The moral diversity argument for nonobjectivism Essay

The moral diversity argument for nonobjectivism - Essay Example Different cultures and religions look at moral principles differently, based on their culture’s understanding of them. With this, it can be assumed that moral diversity is the differences in interpretation of morality. It does not mean though that these diverse principles would always be in contrast with each other. Some may actually be in support with each other. A particular moral diversity argument is the argument for non-objectivism, wherein non-objectivists claim that moral claims are relative and dependent on the beliefs of an individual or group. This is in contrast to a moral objectivist’s point of view wherein the truth and morality is independent of anyone’s judgment. Non-objectivism emphasizes the diversity between the belief systems of different cultures. Non-objectivism views moral diversity as real and possible since individuals and groups view moral principles and objectives differently. One truth can be the others false, depending on what culture is talking about it. Non-objectivism is concerned about particular views and dispositions of individuals rather than an absolute truth. It sees truth and morals as relative and subjective. Thus, moral diversity is in sync with the principles of non-objectivism. In contrast, objectivism views truth as absolute. There is only one truth, much like one teaching, similar as how Christianity’s Jesus teaches, that there is only One God. Moral objectivists see moral principles as independent of an individual or group’s interpretation of it. The truth and moral principles are right or wrong regardless of the belief of the person.

Prejudice In Organizations Essay Example for Free

Prejudice In Organizations Essay ?Question 2: Prejudice can be hurtful and destructive discuss how you can personally reduce prejudice in your workplace please provide an example. Prejudice can be described as a word which is derived from the Latin word Prae Judicium meaning ‘to try in advance’ (Clawson et al: 1990). Prejudice happens when we pre-judge individuals on first encounter about their character or appeal. Most individuals who are prejudiced are usually rigid in their prejudices and their beliefs are unsubstantiated. Prejudice can create serious tension in an organization because it has the potential to strain interpersonal relationships in a workplace. People can practice prejudices in various forms. Some of the areas of potential prejudice could be gender, race, age, religion, sexual orientation, ethnicity and physical disabilities. Prejudices can be systematically dealt with in the workplace. I work for one of the United Nations (UN) agencies. The UN has noted and is mindful of potential prejudices that can exist in the workplace, especially that the workplace is made up of employees from various countries, backgrounds, ethnic groupings, varying religious beliefs (including atheists), sexual orientation, races and as an organization, The organisation has a very diverse workforce. This diversity has not been ignored. The UN has taken deliberate steps to introduce workplace policies that encourage tolerance amongst employees and in turn, tolerance in the communities in which we serve. The policies are part of the orientation package for every new employee who joins the UN. There are Executive Directives (EXDs) that are issued and reviewed on an ongoing basis. In the current directive, disagreement between a staff member and supervisor is not considered as prejudice. The policies are clear on the definition of prejudices and also on the consequences of perpetuating the vice. If I were to be found in a work environment where prejudices are rife, I would first of all admit that prejudices are real and we all have some form of prejudices. The first step to deal with a problem is to admit that you have one. You can only begin to work on one’s prejudices once they realize they have them, and they can begin to work more carefully with the prejudices of others without anger and force (Clawson et al: 1990). It’s a realization that we all have them that helps us to deal with them. Members of staff in an organization, must be allowed to deal with perceived prejudices. It is not advisable to pretend that the problem does not exist as it becomes difficult to deal with a hidden or unperceived problem. Once the problem has been identified, then comes the process of working on your own as well as the prejudices of others in the organisation. This can be achieved through redirecting prejudiced statements by colleagues towards functional discrimination e. g. instead of lamenting how a workmate or subordinate is not achieving her objectives because she is a woman, this can be countered by a statement that shows how previously, a male colleague had also failed in a similar position to show that, gender has nothing to do with functioning in a position. For prejudices which are merely based on ignorance like â€Å"all Muslims are terrorists†, it would be helpful to team up Muslim staff members and some of the staff members who are holding on to this kind of prejudice. That way, it allows them to interact at a personal level and get the truth about Islam. If this doesn’t work, then interactions between such colleagues should either be kept to the minimum or topics of discussion should stir away from sensitive issues. I would also learn to listen to others with an open mind, not listening with an intention to respond as this is likely to attract judgmental behaviour. In a multi ethnic organisation, learning about the cultures of other countries helps us be more tolerant. People are more likely to react in a certain way because of the environments they have been brought up in. Prejudices will always exist in organisations, it would therefore helpful to encourage tolerance among employees, this can be achieved through deliberate company policy, sensitisation and clear consequences for behaviour promotes prejudice.

