Cpk Case Essay Example for Free

Cpk Case Essay California Pizza Kitchen, Inc. (CPK) is a United States based dining restaurants chain. The company primarily offers a mixture of assortments of hearth-baked pizzas, a wide variety of unique appetizers, desserts, pastas, salads, soups and sandwiches. CPK operates across more than 253 locations in 32 states, the District of Columbia and 10 foreign countries. It owns 205 and 48 franchised restaurants across the world and is headquartered at Dover, Delaware. An external analysis of the California Pizza Kitchen reveals several challenges facing the business: Political, economical, social and technological changes to be specific. CPK’s communication strategy focuses on marketing the California Pizza Kitchen brand through many creative and non-traditional avenues. As one of the pioneers of premium pizza, they continue to benefit from national media attention featuring their co-founders and co-CEOs, Richard Rosenfield and Larry Flax, this is believed to provide CPK with a noteworthy competitive advantage. New restaurant openings, high-profile fundraisers and media events currently serve as the focal point of their public relations and media outreach efforts. As early as 2009 CPK landed a sponsorship agreement with the Los Angeles Angels of Anaheim and the Los Angeles Kings to promote California Pizza Kitchen at Angel Stadium and STAPLES Center, respectively. In the same year their public relations efforts led to coverage on a national level in various outlets including the Business Week Magazine, ESPN the Magazine, Los Angeles Times, USA Today, Wall Street Journal, The View, FOX National News and CNBC Power Lunch. CPK’s objective is to expand its leadership position in the restaurant and premium pizza market by selling original, high quality pizzas in addition to creative salads, distinctive pastas and related products and by providing extraordinary customer service, thus building a high degree of customer loyalty, brand awareness and superior returns for stockholders. To reach these objectives, CPK plan to increase the market share by expanding their restaurant base in new and existing markets, leveraging their partnerships in non-traditional and retail channels and offering inventive menu items. CPK is pursuing a disciplined growth strategy that, to be successful, depends on the ability and the ability of franchisees and licensees to open new restaurants and to operate these new restaurants on a profitable basis. Successful growth depends on numerous factors including: the hiring, training and retention of qualified working ersonnel, especially managers; competition for restaurant sites; negotiation of favorable lease terms; timely development of new restaurants, including the availability of construction materials and labor; management of construction and development costs of new restaurants; securing required governmental approvals and permits; competition in our markets; and general economic conditions

To Have Or Have Not :: essays research papers

To Have and Have Not Michael Lind Michael Lind wrote the article To Have and Have not about the ever-increasing gap between the rich and the poor. He comments with heart and knowledge on the fact that the prosperous are increasing their wealth by taking from the poor. It sounds like and basically is the story of Robin Hood. He writes about the amount of power the wealthy have, segregated work places, the crooked political system, and tax reforms. But what amazes me the most is that he too is part of the overclass. This first hand knowledge of the system gives Lind such a strong base for his argument, and allows the reader to trust his words that much more. Over the last several years in the United States it has become more and more evident that the gap between the rich and the poor is growing. Not only is the gap growing, but the government is doing very little to stop it. Slowly the poor are being shifted away from the center of wealth and being replaced by the already wealthy. It's a shame how a few people with large cheque books can run the most powerful country in the world, and yet the general public are being redirected to think this problem is a minimal and insignificant issue. The truth is that economic and social inequalities have been growing in the United States at an alarming pace. The inequalities exist because the wealthy want to have more, and the power to obtain more; To do so people must give up their wealth and thus cause the economic gap. Not only is the United States segregated based on the upper class and lower class, it seems that prejudice is also appearing in a hidden manner. Take for example an executive building. You'll notice that everyone working there looks the same. Of course their opinions, value systems, and beliefs may differ, however they are almost always white and mainline protestant. This new and still growing oligarchy is about 20 percent of the population and is evenly spread across every state. What is even more amazing about the American oligarchy is that they pride themselves solely on their individual merit. To them its not because they were born into upper class, nor that they had the opportunity to get an education, but merle on their own IQ, virtue, and genius. Lind uses a great example of this when he says,

