Entrepreneurship Business Plan Analysis †Free Samples

Question: Talk about the Entrepreneurship Business Plan Analysis. Answer: Presentation Field-tested strategy is a composed archive that characterizes the business goals, deals, systems, budgetary and promoting gauges. Investigation of field-tested strategy includes the assessment of a field-tested strategy with the goal that the business person or financial specialist can give an intelligent breakdown. The three principle elements of a strategy are to impart the fate of business, to go about as a sorting out device, and to pass on the believability of business. Business arranging is significant as it gives an away from of course, gives an all encompassing point of view on the firm, supports objective setting and urges business people to investigate their business thought. Further, a field-tested strategy can assist raise with financing and give a reasonable measuring stick to assess the hierarchical presentation. Be that as it may, a field-tested strategy doesn't ensure achievement. It might have one-sided or obsolete data. Additionally, it can't dispose of vulnerabili ty. The three fundamental components of a strategy are activities, money and showcasing. The field-tested strategy coordinates activities, showcasing and money related parts of the business. This report includes the assessment of The Pasta Tree, the main new pasta retail maker in Springfield. The principle segments of a field-tested strategy are official outline, organization foundation, showcasing, creation and tasks, money related projections, execution plan and supplements. Assessment of Executive Summary The official rundown is the initial fragment that quickly sums up key highlights, for example, business targets and objectives, advertising, tasks and budgetary portions. In the marketable strategy of The Pasta Tree, a concise portrayal of the organization is given. It is expressed that the organization has manufactured a faithful client base while expanding deals 15% consistently in the previous three years (Bplans.com 2017). The figures for starting speculation are expressed as $80,000 (Bplans.com 2017). The official outline additionally expresses the arrangement of growing tasks inside the city to fulfill the expanded need. It is assessed that the field-tested strategy appears to be reasonable as it has an unmistakable course and target. The strategy expresses the targets of growing creation offices, setting up solid deals and keeping up close control of cost during extension. Further, the authoritative strategic creation top notch items, offering more noteworthy incentive to the shoppers and having duty to the best quality (Bplans.com 2017). It helps in getting a concise thought regarding the fundamental qualities or key estimation of the organization. The short explanations of the showcasing program, activities arranging and budgetary outlines give an away from of how the targets and objectives will be accomplished. The money related features are spoken to as graph that makes the understanding more grounded. In this manner, the official rundown covers all the significant perspectives and segments provide it a reasonable guidance (Watson, McGowan and Smith 2015). Assessment of Company Background Organization foundation depicts the foundation, history, kinds of items and administrations, number of workers, business objectives, statement of purpose and other applicable insights concerning the organization. This gives the perusers a comprehension of the issues that bolsters the association to develop. The field-tested strategy states about the responsibility for Pasta Tree by Jill Forman and John Wingate. Be that as it may, no subtleties are expressed about the two proprietors with respect to their experience or training. The organization history is expressed how the new pasta was first made (Bplans.com 2017). The subtleties are referenced about how the two proprietors have progressed significantly to carry the item and offer to the general population. The graphical portrayal of the past exhibition with respect to the business, net benefit and gross benefit helps in simple comprehension of the arrangement. Further, the marketable strategy expresses the examination of earlier ye ars monetary record to investigate the business, net benefit, and net benefit (Bplans.com 2017). These announcements must be expressed in the informative supplements and a nitty gritty record of the earlier years could be maintained a strategic distance from. The marketable strategy expresses the area and offices. The best quality is that is makes reference to about the comfort offered by the area. This gives a thought regarding the system for new area (Bplans.com 2017). Further, the rundown of items is expressed that are offered by the organization, for example, linguini, tricolor fusilli, fettuccine and different others (Bplans.com 2017). In any case, the administrations offered by the brand are not expressed, for example, satisfaction of clients needs, client care administration or home conveyance alternatives (Brinckmann and Kim 2015). Assessment of Marketing For deciding the promoting systems, the organization needs to attempt statistical surveying. The market should be surveyed utilizing systems and techniques to break down the market condition. The field-tested strategy utilizes the division technique to focus on a gathering of clients. As per Neill, Metcalf and York (2015), the market fragment can be partitioned demographically, topographically, behaviourally and psychograph. It is dissected that the market is sectioned just dependent on the buying example of the customers. The market division could be more extensive with the goal that a gathering of clients could be focused on. In light of segment division, the market could be partitioned for people all things considered. The geographic division is recognized as deal in markets and little supermarkets where the item will arrive at the clients (Bplans.com 2017). In view of psychograph, the market can be portioned as the individuals who have a moderate way of life yet wish to devour ne wly made items. As indicated by conduct, the market can be sectioned as the shoppers who have visit use of pasta. The buyers who cause pasta at home with the goal that they to can expend it new can be picked as a prime market fragment. The objective market is chosen as the urban expert portion that would be pulled in to the newness and nature of The Pasta Tree (Ghandour 2014). It is contended that no outside condition investigation is made that would influence the activities in Sydney. The market patterns and request of the customers for pasta should be broke down. The arrangement doesn't distinguish a couple of rivals in a similar industry and their unmistakable preferred position over The Pasta Tree. In any case, the arrangement distinguishes the bundling procedure utilized by The Pasta Tree to make the item serious (Bplans.com 2017). It is additionally contended that the advertising blend methodology isn't characterized that would assist items with arriving at the customers. The all-encompassing advertising blend could be encircled so the items arrive at the shoppers in a legitimate manner (Martin, McNally and Kay 2013). Assessment of Operations and Production The field-tested strategy specifies about the administration co-proprietors Jill Forman and John Wingate who direct and deal with the day by day tasks at The Pasta Tree. No subtleties are expressed about the legitimate and permitting prerequisites to work business in Sydney. The business needs to have a permit and should experience the regulatory and security check procedures to guarantee safe food. No subtleties are referenced about the endorsement required in Sydney. The field-tested strategy makes reference to about the work force required for the business, for example, creation supervisor, store staff, team lead, conveyance staff and others (Bplans.com 2017). The subtleties need hierarchical structure and duties to be attempted by the staffs. No subtleties are referenced about the expert counselors who might help in making the business arrangement fruitful. The protection and hazard factors that could show up in the business are not referenced. The field-tested strategy needs to consider the hierarchical hazard factors in tasks, staff or others with the goal that relief procedures can be defined and vulnerabilities can be overseen. The plant and types of gear required to set up the pasta business in Sydney isn't referenced. The creation forms and the labor to be utilized are resolved (Bplans.com 2017). Assessment of Financial Projections The budgetary projections are the contemplations and data about the money related information. The three territories must be considered to set up this section essential suspicions and data, money related conjectures and investigation of monetary gauge (Bplans.com 2017). The marketable strategy just presents the numeric information for money related gauge. No clarification is given about the suppositions made or about the figures is readied. No subtleties of the financial balances are given of the administration. The insights concerning credits and overdrafts are not referenced that help the speculation of the firm (Bplans.com 2017). It is broke down that the money related conjectures, for example, anticipated benefit and misfortune proclamation, ace forma income, equal the initial investment investigation and a couple of business proportions are expressed. The best quality about the money related projections are that three years are broke down that gives a thought regarding the budgetary state of the organization. In any case, no investigation or clarifications are given that would be supporting purposes behind the information. The information understanding or the extent of development isn't expressed in the marketable strategy for The Pasta Tree. The achievements set by the firm for deals and income is spoken to graphically that adds to visual engaging quality and comprehension (Bplans.com 2017). Assessment of Implementation Table The execution table gives the proprietor/supervisor with a timetable of the exercises should have been completed to set up and maintained the business. Additionally, it is composed on a month to month premise, so it gives a lot of achievement plans for the proprietor/supervisor to work by. The Pasta Tree can push its three most well known items spaghettini, linguini and fettuccine (Bplans.com 2017). The promoting methodology is resolved to publicize the items with limiting element to present it in the grocery stores. It is suggested that the promoting blend could be intended for insights concerning the particular components. The deals

Financial Analysis for Managers DQ4 Essay Example | Topics and Well Written Essays - 500 words

Budgetary Analysis for Managers DQ4 - Essay Example In associations, for the speculators' advantage, plenitude in the organization's working capital portrays a positive sign in making money related revisions and mixes inside and furthermore in the market to contend different organizations. After globalization, various organizations are contrasting their situations in the market by thinking about their past and current records and foreseeing their fates related with liquidity and dissolvability of company's benefits (Bernstein et al, 1997). Today the strategy producers, particularly the legislatures, profoundly watch the patterns in varieties of the working capital of associations to force rules and guidelines on them. Indeed, even the speculation choices from mammoth organizations are likewise founded on the degree of working capital that an organization has. Inventories go about as the significant resources for different organizations and they additionally impact the income age of various organizations. Stock expenses are basic to decide on the grounds that it influences the salary and resource levels. The total compensation of an association is reliant on the stock expenses, aside from the administration associations, as the net gain is legitimately connected with the expenses of merchandise sold. Stock expenses can be sorted in two different ways.