Comparitive Essay On Ladies Shoes :: essays research papers

Shoes have always been something that women want to go shopping for. Over the latter part of this century, it has become more likely for women to buy many shoes because of the growing diversity of shoe fashion. Shoe manufacturers have taken advantage of this growing diversity to create as many types of shoes as they can. Ladies shoes can be classified into three categories: cheap shoes, moderately priced shoes, and expensive shoes.   Ã‚  Ã‚  Ã‚  Ã‚  The first types of ladies shoes are the cheap shoes. First, cheap shoes usually cost anywhere from twenty-five dollars to around sixty dollars. They are often on sale because of large quantities stocked by department stores. These shoes are often sold out during sales because their prices are marked down considerably to make room for the next shipment of cheap shoes. Secondly, cheap shoes are low quality. Cheap shoes have very bad workmanship, for example: they are easily ripped or torn, the soles often are not glued properly to the shoes, and each pair of shoes is a slightly different size. When cheaper shoes are manufactured the companies use very cheap material such as: low grade plastic, foam, imitation leather, and coarsely woven fabric. Cheap shoes are generally not very comfortable at all. Next, cheap shoes come in styles to appease to the economical customer. These customers are generally the very young and the very old, or those who cannot afford shoes th at are more expensive. The most common styles for cheap shoes are the slippers and the very low-heeled shoes for old women, and the high platforms that appeal to younger women.   Ã‚  Ã‚  Ã‚  Ã‚  Moderately priced shoes are the second types of shoes. Firstly, moderately priced shoes can cost anywhere from sixty dollars to ninety-five dollars. They go on sale from time to time. They go on sale because the manufacturer has stopped producing that particular style of shoes, and the few sizes that are left in the store need to be sold in order to make room for the next line of moderately priced shoes. In addition, the quality of moderately priced shoes is generally far better than that of cheap shoes. The workmanship of moderately priced shoes is fairly good, for example: less manufacturing defects, better craftsmanship on glued parts, and the shoes are more structurally sound than cheap shoes. Moderately priced shoes use higher quality materials in their shoes, such as leather for the upper portions of the shoes.

