main features is its eclecticism the mixing and matching of different stylistic elements. Some who use the term welcome it as liberation from the ideas of and reverence for "high culture" (for example, opera, ballet, painting, classic literature, etc) and the disparaging of "low culture" (television, popular cinema, comics, etc). Others see postmodernism as a trivialisation of culture by irresponsible academics caught up in admiration for the glitter of consumer capitalism and its moral emptiness.


Postmodernism describes conditions prevailing in the last three decades of the twentieth century, especially in the production of media artefacts, where there is a superabundance of images and styles in television, pop videos, film, advertising, etc - which are readily available for recycling. The traditionally valued qualities of coherence, meaning, originality and authenticity are replaced by a random swirl of empty signs to produce a culture of disposable imitations, superficiality, "simulacra" (copies without originals), style valued over substance, surface appearance over depth, a mixing and matching of diverse styles.


Another aspect of postmodernism arises from the view that it is no longer possible to have general theories of how humanity and society function, called "grand narratives" or "metanarratives" - theories which attempt to explain how history and society functions (such as Marxism which explains historical development in terms of the class struggle).


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One way of approaching postmodernism is to see it as an attempt to deal with the breakdown in the way we look at things which have come about in recent years with the advances in information and communications technology. In previous eras it would take a considerable time for ideas to circulate. With email it is possible to send messages to anywhere in the globe in seconds; you can read a web version of a newspaper from anywhere in the world on the internet on the day of publication. There is therefore an overwhelming amount of information available to us. This, according to some, must have a profound effect on the very way we think.


The main stylistic features of postmodernism might be summed up as follows


· Depthlessness a concern for surface appearance, style over substance. This involves a playful attitude towards cultural artefacts


· Hybridity - an eclectic mixing of styles from different times and places, recycling of images, mixing and matching, intertextual references, the transformation of found materials into a new text (called "bricolage")


· Intertextuality, referencing not just different genres but the way in which specific texts are "quoted" in other texts. (Think of the way that television advertisements where incidentally Blade Runner director Ridley Scott learned his trade often refer to films, television shows and even other adverts.


· Intertextuality often involves another feature of postmodern texts how the same text can be appreciated in different ways by different audiences the mainstream audience which reads the film in a straightforward way and the "cineliterate" (or "smart" or film buff ) audience which recognises the intertextual references.


Despite its underlying seriousness of tone, Blade Runner has several features which would allow us to consider it a postmodern text.


· The replicants are "copies without originals" ("simulacra")


· There is an eclectic mixture of styles in the set design, props, clothing etc. 140s film noir styles (both Rachel and Deckard) coexist with punk (Pris), sixties fashion (Zhora) and Hari Krishna. Bryant is the embodiment of the corrupt policemen in film noir and crime film for the last five decades. The language of the street, "cityspeak", is an amalgam of Japanese, Chinese, Spanish and German. There are diverse architectural styles giant futuristic buildings resembling Mayan pyramids with microchip exteriors, modern-day downtown LA with New York.


A good example of postmodernist style in Blade Runner is the scene where Deckard runs after Zhora through the city streets at night. She is wearing fashion from "swinging sixties" Londona see-through raincoat he wears a 140s trenchcoat. The streets are teeming with a diverse population of punk rockers, chanting hari krishna followers, people in 10s military uniforms, and in oriental headgear; there are Catholic nuns in extravagant headwear that was no longer worn by the 160s. Passers-by are carrying familiar-looking umbrellas but with neon handles. In the background are neon advertising blimps for familiar brand-names such as Atari and Budweisser. On the streets there are cars and buses. This cornucopia of diverse and eclectic images is shown against an equally eclectic soundtrack. These combined images and sounds express the chaos of modern urban living as much as anticipating what life in the future will be like.