Smoking Cigarettes :: Argumentative Persuasive Example Essays

     Cigarette smoking has been recognized as the most significant wellspring of preventable bleakness and untimely mortality around the world. Smoking-related maladies guarantee an expected 440,000 American lives every year, including those influenced in a roundabout way, for example, babies brought into the world rashly because of pre-birth maternal smoking and survivors of "secondhand" introduction to tobacco's cancer-causing agents. Smoking costs the United States over $150 billion every year in social insurance costs incorporating $81.9 billion in mortality-related efficiency loses and $75.5 billion in abundance clinical consumptions.      In the United States, an expected 25.6 million men and 22.6 million ladies are smokers. These individuals are at higher danger of coronary episode and stroke. The most recent assessments for people age 18 and more established show: Among whites, 25.1 percent of men and 21.7 percent of ladies smoke. Among dark or African Americans, 27.6 percent of men and 18.0 percent of ladies smoke. Among Hispanics/Latinos, 23.2 percent of men and 12.5 percent of ladies smoke. Among Asians, 21.3 percent of men and 6.9 percent of ladies smoke. Studies show that smoking predominance is higher among those with 9-11 years of instruction (35.4 percent) contrasted and those with over 16 years of training (11.6 percent). It's most noteworthy among people living beneath the destitution level (33.3 percent).      Tobacco began developing in the Americas in 6000 BC. 100 BC, individuals began utilizing tobacco leaves for smoking and biting. Presently it has developed in a terrible, difficult to get out from under propensity. The main paper moved cigarette was made in 1832. It is generally accepted that Egyptians troopers were the first to make this, presently renowned past-time. Different students of history propose that Russians and Turks found out about cigarettes from the French, who thusly may have found out about smoking from the Spanish.      It is imagined that poor people in Seville were making a type of cigarette, known as ‘papelette’, from the butts of disposed of stogies and papers as ahead of schedule as the seventeenth century. In 1856, the primary cigarette processing plant opened. It was in Walworth, England, and possessed by Robert Golag, a veteran of the Crimean War. After four decades, fears about the impacts of cigarette smoking stimulated in The Lancet.      During World War I, smoking turned out to be gigantically famous with warriors in front lines of northern Europe and cigarettes got known as ‘soldier’s smoke’. In 1964, the United States Surgeon General Luther Terry declared that smoking caused lung malignant growth. Not long after, in 1965, the Federal Cigarette Labeling and Advertising Act required US Surgeon General’s warning’s on cigarette packs.

Homer Simpson Explains our Postmodern Identity - Free Essay Example

Homer Simpson Explains our Postmodern Identity crisis, Whether we Prize it or not: Media Literacy after The Simpsons ABSTRACT This article suggests that The Simpsons is a sophisticated media subject about media that forces educators who teach media literacy into an encounter with postmodern judgment. The sense of postmodern judgment for media education is explored through a focus on two now themes in The Simpsons: the changing judgment of personal identity and the consequences of a relentlessly ironic worldview. Icons of habitual culture can be used to teach about philosophical constructs. From its inception The Simpsons has posed a significant challenge to educators. The program, which ridiculed all forms of influence and turned Bart Simpson into a wildly habitual anti-hero, initially provoked an intense reaction from the education citizens, in some schools influential to the banning of paraphernalia bearing Barts images and habitual denunciations of the series. As the series grew in popularity- and eventually was joined by other cartoon series that were seen to be all the more more educationally offensive, such as Beavis and Butthead and South Park-the furor died down to a now on the other artisan passive hostility toward the program, at least in the classroom. It certainly didnt facilitate the educational communitys disagreement to have Interval magazine reputation the series the best television program of the 20th century, or to have the poet laureate of the United States, Robert Pinsky, praise the series, stating that it penetrates to the existence of television itself (Owen, 2000, p. 65). Nor did it facilitate that various teachers went hab itat, turned the program on, and laughed themselves silly. All the more another abbreviate has been created between the culture of children and the culture of education, a poser that has been perhaps all the more more painful for media educators, various of whom follow Hobbs (1998) target that the texts of everyday career, when constituted as objects of social participation, provide the possibility for combining textual, historical, and ideological examination in ways that relieve students and teachers move beyond the limits of traditional disciplines and controversy areas (p. 21). To be undeniable, there have been efforts by media educators to bring The Simpsons into the classroom. Our debate of the media literacy literature and media literacy sites revealed a number of examples of proposed lessons incorporating the series, from examining The Simpsons as a virgin variant of social satire to comparing The Simpsons family to other television families. On the other hand, in almost eve ry dispute, we sensed that the unique qualities of the series eluded these efforts. The basic tools of media education and literacy as typically agreed upon by numerous media literacy communities-tools which regulate our control to basic precepts such as the meaning that the media are constructed-appear not to be enough to turn The Simpsons from renegade habitual culture into a teachable moment (Aufderheide, 1993; Media Awareness Network, 2000). Perhaps the central poser with The Simpsons is that it seems to drag the media literacy examination onto the unfamiliar and all the more foreboding terrain of postmodernism, where issues of image and replica open to fall apart, a terrain where sporadic media educators are willing or able to follow. Of line, there has been an effort to define, critique, and bring postmodern impression to bear on educational judgment and application, expressly from advocates of critical pedagogy (e.g., Aronowitz Giroux, 1992). All the more this has been a the ory-driven effort that has not reached further far into educational scholarship, and has made almost no headway into the frontlines of educational manipulate. Various teachers Studies in Media Info Literacy Education, Tome 1, Subject 1 (February 2001), 1-12 # University of Toronto Press. DOI: 10.3138/sim.1.1.002 have never heard of the label postmodernism. The same mould is equally, if not more pronounced, in the media education citizens. Our examination of media literacy literature and key media literacy web sites in the United States and Canada revealed an almost comprehensive absence of controversy and examination on postmodernism. There have been, of pathway, notable exceptions (McLaren, Hammer, Scholle, Reilly, 1995; Steinberg Kincheloe, 1997). The outcome of this empty margin is another critical abbreviate, in this dispute not between students and educators, on the other artisan between media educators and media theorists. In examining this section, we are struck by two observations. First, the gap between media education manipulate and media judgment comes precisely at the moment when teachers and media educators are finding them selves overwhelmed by strange contemporary regular cultural texts for which the unfamiliar category of postmodernism may potentially be the most fruitful interpretive handle. Second, the positions of students and media theorists stand in the succeeding relationship. Students are living inside an increasingly postmodern regular cultural participation that media theorists are attempting to label, define, and scan. The puzzle is that students dont necessarily have the vocabulary to generate meaning of their participation, and the vocabulary that theorists have developed seems to cause meaning only in graduate seminars. The Simpsons offers a promising opportunity to strategically residence these issues, highlighting the limits of conventional media literacy tools, illustrating the aesthetic examine of postmodernism, and providing some vocabulary to label that examine. In effect, it serves as an dispute of how the solution of postmodernism can be used to develop a contemporary range of c ritical interpretive skills for constructively engaging this growing trend in habitual culture. Our article presents a mini introduction to postmodernism and a grounded process of the benefits and limits of applying this judgment. Our reason is not to provide an exhaustive or all the more spread out introduction to postmodern judgment. Rather, it is to position The Simpsons as a media subject that can be used as a starting stop for exploring postmodern judgment. Fear of Postmodernism If everyone loves The Simpsons, postmodernism has its correct participation of critics. Writing in U.S. Material and Field Report, Leo (1999) argues that postmodernism has created a language that no one can understand, a language that is used to intellectually bully readers into agreeing with outlandish propositions. The academic area, on the other artisan, has offered more equivocal assessments. Hebdige (1988) argues that we are