Rainer Maria Rilke Essay

Rainer Maria Rilke was born in Prague in 1875, a city with a German-speaking element. He attended the University of Prague and Linz, and soon set out on his unsettled life of wandering among friends and countries. In 1899 and 1900 he went to Russia with Lou Andreas-Salome and her professor husband, where he met tolstory and the painter Pasternak (father of the poet Boris). He was fascinated by Russian Orthodox mysticism and the solitary life of the monks. Russia was the foundation of his ways of absorbing the world; he was to say at the end of his life. He took trips to North Africa, Sweden, and Denmark, and in 1901 married to Clara Westhoff, a German, and had a daughter Ruth by her. After a year he left them, though he and Clara remained close friends. In 1902 Rilke went to Paris, where he lived off and on for the next twelve years, part of which time he was the sculptor Rodin’s private secretary. The first of his Duino Elegies were written in 1912 at Duino, Italy, in a castle which looked onto the Adriatic. Then, following a period of creative frustration, in 1921 he settled in Chateau de Muzot, in Switzerland, a small, uncomfortable, thirteenth-century stone house, with a bedroom and one tall room, where he remained the rest of his life. There, in the month of February 1922, he completed the Duino Elegies, the fifty-five poems in Sonnets to Orpheus, and a miscellany of other poems. After 1924 he was sick and by November 1926 he was at the Valmont Sanatorium. That month he published Vergers, a collection of his French poems. After pricking his finger on a rose thorn and suffering pain from severe blood poisoning, he died of leukemia at Valmont on December 29, 1926. By the time he wrote Sonnets to Orpheus, Rainer Maria Rilke was at once the most classically informed and innovatively modern writer of his generation (Rilke 1972). Unembarrassed by precursors, using them to his advantage, he stood apart from his immediate experimental contemporaries and created a modernism at once unique, cyclical, and enduring. Rilke’s Sonnets to Orpheus, prompted by the death of a young woman, Vera Oukama Koop, is an occasion of perfectly crafted poems, which Rilke shaped and misshaped in every possible way to suit the few days of their compelling creation. The blind angel entered him and spoke his message, and Rilke completed the first book in about three days. He returned to the Duino Elegies, and then turned back to the sonnets and completed the second book, also in a few days. So this most interior, metaphysical, secular-religious poet of the century yielded. In the poems he moves away from what might be an ordinary life of friends, lovers, and artists to one of remembrances: a dog’s imploring face, a free-flying kite, a young childhood cousin who will die, a teenage Dutch dancer, Vera Ouckama Koop, who dies in her eighteenth year and to whom his volume is dedicated. He also contemplates the indifferent modern machine that threatens the soul, contrasted with a virgin and her white unicorn that he discovers on a medieval textile in the Musee de Cluny in Paris. Finally, he addresses the silent friend of many distances, who may be Koop or Rilke himself. In this last sonnet, affirming the risk of life and art that may lead to jubilance, Rilke tells the friend, lost in darkness, to let he go and ring out. In the sonnets, Rilke exchanges his outer and inner worlds with agility. While he may find an angel or two or Orpheus’s resounding tunes inhabiting his realms, no salvific god shows up to comfort or make promises. The poet resides in loneliness, homelessness, silence, and change, his conditions for touching the sky and the fields and hearing all that is elsewhere and around him. Rilke had many friends, but he was always a guest, an uprooted monk of art, and his most accomplished work was completed in a month of 1922 in that tiny dingy castle where he sentenced himself to solitary confinement. Orpheus is a calendar of search, remembrance, and acceptance of Orpheus, the art-god of descent and resurrection, who is everywhere. Rilke succeeds in turning grief into pathos and ultimately into an ecstasy of absence and presence. Following a familiar pattern of his relations with women, Rilke moves from desire, to its frustration and negation, to the transformation into art. It is not different, emotionally and artistically from the pattern of the mystical poets as in St. John of the Cross, where the speaker moves from the burning senses, to the dark night of their negation, and to light and union which in the instance of both Rilke and the Spanish mystic is the evidence of the poem. Rilke’s Interpretation of the Greek Myth Orpheus There are three moments of the myth of Orpheus as related and commented by Rilke, first, the creation of a world through language, second, the turn which Orpheus makes at the threshold of Hades, and third, the death of Orpheus. In Rilke’s Sonnets to Orpheus, the poet-figure Orpheus, whom we know from Greek legend and Medieval Latin folklore, is the symbol for a poetical synthesis that joins all things in harmony and joins what appears and what by its very nature does not, Orpheus is thought to keep open what Rilke will call a dual realm between the actual and the potential that lies beyond it. The poet-figure to whom Rilke’s sonnets are addressed, of course, is the Greek poet Orpheus, who according to legend, sang so divinely that all of nature hearkened to his call, Orpheus was thus able to charm the god Hades and bring back his dead wife, Eurydice, from the underworld, holding open what Rilke calls the pure relation between the here and the beyond. And so the Sonnets to Orpheus series is about the access of poetic language to appearance and to what transcends it. Rilke’s language itself, through its elusive but also vertiginously concrete references, realizes a world that encompasses the actual and the unseen, the special transcendence (1972:189-192) of potentiality. This is why Rilke’s poetry emphasizes the other side