Evil and Suffering Essay

The problem of evil and suffering is perhaps the greatest of all challenges to religious belief. It is the difficulty of reconciling the existence of wickedness in the world with the existence of an omniscient, omnipotent, omnibenevolent God. It is best explained in the inconsistent triad; a vertex dating from Epicurus and Augustine that acknowledges the main problem believers face; how can there be a deity that is all good, powerful and knowing if evil exists, as the problem of evil itself is a contradiction within the idea of a deity. The problem of evil is an extensive problem. Whether malum culpae; moral evils we inflict upon one another (murder), or malum poenae; evil caused by natural occurrences (earthquakes) it is the direct cause of the suffering we endure each day. Different religious perspectives require different answers; the ‘problem of evil’, which in itself has numerous debatable aspects, is therefore interpreted in different ways by atheists, agnostics and theists. To theists particularly, the existence of evil in our world poses more than a merely philosophical or apologetic problem; it creates a very personal religious one, as although our painful experience may not challenge our belief that God exists, what may be at risk is our confidence in a God we can freely worship and love, and in whose love we can feel secure. Some suggest that evil is merely the name we give to inexplicable, nonsensical occurrences that defy explanation; that is why they are evil. However, some believe that evil is necessary, as it is merely a deprivation of good that provides contrast and allows us to appreciate the good God has given us. Give an account of two solutions and consider the view that they fail to solve the problem of suffering. [32] The problem of evil has been reconsidered and reformulated many times since the time of Epicurus; the main theodicies stemming from the Free Will Defence, which states that evil is necessary to defend man’s free will. Augustine based his theodicy on the teachings in Genesis, primarily believing that every God made organism is ‘good’. He did not believe it an illusion like Mary Baker Eddy, but alike Aquinas, views it as a ‘privatio boni’; a deprivation of good, originating from Adam’s disobedience in the Garden of Eden. He held that we deserved punishment through natural evil, and it was this that produced a distance from God where moral evil could flourish. He believed that God is justified in allowing evil to stay, as He will then be merciful and save some in Christ, as well as gaining justice through condemning some to hell. However, the challenge of evolutionary theory opposes Genesis on two points. Firstly, it hints to an instant creation rather than a process of evolution; stating that the world began perfectly, which completely contradicts all evolutionary theories and evidence modern scientists have gathered that support an earthly progression from simplicity to complexity. Secondly, Darwin’s theory of the Selfish Gene, that every creature, in the long run, acts to maximize the number of its descendants, challenges his theory of original perfection. There is also a logical error, as according to Augustine, evil seems to have created itself out of nothing! If the origin of evil is Adam, and God is the creator of Adam, is God not then the origin of evil? Also, the appeal to free will as the source of evil is illogical in a world where there was no knowledge of good and evil. If the creatures chose to disobey they must have known evil, which means it must come from God. Finally, hell appears to be a part of the design of the universe, implying that God anticipated that evil would enter, which adds a very controversial aspect of theist understandings of God. A well-known view is the Irenaean theodicy, revived by Hick in his book Evil and the God of Love in 1966. In contrast to Augustine’s theodicy, the key idea of the Irenaean works is that the human race was not created in a state of perfection but in a state of imperfection but leading to a state of perfection. The basis of this theory stems from the biblical teachings in Genesis 1, stating that first of all ‘God created man in His own image’, aiming also to make men in his likeness in the second stage of life. The means to attain this ‘likeness’ is through free choice, which in turn implied the potential to disobey. This is commonly known as the Vale of Soul making; condensed by Hick into the epistemic distance (a distance that allows us to be responsible and to have the free choice to make that leap of faith to be with God). This is pictured by Michelangelo’s ‘Creation of Adam’, in which Adam is viewed very much in imago dei. Kierkegaard also illustrated the act of attaining true love rather than merely being compliant through the parable of the king and the peasant girl. Scholars such as John Mackie have challenged this theory logically, as surely if there is an opposite evil for all good, then God himself must face equal evils at the end of the cycle. He also conjured up the Paradox of Omnipotence; based on the question that can God create rules, which bind himself?; and also, the thought that suffering (such as innocent children dying), can never be an expression of God’s love. Many theists would, however, support that evil is merely there to test our faith, but D Z Phillips contradicts this point, saying that ‘It is never justifiable to hurt someone in order to help them.’ Many follow Irenaeas’ theory, as it is a universalised concept of heaven, however that feature in itself makes it unjust. There is, therefore, no incentive for this ‘Vale of Soul Making’, as it questions God’s justice; denying genuine freedom and removing any point of moral effort.