in the presence of a buzzword, a expression which, while confusing, does appropriate an influential social or cultural transition. Kellner (1995) agrees, observing that . . . the label postmodern is often a placeholder, or semiotic marker, that indicates that there are virgin phenomena that demand mapping and theorizing (p. 46). In the infrequent instances where references to postmodernism do appear in media literacy literature, its ambiguous area is emphasized. For process, Buckingham and Sefton-Green (1997), in their effort to launch charting the challenges posed by multimedia education in an increasingly digitized media area, believe that postmodernism, although glib and sweeping, offers a beneficial pathway to characterize a number of broad social and cultural transformations. Some of the changes that control Buckingham and Sefton-Green embrace the area of consumption, the blurring distinctions between production and consumption, the poaching of texts and symbols, and the rejection of the elitist and sterile oppositions between high and habitual culture (pp. 289-292). Given the slipperiness of the sense, postmodernism on the other hand marks a cr itical modern moment in the scan of media and replica. Building on the business of Buckingham and Sefton-Green (1997), we open by asking what is postmodernism and what can we do with it? With its questioning of truthfulness and its subject of the politics of media representations, postmodernism, once it is understood properly, can be a rich source of pedagogical judgment and manipulate. The Postmodern Dispute: Definitions and Symptoms What true is the label postmodernism trying to receive? There is, first, the sense of opposition to modernism. In essence, modernism states that individuals and nations, guided by rational thinking and Studies in Media Counsel Literacy Education, Tome 1, Subject 1 (February 2001), 1-12 # University of Toronto Press. DOI: 10.3138/sim.1.1.002 2 scientific achievements, are moving toward a more humane, more just, and more economically prosperous ultimate. In other contents, modernism embraces progress, viewing it as a linear and inexorable phenomenon with acceptable outcomes. Accordingly, the publish in postmodernism stands for the meaning that there is no longer any guarantee of progress. In point, there is further petty consensus as to what progress all the more wealth. Postmodernity typically is distinguished by an undermining of force, the denigration of novel by turning it into a style or evocative nostalgia, the questioning of progress, and the head to impression the ultimate as empty. Other postmodern symptoms embrace the meaning of image overload, intertextuality (the seemingly random q uoting of one subject by another), a heightened meaning of media self-reflexivity calling control to replica as a hall of mirrors, and pastiche, defined as the sense to cause disjointed images and subject fragments. Finally, the postmodern process is marked by commodification overload (the head to turn everything into a product or marketing opportunity), irony overload (the elevation of irony as the dominant rhetorical posture), and the increased questioning of the sense of personal identity brought on by viewing the self as a social construction. In short, the meaning of postmodernism calls control to the ways in which a beneficial deal of everyday regular culture is at once fully informed by, if not driven by, the basic media literacy precept that media construct social naked truth. In act, all the more of regular culture relentlessly draws carefulness to the further arbitrariness of almost every aspect of our social participation, as well as the moral and epistemological foundati ons on which social participation depends. In other contents, the curriculum of regular culture has outstripped the curriculum of the classroom, all the more the media education classroom. The vocabulary of postmodernism allows us to launch to contemplate and term the various ways in which this is taking fix, on the other share it further leaves us at a loss about how to proceed. Recognizing this disagreement, memo and educational theorists have attempted to clarify what is to be gained by drawing on the social and theoretical insights generated by the deconstructive influence of postmodern criticism. At the same interval, they have tried to demonstrate how to tame this influence in the utility of modernist values such as human rights, equality, freedom, and democracy (Aronowitz Giroux, 1991; Best Kellner, 1991; Giroux, 1997; Kellner, 1995; Rorty, 1989; Wolin, 1990). A critical postmodernism encourages us to solicit contemporary questions about all claims to influence (scientific or otherwise), about how contemporary forms of replica and contemporary inflections in the style of replica made practicable through technology and commodification exchange the quality of sense, and about how cultural dominance is produced and maintained through the patterns of contrasts used to define social and linguistic categories (Aronowitz Giroux, 1991; Scholle Denski, 1995). Postmodernism offers contemporary tools for critical interpretation and modern responsibilities for connecting media and cultural interpretation to democracy as a form of native land that enables critical reflection and activism, making us understand the ways in which our seemingly private individual identities are formed, through language and symbols, in relationship to each other and the broader social and political citizens (McKinlay, 1998, p. 481). For The Simpsons audience, an ambivalen ce toward technology and progress is guideline fare. This judgment of the ultimate as empty and without guarantees has further been associated with the core identity of Hour X, whose slogan might glance at We have seen the forthcoming and it sucks. While any aspect of postmodernism discussed above can be found in and explored within The Simpsons, two concepts in particular-irony overload and the questioning of identity-will serve as reference points in our reconsideration of the series. The puzzle of identity is a central complication for all young citizens, on the other artisan it is a puzzle that is not duration satisfactorily addressed, given the growing levels of hopelessness, cynicism, despair, and suicide among teenagers. Of particular control to us is that The Simpsons repeatedly focuses on this further subject: the puzzle of selfhood in an increasingly absurd culture pulverized with images, symbols, values, irony, commercialization, and hucksterism. What lessons does The Sim psons teach? What lessons can be learned as the characters on the demonstrate are thrust into many battles for selfhood within the postmodern terrain? Enjoy all the more postmodern Studies in Media Info Literacy Education, Manual 1, Controversy 1 (February 2001), 1-12 # University of Toronto Press. DOI: 10.3138/sim.1.1.002 3 culture, The Simpsons, is saturated with irony and obsessed with issues of absolute identity, expressly in relation to media culture. Our task is to articulate an interpretive frame of reference to facilitate media educators and viewers open to cause critical meaning of these symptoms. The Challenges of Postmodern Selfhood Gergen (1991) notes that postmodernists abbreviate version into three epochs, each of which corresponds to a particular judgment of personal identity or selfhood. These periods are labeled as the pre-modern (romantic hour), the contemporary era, and the postmodern. From the pre-modern or romantic tradition, we derive our meaning in a stable center of identity. In Gergens contents, powerful forces in the deep interior of ones duration are held to be the source of inspiration, creativity, genius, and moral courage, all the more madness (Gergen, 1992, p. 61). Modernism redefined the self, shifting the emphasis from deep, mysterious processes to human consciousness in the here and these days, always in control with such values as efficiency, stable functioning, and progress. The self in its virgin form-what Gergen calls the postmodern or relational self-is no longer viewed as a separate target, on the other artisan is increasingly understood as a rel ational construction, defined by and spread across the humanity and activity experiences each individual encounters throughout her or his field. In short, as McNamee and Gergen (1999) argue, there are no independent selves; we are each constituted by others (who are themselves similarly constituted). We are always already related by virtue of shared constitutions of the self (p. 15). Linked to this sense is the sense that a conscious understanding of ourselves as beings occurs through language, which is itself a fundamentally relational sense, and that our identity grows and develops in relationship to the endless dialogues that we have with others, with culture, and with ourselves. In this meaning, our interactions with the media become deeply significant. Moreover, this contemporary consciousness of the relational sense of the self comes at correct the moment when the relationships we enter into and which contribute to our definition of self are multiplying at an exponential rate and are duration increasingly spread over a in a superior way and in a superior way span of hour and amplitude. It is one baggage to see the sense of the relational self when we think of, claim, two friends engaged in a mutually sustaining and defining examination. In this setting, the sense of the relational self is promising, perhaps all the more reassuring. On the other hand, extending the meaning of relationship to subsume every symbolic encounter in which we willingly or unwilling participate-from intentional