of even ordinary things and other side not exhausted by the actuality that foreshadows it. The inspiration for Rilke’s Sonnets is twofold. First of all, it is grateful to the Orpheus legend an illustration of which hung in the Chateau de Muzot, where Rilke was staying in February 1922 when the series was written. Equally importantly, it was occasioned by the untimely death in youth of Vera Duckama Knoop( a daughter of a friend of Rilke’s), to whom the sonnests are dedicated. (1958: 185). One can infer then that Rilke takes the task upon himself, as Orpheus did for Eurydice, of establishing a relation to the mysteriousness of the other side, which Rilke claims, in a letter about the Sonnets, the dead girl symbolizes. In a commentary Rilke writes that the Sonnets are placed under the name and protection of the dead girl whose incompletion and innocence holds open the door of the grave, so that she, gone from us, belongs to those powers who keep the half of life fresh and open towards the other wound-open half(1972: 136). Rilke is fascinated by the legendary poet, who is said to have sung so beautifully that all beings, even gods, were enchanted by his song, but it is primarily the invisible potential horizon of things that Rilke’s own poetry, by invoking Orpheus, aims to bring into poetical intimacy. Through this horizontality, Rilke finds an access to what he often refers to as the essence of things. The girl is a symbol of that horizonality, a symbol of incompleteness itself: as a young girl, she was half yet to be. Her death transports her to the other side of life which illuminates life’s own incompleteness. In the Duino Elegies,(1994: 154 ),the second part of which was finished during the same profile month of February 1922, the figure of the angel which Rilke takes pains to distinguish from the Christian symbolism of the same serve unification of distinct realms. The Orpheus myth for both Rilke and his predecessor Ovid concerns the relation between this known side of life and the mysterious beyond. Orpheus is the one who has lifted the lyre among shadows, who has entered the underworld, and so the one to whom is allowed the infinite praise of poeticizing. It is because the figure of Orpheus, like the dead girl, is characterized by transcendence that he serves Rilke well here. Rilke devices in his invocation of Orpheus, a decidedly modern poetical access to the transcendent by presenting in condensed and abbreviated form, a lyrical total without translating that total into logical or even associative statements. From the first sonnet of the series, Orpheus and his song are associated by Rilke with pure transcendence. Orpheus who sang so sublimely that he was said to have become a god, transcended the ordinary relation that language gives us to things, a relation which Rilke conceives as relying upon opposites, the cleavage between being and non-being. Rilke’s reference to Orpheus is marked by a repetition of German verbs that indicate a crossing of such boundaries. His word transcends( ubertrifft) the being-here ( das Hiersein), because it overstep ontological boundaries even as he obeys them and so Orpheus enters into relation with the mystery of things and their transience. Their transience renders them intimate with our own and so we must according to Rilke resist the will to run down and degrade everything earthly, just because of its temporariness which it shares with us. Things too belong to the dual realm to which Rilke’s sonnet series repeatedly refers. This is suggested in these lines from Rilke’s Sonnet on the relationship of poetic song and the nature. Conclusion While Rainer Maria Rilke’s relation to empiricist psychology is marginal at best, his relatively unreflecting use of its imagery allows us to estimate with some accuracy the extent to which the movement had entered the general consciousness of an entire period from the 1890s on. For many readers and writers, the dispersed and fragmented subject was doubtless little more than a fashion, just as many saw impressionist painting more as a technique than as the outgrowth of a philosophy. Rilke seems to have used empiricist vocabulary and turns of thought somewhat eclectically throughout his career, he was an excellent indicator of what was generally in the air and had an exceptionally creative way of integrating it into his own original and powerfully imagined poetic universe. Influence studies of the conventional type cannot do justice to the kind of problem he poses. Throughout his life, as an almost daily custom, Rilke wrote letters of such exceptional grace and expressive force that they have come to represent a significant part of his artistic legacy. He also preserved conscientiously letters written to him by others. Family members, friends, and more incidental acquaintances collected his letters as precious gifts, in keeping with old European traditions. After his return from Paris to Muzot, Rilke set down his last will and testament in which he authorized his heirs to publish his correspondence. He realized how much of his creative energies had flowed into the letters. He had spent days and weeks just answering the growing number of questions on his work and way of life and thinking about concerns with which others had approached him. In its totality, Rilke’s work reflects his personal life and disposition, as well as, and perhaps even more so, the curiously pessimistic historical climate that became obvious at the turn of the century. He felt and recorded the insidious doubt in the strength or adequacy of a modern rationalistic society. He was extraordinarily sensitive to the deeply disturbing signs of this cultural unrest and without any sustained interest in theoretical discourse, learned to draw conclusions from the work of contemporary artists. Rainer Maria Rilke is a master at lining, and his use of contemporary meters, rhythm, and diction makes his translations more readable to a contemporary audience without losing the mysticism and lyrical quality of Rilke’s poems.