Discuss the Theatrical Device Essay

‘Aadhe Adhure’ or ‘Halfway House’ has often been described as a cross between Naturalist Theatre and Theatre of the Absurd. Interestingly, both these elements actually undercut each other as theatrical movements and are said to have polarized western theatre. Naturalism argues for heredity and a global perspective on human behavior, which is said to develop out of the social environment in which a particular individual lives. On the contrary, Absurdism believes that there are no solutions to the mysteries of existence because ultimately man is alone, forced to perform repetitive actions in a world without meaning. This play has many elements of Naturalist theatre, including a linear movement, a limited time span, an in-depth psychological characterization and a defined beginning, middle and end. However, the opening line– â€Å"Once again, the same thing all over again†¦Ã¢â‚¬  firmly typecasts it as a part of Absurdist theatre, as from the start itself there is a hint at circularity of events and a hopelessness and banality defined by the repetition of the word ‘again’ in the short sentence. Mohan Rakesh borrowed a common device from the theatre of the Absurd and in ‘Aadhe Adhure’, for the first time in Indian theatre the same actor was used to play five characters. According to Rakesh, â€Å"The woman is the central character and I want the four men to be played by the same actor. What I want to indicate by that is that it’s not the individual who’s responsible for his situation, for he would have made the same choice no matter what, regardless of the situation. Any choice anyone makes has a certain irony in it, for things turn out the same regardless of the choice. † Though it was passed off by some critics as a gimmick employed by the playwright, its thematic relevance came to the fore when Rajinder Nath, contrary to his own views on the importance of the technique, directed the play using five different actors for the roles. The conclusion was felt to be severely lacking as the notion of inherent ‘similarity’ in all the men which underlines the climax of the play failed to have the same impact. Interestingly, though Savitri implies that it is beneath their appearance, that this ‘same man’ exists, the implication is only forceful for the  audience because of the simultaneous visual impact of one man playing different roles. According to Nath himself it was a powerful theatrical device â€Å"to show how according to one’s convenience the same man can put on different masks depending on the situation in which he is placed†. That the authorial view corroborates with this statement is clear from the prologue where the ‘Man in the black suit’ equates identity with fluidity and calls himself undefined. Each character, given a certain set of circumstances, can occupy the place of another. This also follows the assumption that there is no real development or evolution of character; the character at the beginning of the play will not be shaped differently by the situation, enforcing the idea of a universality of experience, that â€Å"things turning out the same regardless of choice†. The prologue defines the play as ‘amorphous’. The audience is told that there is a bit of each character in all of them. Those watching the play and even those outside the theatre. The characters are said to be people â€Å"you bump into by chance in the street† stressing the alienation of urban crowd from one another as the source of difference as well as similarity, since they are all nameless, faceless people who can easily get lost in a crowd comprising of the same. Therefore, one man can play five characters because they are, in essence, the same man. This likeness is reiterated by the naming of the characters in their dialogues, not individually, but rather as First Man, Second Man, etc. According to the Hindi version of the play, the Man in the Black Suit â€Å"has a look of civility with a touch of cynicism†; the face of the First man â€Å"expresses the helpless anguish of having lost the battle of life†; the Second Man is â€Å"self-satisfied and yet a little insecure†; the Third Man â€Å"projects an air of someone who is committed to a life of convenience†; and the Fourth Man â€Å"looks older, quite mature and shrewd†. They have different characteristics, lifestyles and manners of speech, yet according to critics Nita Kumar and N. S. Dharan, this device makes use of  the inherent notion of playacting which includes the concept of freedom; to pretend and be whatever one likes. Every man remains an actor and therefore, it is easy for him to put up a facade and to hide his interiority according to the demands of the situation. This concept is emphasized not by the fact that the same man plays all the characters, but rather by the fact that it is possible for the same man to play all the characters. Simply by changing his costume and facial expression, he manages to change into a different person entirely. Therefore, the assertion of the prologue of the interchangeability of these characters is understandable. The problematic element in the play arises out of the contention of the Man in the Black Suit that interchange of roles can take place not only between the men in the play but also between the man and the woman. This strikes a discordant note as, according to critic Arti Mathur, it negates Savitri’s gender-specific struggle against social constraints. One of the biggest contributions to the ‘sameness’ of the multiple characters is that they are all men. And men, by the patriarchal definition especially prevalent in urban middle-class India, have a certain societal role which leads to their convergence into one man. Irrespective of circumstances their position in society is defined while that of the woman is defined in relation to the man. However, the statement is not entirely wrong either as Savitri, as the breadwinner of the household is actually the ‘man of the house’. Every society has an economic base and a cultural superstructure, which is derived from the base. In Halfway House, the base