relationships to unintentional and forced relationship with 3,000 commercial messages per day-presents modern challenges. A critical postmodern perspective calls control to this crisis of identity, a crisis in which the media of memo and their commercial foundations are deeply implicated. Of line, thinking of the self as a relational construct not only gives insights into the crisis of the self, on the other share it further offers a means of thinking about how to residen ce that crisis. In this more hopeful and acceptable meaning, the relational self offers a glimpse of those selected aspects of human participation and identity that may be used as a moral foundation in the face of the deconstructive maelstrom of commercial postmodern culture. The relational self suggests a moral compass that is based less on the authentic truths of religion or science than in the manner by which we draw up ourselves and our community through ceaseless and inevitable physical, linguistic, and psychological dependence upon one another. Drawing on the duty of Martin Buber, Mikhail Bakhtin, Jurgen Habermas, Richard Rorty, and Jerome Bruner, McNamee and Gergen (1999) deposit elsewhere a autonomous and thoughtful introduction to what a moral ethic organized on all sides of the relational self would see enjoy. They have called it relational responsibility, defining relationally responsible actions as those that sustain and enhance forms of exchange elsewhere of which influ ential process itself is made practicable. Isolation, they argue, represents the negation of citizens (p. 19). The guideline of relational responsibility is in stark contrast to the deconstructive tendencies of postmodernism. As such, it can serve as a critical bridge linking the interpretive coercion of a critical postmodernism to the modernist values associated with progressive democracy. Studies in Media Counsel Literacy Education, Tome 1, Subject 1 (February 2001), 1-12 # University of Toronto Press. DOI: 10.3138/sim.1.1.002 4 At the same hour, it is autonomous that the deconstructive tendencies of postmodernism (as a fix of virgin conditions) have influential implications for personal identity construction. Giddens (1991), for process, warns of the looming threat of personal meaninglessness. It is this threat that directs us back to a carefulness of one of the central tropes of postmodern discourse: irony. As noted above, relentless irony is a hallmark of both The Simpsons and the postmodern era. As individuals struggle to confront postmodern challenges to identity, there is grounds to solicit whether there is any valuation in the postmodern strategy of irony. Thus, the implications of irony both for identity formation and relational responsibility must be considered. Irony, Identity, and the Disagreement of Responsibility The Simpsons is regularly celebrated for its incisive wit and social satire, for its force to manipulate irony to bell control to the absurdity of everyday social conventions and beliefs. Irony functions as a critical form that helps us to break through surface sense to examine and understand the correct area of things in a contemporary and deeper means. It is a vehicle for enhancing critical consciousness, and it represents a moral coercion of skilled in the function of eradicating conventional pathetic (Rorty, 1989). As Hutcheon (1992, 1994) notes, critical irony is intimately linked to politics. The compel of deconstructing can be a first development to political dispute, and ironys oppositional character can be a major critical compel. The subversive functioning of irony is related to its status as a self-critical and self-reflexive resources that challenges hierarchy, and this influence to undermine and overturn is said to have politically transformative coercion. On the other share this is not where the manipulate of irony ends in The Simpsons, nor does it appropriate the postmodern turn in the meaning of irony. Postmodern irony is ambiguous and its solution is contested. It can be interpreted by adherents as playful, reflexive, and liberating; opponents, on the other hand, contemplate it as frivolous, deviant, and perverse (Hutcheon, 1992, 1994; Kaufman, 1997; Thiele, 1997). In postmodern irony, clarity in moral delineation begins to disappear. For process, in virgin comedy, as in all social behavior, all actions are controversy to satire from some perspective. Besides, by reason of postmodern irony begins with the assumption that language produces all sense, a kind of emancipatory indulgence in irony is evoked-an invitation to reconceptualize language as a form of play. As Gergen (1991) writes, we neednt credit such linguistic activities with profundity, imbue them with deep significance, or fix elsewhere to interchange the nature on their novel. Rather, we might play with the truths of the hour, shake them about, try them on prize funny hats (p. 188). In other contents, postmodern irony invites us to avoid saying it straight, using linear logic, a nd forming smooth, progressive narratives (p. 188). The Simpsons is saturated with this form of postmodern irony. On the other facilitate where does that leave media educators trying to duty with this enormously regular series? On the one artisan, media educators would prize to engage the series fully by practise of it raises various challenges to conventional ideas of mould and selfhood; on the other share, they are unwilling to lead students to examine media literacy as a form of deconstruction that leads only to meaninglessness or play. Some media scholars contemplate postmodern irony as a laborious challenge for teachers committed to linking media literacy with productive citizenship. Purdy, for dispute, laments that between Madonna and the fist-fight between Jesus and Santa Claus that opened the cartoon series South Park, there is less and less left in society whose flouting can elicit shock. Irony, he concludes, invites us to be self-absorbed, on the other facilitate in selves that we cannot believe to be particularly interesting or significant (p. 26). Conway and Seery (1992) are similarly concerned about the implications of postmodern irony for engaged citizenship. Although irony may equip the dispossessed with much-needed critical perspective and all the more underwrite a minimal political agenda, they draw up, it is generally regarded as irremediably parasitic and antisocial (p. 3). Hutcheon (1994) further shares this episode, noting that irony can be both political and apolitical, both conservative and radical, both repressive and democratizing in a pathway that other discursive strategies are not (p. 35). Gergen (1991) frames the challenge of postmodern irony in terms of its challenge to forming a coherent self. If all serious projects are reduced to satire, play, Studies in Media Counsel Literacy Education, Tome 1, Subject 1 (February 2001), 1-12 # University of Toronto Press. DOI: 10.3138/sim.1.1.002 5 or nonsense, all attempts at authenticity o r earnest ends become empty-merely postures to be punctuated by sophisticated self-consciousness (p. 189). If this is the poser that The Simpsons raises in its manipulate of both critical and postmodern irony, to what room is it contributing to a social consciousness with a practicable for social process, as opposed to contributing to a cynical numbness founded on ironic detachment? What solutions does the series offer for resolving this disagreement? Are there any alternative solutions that acknowledge the postmodern challenge to identity? Exploration of Self in Homer to the Max With these concerns in meaning, we see an phase of The Simpsons that originally aired on February 7, 1998. The period focuses with particular vehemence on the quest for identity and asks the closest questions: à ¢Ã¢â€š ¬Ã‚   How is the sense of the self understood in relationship to the blizzard of media images, symbols, and values? à ¢Ã¢â€š ¬Ã‚   How does irony fit into the exploration and resolution of identity issues? à ¢Ã¢â€š ¬Ã‚   How do we understand The Simpsons confrontations with the self and identity in terms of what has been called the postmodern process? The demonstrate begins with the principles sight gags on the couch and the Simpson familys lampooning of televisions midseason replacement series. The program that finally captures the familys carefulness is Police Cops, which becomes a present within the present. As the two Miami-Vice enjoy heroes of Police Cops subdue would-be bank thieves, one of the police detective heroes, a millionaire cop surrounded by admiring women, introduces himself as Simpson, Detective Homer Simpson. The Simpson family is shocked and Homer is exclusively overwhelmed, confusing himself with his television image. The plot then unfolds in essentially five kernels that hire up and explore Homers confusion over his own identity (Chatman, 1978). First, Homer identifies completely with the television detective hero: Wow. They captured my personality perfectly! Did you examine the means Daddy caught that bullet? In turn, the all-inclusive citizens of Springfield validates Homers contemporary pseudo-identity, treating him as if he were the television detective hero: Hey, Mr. Simpson, sir, can I purchase your autograph? Second, the Police Cops producers interchange their television detective character from glamorous hero to bumbling sidekick, launching a series of gags about Homers correct identity. The virgin characterization is truly a near perfect replication of the absolute Homer Simpson. This outrages Homer: Hey whats going on? That guys not Homer Simpson! Hes fat and stupid! The town continues to respond to Homer as the television character, only