The film's intertextual reference is not limited to its generic hybridity. It "quotes" other texts. As Rick Instrell puts it


Post-modernism has a self-conscious fascination with style, with mixing different genres; it frequently uses parody and pastiche … But whereas parody tends to poke fun at the style it is imitating, often in order to satirise it, pastiche tends to imitate in order to flatter the style it is imitating. Pastiche, in particular, is a central feature in the surface or depthless nature of post-modern texts. Images refer only to themselves or other pre-existent images rather than any realities in the world outside. In Blade Runner, examples of this abound. Deckard traces Zhora the replicant snake charmer to a nightclub, affecting a slightly effeminate voice to disguise his real intent. This is surely a direct reference to the scene where private eye Philip Marlowe (Humphrey Bogart) visits the Geiger bookstore in the 146 classic The Big Sleep. There is no sense of parody in the playing of the scene, however. The reference is merely available to you provided you are familiar with The Big Sleep.


This tendency to "quote" from other texts is typical of the modern advertising industry where Ridley Scott developed his skills.


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Friday, July 9, 2021

Muriel's Wedding Film Techniques

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Toni Collette is phenomenal as Muriel, an unattractive, emotionally repressed young woman whose life revolves around Abba and getting married. She lives in Porpoise Spit with her severely dysfunctional family when she decides to leave and pursue her dream. Marriage represents the ultimate success and happiness, but through the course of the film we see Muriel profoundly mature from a naive introvert into a strong woman, shaking off her need for marriage as a form of acceptance.


Toni Collette stars as Muriel, a social outcast who dreams of getting married. Unfortunately, no one has ever wanted to date Muriel, let alone marry her. One day she hears about a foreign swimming sensation in danger of deportation back to his home country unless he can find a wife. Muriel signs up for this duty and prepares herself for the day she has wanted for her entire life to arrive. Collette gives a decent, goofy performance as Muriel, and the soundtrack is comprised of ABBA songs, giving the film a light, fluffy feel.


Toni Collette is phenomenal as Muriel, an unattractive, emotionally repressed young woman whose life revolves around Abba and getting married. She lives in Porpoise Spit with her severely dysfunctional family when she decides to leave and pursue her dream. Marriage represents the ultimate success and happiness, but through the course of the film we see Muriel profoundly mature from a naive introvert into a strong woman, shaking off her need for marriage as a form of acceptance.


Toni Collette stars as Muriel, a social outcast who dreams of getting married. Unfortunately, no one has ever wanted to date Muriel, let alone marry her. One day she hears about a foreign swimming sensation in danger of deportation back to his home country unless he can find a wife. Muriel signs up for this duty and prepares herself for the day she has wanted for her entire life to arrive. Collette gives a decent, goofy performance as Muriel, and the soundtrack is comprised of ABBA songs, giving the film a light, fluffy feel.


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Thursday, July 8, 2021

Commercial Law-RULPA

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Commercial Law Seminar


General & Limited Partnerships


The 176 Revised Uniform Limited Partnership Act (RULPA) states that two or more persons may form a limited partnership by executing and filing a certificate of limited partnership. Furthermore there must be at least one general and at least one limited partner in order for the Limited partnership to exists.


The 176 Revised Uniform Limited Partnership Act (RULPA) states that two or more persons may form a limited partnership by executing and filing a certificate of limited partnership. Furthermore there must be at least one general and at least one limited partner in order for the Limited partnership to exists. A Limited partner can be held liable for the entitys debts if he/she participated in the control of the business and if the third party made business transaction with the partnership believing that the limited partner was a general partner. However, a limited partner cannot be held liable for the partnership debts if he/she participates in the management of the limited partnership.


Additionally, General partners liability is complete, automatic and inescapable. Under RULPA, limited liability limited partnership (LLLP) status is available to provide a full liability shield to all general partners (See National Conference of Commissioners on Uniform State Laws- www.nccusl.org/nccusl/uniformact_summaries/uniformacts-s-ulpa.asp).


According to quickmba.com there are three major differences between Limited and General partnerships


I. Limited partnerships are created by statues of the state in which it is organized


II. Limited partnerships have the ability to override the partnership.


III. Limited partnerships must meet certain criteria to avoid being taxed as a corporation.


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