has shifted and it is the wife who is economically independent, however, the tragedy of the ironically named Savitri lies in the fact that the superstructure has not shifted in accordance with the base. Mahendranath has not become the domestic centre just because of his confinement to the house; Savitri is still required to fulfill her ‘womanly’ domestic duties. She is defined by the context of what it means to be a woman and has internalized the patriarchal system. This is also made clear by Savitri’s contempt of what she believes is Mahendranath’s lack of manliness. She despises his dependency on herself as well as Juneja and constantly searches for escape routes through other, more suitable men. An element of unrealism is brought in, in which even the characters seem to be aware of an underlying similarity between the men, a device not available to them as characters. Askok’s sketch of Singhania leads Savitri to ask Binni if the portrait reminds her of someone, and on being asked, â€Å"Whom†, she replies â€Å"Your father. † This intermingling of the play and the outside elements draws attention to this device. There is irony in the fact that one of the ways in which these men are actually the ‘same’ is in their exploitation of Savitri. According to critic Veena Das, these characters are seldom all of a piece, they are the broken images of a decomposing society. Mahendranath is a self-described ‘parasite’ and is later shockingly revealed to be a former wife-beater. His inability to hold the position of the ‘head’ of the family has made him bitter and suspicious; suspecting his wife of illicit liaisons, which, although hinted at are never confirmed by the text. His ‘unmanliness’ makes Savitri lose all respect for him, till their marriage is reduced to a sham of public expectations. Singhania treats Savitri with condescension and his ‘favors’ are granted with an obvious air of patronization. His pompous manner and speech is calculated to make the listener feel inferior, a fact that is explicitly stated by Ashok. However, in Savitri’s eyes his position as her boss and his salary makes him ‘superior’ and she remains silent in face of his thinly-veiled innuendos and his humiliation positioning of her as â€Å"one of his child’s ‘aunties’†. His crude behavior is a caricature of the sexual exploitation that women have to deal with in work places. Jagmohan is introduced almost an antithesis of Mahendra. He is suave, successful, with a man-of-the-world air and is presented as the eleventh hour rescuer. He is the only outcome available to her from the â€Å"hell† that her house has become to her. However, this apparent proactive position loses much of its worth as it is weakened by the fact that she waits for Jagmohan to ‘fetch’ her. She overlooks his barbs at her expense and goes with him willingly, an act in defiance of society which is only rewarded by  rejection. Again, this seemingly perfect man is unable to provide her with emotional support or security. Her disillusioned return drives home the point that there is no escape route left available for her. The point of concern becomes the fact that though Savitri is an economically independent woman, her means of ‘escape’ from the house is linked to a man. Savitri, in her search for the â€Å"complete man† speaks in the language of patriarchy, as the concept of ‘masculinity’ is a derivative of society. Even though she is a ‘modern, independent’ woman, she is unable to cut off the suffocating patriarchal bonds of the environment in which she lives. The Fourth Man, Juneja is introduced onto the stage around this point. He gains the sympathy of the audience by showing kindness towards Kinni, a character who is almost absolutely neglected in the play. He comes as a voice of rationality; as an almost omniscient character. He seems to have intimate knowledge of both Savitri and Mahendranath, as well as their circumstances. His seems to be the projected authorial voice in the play. His looks and manner of speech is structured so as to make the audience favor his point-of-view and assessment of character. Juneja espouses the belief that to Savitri the meaning of life is â€Å"how many different things you can have and enjoy at the same time. † He lays the blame for the current situation of hopelessness squarely on her shoulder and her quest for the â€Å"complete man†. According to him the problem is not a social reality, but instead lies in the psychological realm. All of the men she encounters are incomplete and therefore her solution is multiplicity. Her way of filling her void is â€Å"excess†. And she is only attracted to men because, â€Å"they are not Mahendra. † According to Juneja, if she had married one of the men whom she is attracted to she would have still felt she had married the wrong man. Juneja brings in another element of unrealism by accurately recounting the encounter between Jagmohan and Savitri because â€Å"in his place I would have said the same†. Once again this brings forth the ‘sameness’ of these characters, as Juneja’s claim is validated by Savitri’s shattering  realization- â€Å"All of you†¦every one of you†¦all alike! Exactly the same. Different masks, but the face†¦? The same wretched face†¦every single one of you! † The tragedy of the realization is heightened by Juneja’s ruthless perusal- â€Å"And yet you felt you had a choice†¦? Was there really any choice? Tell me, was there? † In the above dialogues lies the greatest significance of that particular theatrical device. It brings out a clear dichotomy between the ideal and the real. What Savitri has been pursuing all along, the ‘ideal man’ does not in fact exist. The notion of her having had a ‘choice’ has been illusory all along; she is trapped in a world with no exit. The play shifts focus to lack of freedom for a female in urban, middle-class India. The tragedy is that Juneja’s speech provides a dual closure for Savitri; both in her search for the ‘perfect’ man who can â€Å"fill her void†, as well as an acknowledgment that she shall never gain satisfaction, and related to that, happiness. In