these days with ridicule rather than respect. No netheless, Homer gains some insight into the confusion between his authentic and fictional identity. As a assemblage of co-workers gathers in the hallway absent his business waiting for him to do something stupid, Homer retorts, Well, Im sorry to disappoint you gentleman, on the other artisan you seem to have me confused with a character in a fictional present. Factor of the pleasure for viewers derives from the irony of the cartoon character Homer making the state that he is the authentic Homer Simpson, as opposed to the fictional cartoon character within the cartoon. The writers of the period then continue to play with this seemingly endless hall of mirrors between absolute and fictional identity by scripting Homer to behave true in the transaction of the revised fictional detective character. Homer obliges by spilling a fondue pot on the nuclear reactor polity panel. Homers identity crisis eventually leads him to Hollywood, where he confronts the producers of the Police Cops-By the Numbers Productions-and demands that they recast the detective character: Im begging you! Im a human duration! Let me have my dignity back! The lines between Homers authentic identity and his media identity blur all the more besides when his efforts in the production business are used as grist for a contemporary gag in the later Police Cops period. Studies in Media Counsel Literacy Education, Manual 1, Controversy 1 (February 2001), 1-12 # University of Toronto Press. DOI: 10.3138/sim.1.1.002 6 In the third kernel, the plot shifts absent from Homers struggle over his identification with his media replica to his fixation on the sense that a contemporary label will give him a virgin identity. In this kernel, Homer goes to court to sue Police Cops for the improper application of his reputation. When his petition is nowadays rebuffed in the term of corporate proprietary interests, he rashly decides to transform his reputation to Max Coercion. Homers growth is nowadays transformed. His self-image improves, he becomes forceful and dynamic, and his co-workers and boss treat him with respect. Mr. Burns, remembering Homers reputation for the first interval, exclaims, Well, who could forget the reputation of a magnetic individual prize you? Keep up the acceptable profession, Max. While shopping at Costingtons for a contemporary faculty wardrobe, Homer meets a member of Springfields elite with a similarly powerful label, Trent Steele. Trent nowadays takes Homer/Max under his wing, inviting him to garden troop for Springfields young, hip force couples, an period that turns elsewhere to be the jumping off stop for an environmental reason. The critical moment in this kernel-which links the identity crisis of Police Cops with the identity theme in the Max Force parcel of the episode-occurs when Homer reveals to his contemporary best friend Trent Steele the origin of the term Max Compel. When Trent exclaims, Hey, beneficial term!, Homer replies, Yeah, isnt it? I got it off a hairdryer. Homers resolution to his identity crisis with his media self is to redefine himself in terms of the force setting of a mini household appliance. The self is these days equated with a product. At first, the results are stunningly successful. The fourth kernel leads to the denouement. In the third kernel, Homers appropriation of the identity of his hair dryer appears to have resolved his identity crisis in satisfactory transaction. On the other hand, this meaning soon falls apart. At the garden assemblage, Homer and Marge rub shoulders with celebrity environmental activists Woody Harrelson and Ed Begley, Jr., two of the various celebrities lampooned in the phase. The sense extreme these scenes is that Homer, as the buffoon celebrity Max Force, is on the same level as other equally shallow and ridiculous celebrities. Finally, Trent Steele announces that it is interval to board a bus to re ason the wanton destruction of our nations forests. This generate is relentlessly parodied: We have to protect [trees] by generate of trees cant protect themselves, except, of trail, the Mexican Fighting Trees. The partygoers travel to a stand of redwoods about to be bulldozed and are chained to the trees. The police (Chief Wiggum, Eddie, and Lou) confront Homer, attempt to swab his eyes with Hippie- Coercion mace, and stop up chasing him on all sides of his tree. His chain works prize a saw, cutting down the redwood, which in turn topples the comprehensive forest. Homer, freed at persist, throws his chain into the air, killing a bald eagle. Homer, as the phony Max Force, is rejected by the phony celebrity activists. In the fifth and final kernel, which serves as an epilogue to the phase, Marge and Homer are in bed. Marge tells Homer she is glad he changed his reputation back to Homer Simpson and Homer responds, Yes, I learned you gotta be yourself. The Phase Through a Postmodern Le ns The phase is intriguing by generate of of its insistent focus on the search for identity, and the methods by which that identity is constructed within the absurdities of the postmodern landscape. As Gergen (1992) notes, We are exposed to more opinions, values, personalities, and ways of activity than was any previous interval in novel; the number of our relationships soars, the variations are enormous: past relationships extreme (only a ring bell apart) and contemporary faces are only a channel absent (p. 58). There is, in short, an explosion in social connections. What does this explosion have to do with our meaning of selves and what we stand for, and how does it undermine beliefs in a romantic interior or in a rational center of the self ? This is precisely the controversy this period of The Simpsons takes up again and again. What is exclusively engaging in this phase is the focus on Homers identity crisis and its relationship to the media. This is not, of line, a theme unique to The Simpsons. As Caldwell (1995) observes, comedy-variety shows in the late 1940s and early 1950s were repeatedly using the conventions of intertextuality and selfreflexivity about the constructed existence of the media image. All the more Leave it to Beaver aired a media/ Studies in Media Counsel Literacy Education, Tome 1, Subject 1 (February 2001), 1-12 # University of Toronto Press. DOI: 10.3138/sim.1.1.002 7 self phase in the 1950s entitled Beaver on TV. Filmmaker Woody Allen often explores the connection between self and media, perhaps most directly in The P urple Rose of Cairo, where the films female protagonist is shocked to find her own film idol able to development off the screen and assume a flesh-andblood relationship with her. More virgin examples involve the films Duration John Malkovitch and Nurse Betty. On the other hand, episodes of The Simpsons residence this theme with a critical column seldom found in mainstream television. In this meaning, the demonstrate serves as both an illustration and exploration of the mass-mediated self. And it certainly stands as an acknowledgment of the degree to which identity is dispersed across media encounters and the degree to which others respond to and validate these contemporary media created selves. Homers engagement with the television character bearing his reputation isnt a simple one of identification, on the other share a blurring of the boundaries between his absolute self and the image of himself dialogically reflected back to himself by the media. This period takes the basic media literacy proposition that the media construct social detail and radicalizes it to argue that the fundamental identities of audience members are further socially constructed by media participation. The boundaries of our seemingly absolute identities open to fade. The writers engage in this play with the audience in at least two different ways. First, they coercion us, through our identification with Homer, to acknowledge the ways in which we identify and all the more lose ourselves in the fictional characters we watch. And to generate trustworthy this speck is driven habitat, the writers pull the rug elsewhere from under us. In the forgetful pleasure of our beneficial identification with Homer, who in turn is identifying with the glamorous protagonist, the period switches the roles of the televised Homer Simpson from seductive hero to buffoon. Homer is left the fool, and we extremely must confront our own identification with Homer and The Simpsons present. At the same interval, the present alternately encourages us to identify with Homers search for his absolute self and reminds us that the character we are closest and relating to is a cartoon invention himself. This is the push and pull of postmodern irony, at once pushing us to critical insights about the conventions of mould and at the same hour pulling us back to a safe level of detachment so that the stakes involved in unraveling our existential certainty about who we are do not become overly menacing. The phase further illustrates the crisis of the self from the perspective of content and form, as detailed by Giddens (1991) and Gergen (1991, 1992). With regard to content, the phase shows us the myriad of ways in which Homers meaning of self is pushed and pulled, spread out and contradicted. With regard to form, it never lets Homers character-or our understanding of his character-settle into a stable, coherent self once his identity has been called into question-at least not until the epilogue of the program. The period moves beyond illustration of the relational self to a critique of the challenges facing the relational self in many instances, and it is certainly in these instances where some of the