Physical Security Essay

A six foot fence secures the outer perimeter. Video surveillance is active on the north fence and inactive on the south. A manned guard station permits entrance into the outer perimeter from the west; an unmanned and unlocked gate permits entrance from the east. No Trespassing signs are posted at intervals upon the perimeter fence; Employees Only is posted on the gate. Visitors must obtain a pass at the guard station. The outer perimeter contains the parking lot and office building. The perimeter has two light posts that, when functioning, illuminate the entire parking lot. Currently, the light post on the south side is not functioning. The office building exterior has three outer doors and one window. The first door is marked with an Employees Only sign and requires a badge for access. The second door is the main entrance for visitors and is manned by a guard, who requires a visitor’s pass for admittance. The third door is an emergency exit only and is clearly marked. Any attempt to gain access through the first door without a badge, the second door without a pass, or the third door at all, results in alarm activation and guard response. The window is locked from within; any attempt to gain access through the window also activates the alarm and alerts the guard. The interior of the office building is segmented into two major areas. The first area is the employee workstation; only employees can access this area. Visitor and employees can access the second area. Both the first and second areas are monitored by active video surveillance. The second area has two doors, both of which lead to smaller offices. The first door is unlocked, but is within sight of video surveillance and employees within the work station. A visitor trying to attempt access to this office results in alarm activation. The second door is obscured from both employees and video surveillance and is unlocked. Each office contains valuable assets. Employees can access either office at will. Within the workstation and smaller offices are several computers. Passwords are required for access to each computer. Each employee has a password and can access network information at any time.

9 Technical Writing Tips Every Writer Needs to Know

9 Technical Writing Tips Every Writer Needs to Know Technical writing takes high-level details and explains them clearly and concisely to an audience. While the result of technical writing is clear, succinct and simple, the process can be the opposite. The technical writer’s challenge is to transform complicated information into an accessible document. To meet this challenge, technical writers use different strategies. This article will provide you with a selection these distinct, action-oriented strategies to improve your technical writing. hbspt.cta._relativeUrls=true;hbspt.cta.load(41482, '2355e67d-04bb-46d6-b8a7-b271b3acdfe9', {}); 1) Create a Persona The crux of good technical writing is writing for your audience. The audience needs to be defined in the document planning process and then considered at each step of the writing process. Technical writers know that a tech-savvy boss needs different information about a product than a 73-year-old grandmother. After identifying your audience, refine it further by creating a persona. Imagine the exact person who will be reading your document. The persona will be obvious if you are writing for a known person, such as your department supervisor. For other documents, the persona can be fictional. Assign your reader a specific age, gender, educational background, career, a story for why they are reading the document, even a hobby. Instead of writing for a theoretical audience, write for a specific, albeit fictional, person. The more accurately you can imagine your reader, the more accessible your writing will be for them. Instead of wondering if the wording is right for the audience, write and review the wording with this persona in mind. It will be obvious whether or not the text is right for your reader. 2) Beware of Scope Creep Good technical writers keep in mind the document’s goal at each writing stage. The goal and scope should be clearly outlined in the initial document planning. During the planning and even the writing process, document content can grow. Technical details are not isolated. They are built on previous developments, and you may want to include supplemental information or additional user instructions. Colleagues may suggest valuable background information or data. Some extra details are useful. Too many details will cause the scope to creep. As technical writing strives to be succinct, scope creep creates unnecessary work that ultimately produces a less valuable document for the reader. If you feel the scope needs to broaden, return to the goal. Evaluate if that content is really necessary. Cut it or if necessary, consider separation through appendices and even an additional document. 3) Writing Should Be Easy If you’re thinking ‘writing is always difficult for me,’ writing is probably not your real problem. Writing should be easy because the planning process was thorough. The planning process should take up to 50% of overall document preparation time. All key materials, relevant details, and the audience will be captured and organized. The result is your complete document in a condensed format. Writing simply fleshes out this compact version. If you’re unclear of how to phrase an idea while writing, reflect on your audience and how they would want to read it. If you’re not sure if a data set should be included, refer to your mind map to see if it fits within it. Any writing question can be answered by a complete planning process. If the writing is difficult, stop typing and return to your plan. There is at least one aspect of the planning process that needs more development. Once you have a thorough plan, only then should you start to write. And it will be easy. You may be interested in our other article: 87 Business Writing Tips 4) Be Timeless A technical document is your contribution to posterity. That’s right, you are passing on technical knowledge for readers now and in the future. Most technical writers focus on today’s audience. While very important, these documents often serve future readers, too. A site assessment may not be read again for 30 years until the property comes up for sale. Software instructions act as the basis for the future manual of an updated version. To write timelessly, always include dates and timelines where relevant. Avoid including time-dependent or temporary information. If you must, explain its current context for future readers. For example, a health and safety report references current legislation. The act is carefully identified so that it can be differentiated from future revised codes. Your document should be clear and comprehensible now and 20 years from now. hbspt.cta._relativeUrls=true;hbspt.cta.load(41482, '2355e67d-04bb-46d6-b8a7-b271b3acdfe9', {}); 5) Use Attributions Good attributions are efficient. They allow the reader to reference relevant details without including the information directly. The readers who need that additional information can easily find it, while others can continue on in the document without being buried in background information. See references as a tool for maintaining a concise and valuable document for your audience. 6) Use Global English English is an international language. Writing technical documents in English allows them to be broadly read and shared. However, many readers will be non-native speakers. In order to accommodate all readers, use Global English. This style of English is logical and literal which makes it more easily understood. It has a strong overlap with the technical writing principles of precision and clarity. In addition, writing globally means being aware of content that can difficult to understand or simply misunderstood. For example, avoiding idioms and the subjunctive, as well as being careful with words that can be both a noun and verb (e.g. display or guide).edX supports learners across the world and follows a very useful guide to Global English. 7) Forget the Word Count Some writers race to a word count, seeing it as the goal marker. In technical writing, word count is a poor judge of completion. Technical writing should be concise. The same instructions can be conveyed in 500 words or 5000 words. The better instructions are the ones that are most effective for the reader, regardless of the word count. Use word count as a general guide, not a rule. Never force words onto a page meet a word count. If you can write the same idea in fewer words, it’s better for the reader. 8) Be Humble Writing is an iterative process. Through good planning, thoughtful writing, and constructive feedback, you will grow and improve your technical writing skills. Each review offers its own lessons. Be welcoming of feedback from supervisors, peers, and experts. Learn from mistakes, confusions, and comments. Each review session offers an opportunity to grow as a writer. Be humble and accept these educational opportunities. 9) Use Graphics to Illustrate Graphics can help illustrate your message. In technical writing, the goal of graphics is to help convey information not act as decoration. In our online technical writing course, we teach that graphics should be focused on the reader. Poorly designed graphics can confuse readers and do more harm than good. To learn more about adding graphics to your documents see our article on the topic. Conclusion Technical writing is centered on good planning and audience focus. The above tips provide different perspectives and practical methods to accomplish these goals.