naturalism, free will is not denied but is contained and confined within the environment in which the individual lives. Savitri’s free will is her ability to choose but the fulfillment of that choice depends on the context. Her freedom is linked to a man. She is free to choose which man, but it has to be a man. The illusion of choice arises from the four men and her ‘independence’ is related to shifting from one man to the other. In the prologue, the Man in the Black Suit had asked the existentialist question of ‘who am I’. This is now problematized, as the dramatic innovation of using the same man for multiple characters casts doubt on whether there is an ‘I’ at all. ‘I’ refers to individuality, the existence of a self different from the ‘other’, a projection that the men in the play are all different which is negated through Juneja’s speech. Savitri uses the language of social realism to justify her belief that she moves on to other men because Mahendra is not the right man. Juneja uses the language of absurdism to articulate that there is no ‘right man’; her search is futile because such a man does not exist. All the men in her life are essentially the same man and can only satisfy her for a limited period of time. Surprisingly, the text does not lead up to its realist conclusion; that she is trapped because of the prohibitions of the society in which she lives, a world in which a woman has no choice in her own destiny. It, in fact, veers from its apparent initial realist stance of ‘all men are the same in a patriarchy’ and seems to suggest that all men are the same only to Savitri. Halfway House has often been described as a woman-centric misogynistic play. â€Å"Even as the play builds up a dark vision of trapped humanity, it weakens the force of its statement by simultaneously cutting Savitri’s credentials. † (Nita Kumar). The play does not imply that if the only conditions were different or could be changed then Savitri would be able to escape from the ‘trap’, instead her sexuality is morally condemned, she ought not be able to escape. Juneja contends that all the men who had come into her life were different. They were individuals with their own diverse characteristics and, according to critic Veena Das, what made Savitri see them as parts of the same fractioned entities was her own â€Å"diseased imagination†. Juneja, in saying that all men are the same, is trying to define the essential nature of desire. Desire is always in excess of the individual and can never be completely satiated. The frightening aspect of desire lies in its limitlessness. All men are the same because they are looked at through Savitri’s desire, the fact that they will all eventually be unable to satisfy her is the reason for their ‘sameness’. Their amorphousness derives from the fact that they change in accordance with Savitri’s assessment of them. The transcendental nature of desire will always make her move on to other men and search for completeness. It seems to suggest that every being is half-incomplete, it is not a tragedy, but rather a fact of existence, and Savitri, in her search for masculine perfection and inability to accept this fact, is herself responsible for her ruination. Unexpectedly again, the play doesn’t build up even to the absurdist conclusion; it does not suggest that everybody in essentiality is like Savitri, because desire is universal, exceeding every individual. Instead,  the elements of Naturalism as well as Absurdism are developed only to lay the blame on Savitri’s inherent nature, which is considered responsible for the destruction of this particular family. She stands the last accused and the play ends before there can be any possibility of defense on her behalf. Interestingly, though certain relationships in life are deterministic, including that of a mother-daughter, sister-brother, etc, the same cannot be said about spouses; however, in this very context the language used by Juneja is the final language of containment, of absolute, rigid determinism. As earlier mentioned, the device of one man playing multiple roles is that of the actor and is not available to the character, and therefore it is significant that the visual of the play itself shows that nothing can be changed. Juneja’s speech corresponds to the structure of the play, which has to come from without and therefore indicates a concurrence with the playwright’s view. According to critic Kirti Jain, this device loses a little of its relevance in the actual stage performance as the focus of the audience is drawn primarily towards the clothes, mannerisms and voice of that one actor rather than the thematic import. However, there is no ambiguity on the fact that the nature of the play cannot be understood without a reference to this particular device. Through this, the area of thrust changes entirely from the ‘universality of human experience’, and the ultimate censure is not of society, or even the circumstances, but rather of Savitri’s desiring nature. Her lack of constraint and implicit sexuality stand accused as the essential reasons for what makes her home an incomplete, halfway house. Bibliography i. All textual quotes are from Worldview Critical Edition of ‘Halfway House- Mohan Rakesh’ ii. Halfway House: A House Divided by Nita N. Kumar iii. A Note on Indian Theatre by Kirti Jain iv. The Director’s Viewpoint by Om Shivpuri v. A Thematic Interpretation of One Actor and Five Roles in Halfway House by Arti Mathur vi. Lust For Life: A Study of Savitri in Halfway House by Naresh K. Jain vii. Halfway House: Absurdism of the Indian Middle Class by Bharat Gupt viii. Uncertain Circumstance, Undefined Individuals: A Study of Halfway House by S. G. Bhanegaonkar ix. Sexism and Power Games by Manchi Sarat Babu x. Halfway House: Some Stray Comments Only by Dilip Kumar Basu xi. There is Something in this House by N. S. Dharan xii. Halfway House: A Play of Incomplete Utterances by Veena Nobel Das xiii. Realism and the American Dramatic Tradition by William Demastes xiv. Mohan Rakesh, Modernism, and the Postcolonial Present by Aparna Dharwadker.