unique, potentially consciousness raising efforts of The Simpsons flare through. The first dispute is when Homer goes to Hollywood to beg the production convention to give him back his dignity by recreating his television character. Despite Homers protestations that he is a human activity, the By the Numbers Production Convention is undeterred from shamelessly exploiting Homers (cartoon) citizens. This scene suggests that the keys t o our selfhood are held, in stuff, by uncaring corporations, willing to exploit us and our identity for their own gain. The second dispute is in the critically sophisticated decision to offer Homer a second chance at achieving a dignified self by literally constructing his meaning of self through total identification with the faculty setting of a hair dryer. In both cases, and exclusively in the hair dryer gag, these are subtle critiques that may or may not be processed by most viewers. Neither is amplified in any significant means semiotically or through the plot. Reading through the fan postings for the period on the Simpsons Archive speck, we found no evidence that these critiques had been taken up. In act, there was petty recognition of any of the identity issues discussed above, other than the humorous confusion over the label Max Force. On the other hand, these scenes infuse the phase with an influential critical credible, expressly from the speck of judgment of media educator s. They allow us to think about the crisis of the self in connection to the meaning of relational identity as well as within the dispute of what critical postmodernism has identified as Studies in Media Info Literacy Education, Tome 1, Subject 1 (February 2001), 1-12 # University of Toronto Press. DOI: 10.3138/sim.1.1.002 8 the ever- intensifying movement to turn everything into a commodity. All the more ones meaning of self is commodified, reducing us to believing that we really are only what we own. In other contents, while The Simpsons can certainly be enjoyed without any participation of postmodernism, viewers knowledgeable about some of the basic tenets of postmodern sense may more fully appreciate the twists and turns of its inventive plot lines. Defusing Critical Themes Nearly a decade ago, Collins (1992) reviewed a short vignette within a Simpsons period that was constructed in all the more the same pathway as the Homer to the Max phase discussed above. Homer and Bart are watching Macys Thanksgiving Hour parade on television and discussing whether the cartoon characters appearing on the balloon-floats deserve such immortality. Just as Homer tells Bart that if you plain building a balloon float for every flash-in-the-pan cartoon character, youll turn the parade into a farce, a Bart Simpson balloon float passes by. Collins wanted to know about the factor of hyperco nscious irony on television viewers: is its persist effect emancipatory, salient to a recognition that televisions representations are social constructions rather than value-neutral reflections of the real existence? Or does this irony generate a disempowering apathy, in which no image is taken at all seriously? (p. 36). Collins subject is all the more with us today, exclusively by rationale of postmodern television shows demonstrate no memo of disappearing. We are attracted to the resources of media literacy moments that such shows practise visible, on the other facilitate we further realize that these programs often deconstruct the validity and importance of those same media literary guideline. It is the postmodern dimension of nowadays media fare prize The Simpsons that requires that we select the sense and uses of irony further seriously, that we carefully attend to the quality of hope that is offered to media audiences after the deconstructive play of postmodern ironies has left us laughing and numbed. If we can no longer trust any genuine realities, if traditional moralities keep revealing their human limits, does this mean that the only credible options are to retreat into nostalgia, go shopping, or go shopping for nostalgia? Linking these concerns to identity issues, Gergen (1991) asks: Once we are aware of the ironies of self-reflection, how are we to regard them? What response can we generate? Is it simply an invitation to play and a surrender of any form of critical examination or something else? As he argues, when ones activity is constantly doubted and its constructed and contingent character is made evident, then daily area as an objectively given self is threatened (p. 137). With these concerns in meaning, we conclude by examining how the critical issues raised in the beginning of the Police Cops phase regarding the self, the media, and consumer culture are resolved. Not surprisingly, the period withdraws from its sophisticated illustrations of the challenges of postmodern culture in habitual and its more specific explorations of dilemmas of the self. It further withdraws from its application of critical postmodern irony to the more soothing romantic judgment of the self-contained and absolute self, as well as to the nostalgic sense that the traditional family is a haven in a heartless area. Lets contemplate at this turn absent from criticism in a bit more naked truth. A central site of this essay has been that the existence of The Simpsons forces media educators to stretch beyond the basic premises of media literacy to confront the postmodern vastness of the series and its postmodern implications for understanding media literacy. To this speck, we focused on two postmodern media representational issues: the relational self and postmodern irony/irony overload. In the conclusion of this phase, it appears that the critical dimension of each of these pedagogical moments is surrendered. First, the sense of the relational self is rejected. When Homer turns to Marge as they lie in bed and says I learned you gotta be yourself, we are comforted with the most obsessively repeated summary of romantic individualism in the vocabulary of habitual culture. The threat of the blurring borders between ones absolute self and ones mediated self is contained. The threat of ones confusion over who I am and what I own is contained. Moreover, it is contained literally wi thin the confines of the marriage bed, a symbol of the modernist utopia of intimacy between two self-sufficient individuals in a committed Studies in Media Info Literacy Education, Tome 1, Controversy 1 (February 2001), 1-12 # University of Toronto Press. DOI: 10.3138/sim.1.1.002 9 relationship. In this modernist judgment, to be in a relationship or not to be in a relationship is a choice. A relationship is not viewed as the inescapable foundation of a self with its closest responsibilities, obligations, and joys. The sense of the relational self, which could serve as the rationale for a nonmarket ethic for both personal and social relationships, is lost. Although Homers final I learned you gotta be yourself could further be recite ironically, it stands as the final narrative handhold for the viewer to resolve the phase. Second, the separation of regular and private-particularly in the realm of identity and relationship-is scrupulously maintained. Again, this follows the modernis t judgment. Homers activism against the corporate worlds exploitative engineering of personal identity is an isolated, individual quest that humorously reveals the futility of challenge. When Homer does join a troop in line to naked truth in relationship with others to achieve a social target, his joining is both against his will and dependent on his phoniness. The members of the aggregation are further viciously satirized for their insincerity, their self-servingness, and their kookiness. As all the more as The Simpsons celebrates and all the more tenderly appreciates quirkiness of character, quirkiness is presented as uncool as soon as it flowers into organized resistance against corporate mainstreaming. What memo, then, becomes foregrounded? The doctrine of the relational self-formerly used as the mode by which corporate media culture and consumer culture are criticized-is itself critiqued. The further sense of the relational self is seen as a threat, in the same system that corporate manipulation and celebrity phoniness are threats. In naked truth, the period suggests that the sense to the issues of corporate and consumer manipulations of identity lies in just duration ourselves, all the more though ourselves are spread across the myriad of social and mediated interactions that we participation voluntarily and involuntarily every interv al. The sense that the relational self, understood in a beneficial flash, could serve both to deepen the critique of commercial mediation of identity and to articulate an alternative ethic of responsibility is not on the screen. This retreat into the romantic, individualized self is heightened by the excesses of postmodern irony, which move the ironic trope from critique to detachment to nostalgia for authentic or imagined traditions. As Homer makes his system from his encounter with the corporate soullessness of By the Numbers Productions to his encounter with the mindless environmental activism of the celebrity phonies, he learns that all social or political process is equally futile and absurd. This lesson fits with Homers answer to his absolute self and his marital bed, on the other ease it denies viewers any hope-other than cultural regression and increasing privatization of experience-for dealing with the postmodern existence. Taylor (1991), in her glance at of television fam ilies of the 1960s and 1970s, found that the central task of these shows was to advice hold together a conservative