Dusk over the Atlantic Wharf Essays

Dusk over the Atlantic Wharf Essays Dusk over the Atlantic Wharf Essay Dusk over the Atlantic Wharf Essay Wharf Laths marriage has been arranged therefore she does not know her husband that well. She keeps thinking of why her father wanted her to come to Wales. He said it was so she would have a good future. She seemed happy in India and that is why she is wondering why she was sent to Wales. It says In line 55 that she wanted to love him desperately but he made It difficult for her at times. She wants the married to work and It seems like she really does care for him. He probably Just married her because of Indian customs. They think every should get married and they should marry an Indian person. He does not have his heart In this married. He goes on with his everyday life and he forgets to make his wife a part of It. When she does not fit In to the Welsh way of life he gets embarrassed Instead of helping her by telling her how things are done In Wales. He cuts her of when she talks and Ignores her when she cries In the car. A husband Is supposed to support his wife no matter If the marriage Is arranged or not. They eave made a lifelong commitment and It will not last If he does not pay more attention to Lata s feelings and help her become integrated in his life and surroundings. In the end she is sad because she is home sick. Every time she tries to talk about her home Anus cuts her of and says Cardiff is your home now. Instead of being loving and supportive and talking to her about her problems he lust cuts her off. He does not even help getting her settled into the Welsh culture. It is clear that she wants and needs to talk about the home she left behind in order o settle into her new home and he does not help her with that. Not only is it hard for her to marry a man she barely knows, but she also had to move to another country to be with him. She moved for him therefore it is his responsibility to help her get settled in. If he found the talking in the movie theater embarrassing he could have talked to her about the movie and her homesickness with her in the car when they were alone. Perhaps Anus did not want to get married, but was forced by his family. It could seem to be the case based on the way he treats Lata.