impression of the nuclear family against whatever challenges and contradictions novel had to offer. In this meaning, it is ironic that The Simpsons serves a much the same stop, offering the family as sanctuary against a existence absent mad. The Simpsons, on the other hand, innovates by recognizing that the challenges posed to virgin culture are less about external political threats or all the more domestic strife than about the threat to solution itself and to a influential field. In this system, it opens all the more critical habitat and thoughtfully charts modern lifes postmodern absurdities before shutting down the target and examination over these further issues. Conclusion We began with the controversy: If The Simpsons is the reimburse, whats the subject? We argued that The Simpsons is not the stop of postmodern culture, on the other artisan only another process of a tidal wave of media that are hyper self-conscious about solution and mould. For in a superior pathway or worse, the series pushes us to an encounter with postmodern judgment. This encounter provides a vocabulary to recognize the descriptive symptoms of postmodernism and to appreciate the deeper social and historical conditions salient to the postmodern dispute. It further allows us to distinguish between, on the one artisan, a postmodernism of despair which focuses on meaninglessness and, on the other artisan, a critical postmodernism which Studies in Media Counsel Literacy Education, Manual 1, Subject 1 (February 2001), 1-12 # University of Toronto Press. DOI: 10.3138/sim.1.1.002 10 recognizes our compel and responsibility to draw up a course of action of values based on the interdependence of indication and personal identity. This is not to claim we feel that we have the answers to these questions; rather, we demand to levy forward the meaning that these are the questions an d issues that media literacy educators should be teaching toward. Drawing on postmodern impression, we examined two key now themes in The Simpsons: the changing impression of personal identity in the postmodern era, as well as the fruits and futility of a relentlessly ironic worldview. Our reason was to provide some guidelines that media literacy educators could utilize to engage the increasingly pervasive phenomenon of self-conscious media texts that grapple with the blurring dossier between the absolute area and the detail of the media area. Rethinking the sense of identity and recognizing the critical and destructive potency of irony are crucial to understanding the compel of a commercial culture that concurrently creates, celebrates, and bemoans the explosion of meaninglessness. Programs such as The Simpsons give media literacy educators the opportunity to embark upon that journey. COLUMBIA ONLINE CITATION: HUMANTIES STYLE Bybee, Carl and Overbeck, Ashley. Homer Simpson Explains our Postmodern Identity Crisis, Whether we Enjoy It or Not: Media Literacy after The Simpsons. Studies in Media Info Literacy Education 1.1 (2001). https://www.utpjournals.com/simile (subsume access hour here). COLUMBIA ONLINE CITATION: SCIENTIFIC STYLE Bybee, C. Overbeck, A. (2001). Homer Simpson explains our postmodern identity crisis, whether we enjoy it or not: Media literacy after The Simpsons. Studies in Media Info Literacy Education, 1(1). https://www.utpjournals.com/simile (subsume access hour here). BIOGRAPHICAL Memo Carl Bybee is Associate Professor of Indication Studies in the Institute of Journalism and Indication at the University of Oregon-Eugene. Ashley Overbeck is a doctoral student in the same department. Their these days probation focuses on the connection between irony, apathy, and citizenship in childrens media. AUTHOR CONTACT Info Carl Bybee and Ashley Overbeck Institute of Journalism and Memo University of Oregon Eugene, Oregon, U.S.A. 541-346-4175 [emailprotected]/* */ [emailprotected]/* */ References Aronowitz, S., Giroux, H.A. (1991). Postmodern education: Politics, culture and social criticism. Minneapolis, MN: University of Minnesota Press. Aufderheide, P. (1993). National leadership conference on media literacy. Washington, DC: Aspen Academy. Best, S., Kellner, D. (1991). Postmodern judgment: Critical interrogations. Contemporary York: Guilford Press. Buckingham, D., Sefton-Green, J. (1997). Multimedia education: Media literacy in the hour of digital culture. In Kubey, R. Media literacy in the counsel hour: These days perspectives (pp. 285-306). Modern Brunswick, NJ: Development. Studies in Media Info Literacy Education, Tome 1, Controversy 1 (February 2001), 1-12 # University of Toronto Press. DOI: 10.3138/sim.1.1.002 11 Caldwell, J. (1995). Televisuality. Contemporary Brunswick, NJ: Rutgers University Press. Chatman, S. (197 8). Chronicle and discourse: Narrative structure in fiction and film. Ithaca, NY: Cornell University Press. Collins, J. (1992). Postmodernism and television. In Allen, R.C. (Ed.) Channels of discourse, reassembled: Television and virgin criticism (pp. 327-354). Chapel Hill, NC: University of North Carolina Press. Conway, D., Seery, J. (1992). The politics of irony: Essays in self-betrayal. Virgin York: St. Martins Press. Gergen, K. (1991). The saturated self: Dilemmas of identity in virgin duration. Virgin York: Basic Books. Gergen, K. (1992, November/December). The decline and fall of personality. Psychology Today, 25, 58-64. Giddens, A. (1991). Modernity and self-identity. Palo Alto, CA: Stanford University Press. Giroux, H.A. (1997). Pedagogy and the politics of hope. Boulder, CO: Westview Press. Hebdige, D. (1988). Hiding in the flash. London: Routledge. Hobbs, R. (1998). The seven acceptable debates in the media literacy movement. Journal of Memo, 48, 16-33. Hutcheon, L. (1994 ). Ironys string: The judgment and politics of irony. London: Routledge. Hutcheon, L. (1996). Faculty of postmodern irony. In Rutland, B. (Ed.) Genre, trope, gender: Essays by Northrop Frye, Linda Hutcheon, and Shirley Neuman (pp. 33-50). Ottawa, Ontario Canada: Carleton University Press. Jameson, F. (1992). Postmodernism, or the cultural logic of late capitalism. Durham, NC: Duke University Press. Kaufman, W. (1997). The comedian as confidence person: Studies in irony fatigue. Detroit, MI: Wayne Remark University Press. Kellner, D. (1995). Media culture. Virgin York: Routledge. Leo, J. (1999, March 15). Tower of pomobabble. U.S. Material and Area Report, 27. McKinlay, P.F. (1998). Postmodernism and democracy: Learning from Lyotard and Lefort. Journal of Politics, 60, 481-503. McLaren, P., Hammer, R., Scholle, D., Reilly, S. (Eds.) (1995). Rethinking media literacy: A critical pedagogy of replica. Contemporary York: Peter Lang. McNamee, S., Gergen, K. (1999). Relational responsibi lity. Beverly Hills, CA: Sage. Media Awareness Network. (2000). https://www.media-awareness.ca (22 November 2000). Owen, D. (2000, March 13). The funniest person in TV. The Virgin Yorker, 64-75. Purdy, J. (1998, July/August). The hour of irony. The American Coming, 84-90. Rorty, R. (1989). Process, irony, and solidarity. Contemporary York: Cambridge University Press. Scholle, D., Denski, S. (1995). Critical media literacy: Reading, remapping, rewriting. In McLaren, P., Hammer, R., Scholle, D., Reilly, S. (Eds.) Rethinking media literacy: A critical pedagogy of replica (pp. 7-32). Contemporary York: Peter Lang. Steinberg, S., Kincheloe, J. (1997). Kinder-Culture: The corporate construction of childhood. Boulder, CO: Westview Press. Taylor, E. (1991). Primetime families. Berkeley, CA: University of California Press. Thiele, L.P. (1997). Thinking politics: Perspectives in antiquated, contemporary, and postmodern political judgment. Chatham, NJ: Chatham Territory Publishers. Wolin, S . (1990). Democracy in the discourse of postmodernism. Social Trial, 57, 5-31. Studies in Media Counsel Literacy Education, Tome 1, Subject 1 (February 2001), 1-12 # University of Toronto Press. DOI: 10.3138/sim.1.1.002 12

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References to Homosexuality in Walt Whitmans Song of Myself

References to Homosexuality in Walt Whitmans Song of Myself WHITMAN WAS MORE MAN THAN YOULL EVER BE, said a student of Louisiana State University. When asked questions of your sexual preference or thoughts on the issue of sex, I would venture to say it makes most people uncomfortable. This is an age-old topic that people know about, yet do not want to talk about. He was particularly reticent about his issues regarding sex and his particular sexual preference. In fact, of Whitmans struggles the most difficult for him to deal with was his ever so strong homosexual desires (Hubbell 283). Whether homosexuality is right or wrong is not for me to decide. Though I feel it should not be used so explicitly in works of†¦show more content†¦Section 11 reflects on a woman standing behind her blinds and imagining intercourse with a band of young men swimming in the river below. This is an obvious depiction of the poets world as he sees it. Whitman, in his works, dramatizes the compulsion to define oneself according to ones sexuality. In his c onfession of homosexuality, it is an obligatory act of speech which breaks the bonds of discretion or forgetfulness (Killingworth 52). His biography makes it clear that Whitman dealt with his intimacies with men throughout his life. His relations were very close and ardent. It was without a doubt his art that saved him by permitting him to express the troubled passions, which haunted him. His poetry was said to be a means of purification for him (Hubbell 284). Ok. So those are the facts. Now lets examine Song Of Myself and Whitman with greater detail. There are several sections in this poem that enhance our knowledge on the stand Whitman is taking toward his body and sexuality. He begins in Section 4 with a reflection on the Real Person. Or what he views as Real. He states, The real or fancied indifference of some man or woman I love. This stanza depicts Whitmans view on sexuality and on equality. He obviously, in this stanza shows no favoritism toward either gender. He is saying that he loves both equally regardless of any differences. HeShow MoreRelatedWhitman and Homosexuality Essay3150 Words   |  13 PagesWhitman and Homosexuality While responses to Whitmans poetry have always been diverse in some ways, the interpretations of his homosexuality can be divided into three stages. In general terms, Whitmans earliest critics tried to deny Whitmans deviance; later critics accepted his homosexuality yet framed it as a marginalized truth; and contemporary critics have exploded in response to these years of oppression, outing Whitman in loud declarations of his intense feelings for men. Read MoreLeaves of Grass by Walt Whitman Essay1248 Words   |  5 PagesLeaves of Grass by Walt Whitman In the twentieth century, the name Walt Whitman has been synonymous with poetry. Whitmans most celebrated work, Leaves of Grass, was the only book he ever wrote, and he took a lifetime to write it. A large assortment of poems, it is one of the most widely criticized works in literature, and one of the most loved works as well. Whitman was unmarried and childless, and it has been noted that Leaves of Grass consumed him greatly; James E. Miller Jr. writes: #8230;heRead MoreEssay on Whitmans Music as a Means of Expression2414 Words   |  10 PagesWhitmans Music as a Means of Expression In his verses, Walt Whitman eradicates divisions of individual entities while simultaneously celebrating their unique characteristics. All components of the universe are united in a metaphysical intercourse, and yet, are assigned very distinct qualities so as to keep their identities intact. Often times, Whitman demonstrates these conceptions through elements of song. â€Å"Walt Whitman caroled throughout his verse. For the Bard of Democracy, as America came

Audit and Assurance Health Care Holdings Group

Questions: 1. Using your knowledge of APES 110, identify and explain the potential type of threat to Fellowes and Associates independence in situations (1) and (2) above. 2. What action should Fellowes and Associates take to eliminate the potential threats to independence in situations (1) and (2) above? What safeguards should be instituted to reduce the risk of similar independence threats occurring in the future? Answers: Introduction Professional accountants have an obligation to comply with regulatory norms and codes of conduct in order to ensure integrity in provided information. In Australia, APES 110 deals with Code of Ethics for professional accountants for audit engagement and quality control (Chapple, Ferguson Hronsky, 2014). The present report is focused on the applicability of provisions of APES 110 on case situations of Health Care Holdings Group (HCHG). In audit team of Fellowes and Associates one accountant is proposed to participate. However, the accountant has a shareholding in HCHG, but interest is not material in accordance to him. Threat to Independence By considering the provided situation one the accountant is proposed to be part of the audit team in 2014 and at the same time he is a shareholder of HCHG. However, the accountant does not have a material interest in business (George, Jones Harvey, 2014). In this aspect, provisions of Sec. AUST291.104 of APES 110 will be applicable as it deals with financial interest. As per this section, owning of shares will lead to self-interest threat. In accordance with AUST290.41.3 "Self-Interest Threat" is considered to be there if the entire firm or a team member could get benefit from the audit client (APES 110 Code of Ethics for Professional Accountants, 2010). This situation will raise the concern about conflict of interest. Actions to Eliminate Potential Threats For this aspect, the auditor is required to consider the nature of financial interest. In this manner, they will be capable of determining the significance of the risk (Chapple, Ferguson Hronsky, 2014). For this purpose, they are required to evaluate the position of the member in a team like their role and duties along with their interest either (direct or indirect) in company or firm of which audit is undertaken. On the basis of these provisions, Audit team has direct financial interest in the organisation as per Sec. AUST290.106. Further, the impact of threat is significant high that it cannot be compensated by any safeguard in order to mitigate the risk at an acceptable level (Townsend, 2014). Further, for accepting this audit, Fellowes and Associate must dispose their financial interest, or they are required to terminate the membership of individual in audit team having a shareholding of business entity. Viable Safeguards Disposal of direct financial interest of team member before acceptance of audit engagement. Termination of member from the team in order to maintain independence and integrity of assurance team (Townsend, 2014) Eradication Indirect Financial Interest entirely or partially so that interest is not material. This is to be done, prior to making an individual member of assurance team. Situation 2 Fellowes and Associates had valued intangible assets (intellectual property) in previous financial year. As per balance sheet intangible asset of the business is $30 million determined by Fellowes and Associates on 1st March 2014 subsequent of HCHGs acquirement of the subsidiary Shady Oaks Hospital. The value of intangible assets is material for HCHG. Threat to Independence Provisions of section 290 of APES 110 deals with the Independence Audit and Review Engagements. In accordance with this section, Auditor must be independent in order to provide an appropriate opinion on the concerned matter. In the current situation, provisions of APES 110 ss. 290.174 290.179 is applicable as it deals with the issues regarding valuation services provided to an audit client (APES 110 Code of Ethics for Professional Accountants, 2010). For assessment audit, the auditor is required to collect evidence of the process through asset is valued by clients. In a situation where auditor had provided the valuation they auditor will do an audit of their work. This situation will create the threat of self-review. Actions to Eliminate Potential Threats In this particular situation, the main issue is that valuation comprises a significant degree of subjectivity. This aspect shows that Fellowes and Associates are required to withdraw their consent from the audit assignment or HCHG is needed to obtain the opinion of another expert for valuation of intangible assets (CPA Australia, 2014). Although; case description shows that services for valuation are provided before acceptance of audit engagement. Consequently, at present, there is no conflict of the situation regarding valuer and auditor as different duties are to be performed at different times. For this audit assignment, Fellowes and Associates should mandatorily comply with provisions of Section 290.177 regarding valuation of intangible assets (Hossain, Wilson Jubb, 2016). Valuation done by audit team must be review by an independent expert who must not be a member or related to assurance team. In addition to this, audit team must not include an individual who had done a valuation of assets of the business entity (Carson, Redmayne Liao, 2014). Further, acknowledgement regarding the responsibility of valuation must be taken from the client. Viable Safeguards as per Sec 290.177 Including independent professional for valuation of intangible to ensure integrity in audit opinion of financial statements Do not participate in audit engagements Attaining clients acknowledgement regarding the responsibility of results by making them understand significant assumptions taken for valuation (APES 110 Code of Ethics for Professional Accountants, 2010). Conclusion In accordance with the present study, the conclusion can be drawn that Fellowes and Associates must with the above-described safeguard prior to the audit of Health Care Holdings Group (HCHG). By compliance with the above-described standards, they will be able to ensure independence and ethics aspects while providing an opinion on the fairness of financial statements. References Books and Journals Carson, E., Redmayne, N.B. Liao, L., (2014). Audit Market Structure Competition in Australia. Australian Accounting Review. 24(4). Pp.298-312. Chapple, L., Ferguson, C. Hronsky, J., (2014). Professional independence attachment bias: an exploratory study. George, G., Jones, A. Harvey, J., (2014). Analysis of the language used within codes of ethical conduct. Journal of Academic Business Ethics. 8. P.1. Hossain, S., Monroe, G.S., Wilson, M. Jubb, C., (2016). The Effect of Networked Clients' Economic Importance on Audit Quality. Auditing: A Journal of Practice Theory. Townsend, S.R., (2014). The regulation of auditor ethical behaviour in Australia. (Doctoral dissertation, Macquarie University). Online APES 110 Code of Ethics for Professional Accountants. (2010). [PDF]. Available through https://www.apesb.org.au/uploads/stards/apesb_stards/stard1.pdf. [Accessed on 3rd January 2017]. CPA Australia. (2014). An overview of apes 110 code of ethics for professional accountants. [PDF]. Available through https://www.cpaaustralia.com.au/~/media/corporate/allfiles/document/professional-resources/ethics/an-overview-of-apes-110-code-of-ethics.pdf. [Accessed on 3rd January 2017].