the illiad essays

the illiad essays Achilles is the greatest of all the Greek warriors and he knows it. His withdrawal from the fighting has an immense impact on the entire battlefield. Both sides of the war feel the effect of his actions. On Achilles side, the Greeks feel as if they are fighting a losing cause and without their fiercest man on the field, the situation worsens for them. The Trojans, however, see this as an opportunity to take advantage of a Greek weakness. Achilles actions are extremely negligent. He cares nothing for his fellow man. He feels he is above fighting with them just because Agamemnon has slighted him. Achilles does not have the killer instinct that one with his great ability should possess. He does not show any passion until his good friend Patroclus is killed by Hector. He lets a petty squabble with Agamemnon insult his pride and take him out of action for a good number of days. It seems like Achilles does not want to take part in the battles until the last minute so that it appears that h e has saved the day. All that he wants is to be known as the greatest hero who ever existed, but he does not realize that he must earn that title. If he had just continued fighting, instead of debating whether he should go back and live peacefully or being angry with Agamemnon, Achilles would have already attained the status he desires so greatly. His decision to take the drastic step of withdrawing from the fighting greatly postponed his achieving of his rank as the greatest hero of all time. Book 6 of the Iliad is an important chapter because it greatly explores the tremendous character, Hector. As the leader of the Trojan army, he feels that it is his job to protect his beloved city. He cares so much for the people of Troy that he goes to the women of the city to tell them to pray to the gods. He does this because he wants to ensure the safety of the women and children of Troy in case the city walls fall to the invadin ...

Free Essays on Wind Energy

There are several different sources of power that people use. The most common source of energy used is fossil fuels. Fossil fuels are coal, oil, and gas. Other types of energy are solar, wind, and hydroelectric. These sources of energy are much more efficient. Along with this, they are much cleaner than fossil fuels. Lastly, wind power, along with solar and hydroelectric will never run dry. Wind Power is a great source of energy. The terms "wind energy" or "wind power" describe the process by which the wind is used to generate mechanical power or electricity. Wind turbines convert the kinetic energy in the wind into mechanical power. The best way to collect wind power would be threw the use of windmills or wind Turbines. Modern wind turbines fall into two basic groups; the horizontal-axis variety, like the traditional farm windmills used for pumping water; and the vertical-axis design. Modern wind technology takes advantage of advances in materials, engineering, electronics, and aerodynamics. All electric-generating wind turbines, no matter what size, are comprised of a few basic components: the rotor (the part that actually rotates in the wind), the electrical generator, a speed control system, and a tower. Some wind machines have fail-safe shutdown systems so that if part of the machine fails, the shutdown systems turn the blades out of the wind or puts on brakes. Wind turbines are often grouped together into a single wind power plant, also known as a wind farm, and generate bulk electrical power. Electricity from these turbines is fed into the local utility grid and distribute to customers just as it is with conventional power plants. Unlike many other power plants, wind farms are very quite. Many people experimented with wind Power, but Charles F. Brush was a great wind power pioneer. During the winter of 1887-88 Brush built what is today believed to be the first automatically operating wind turbine for elec... Free Essays on Wind Energy Free Essays on Wind Energy There are several different sources of power that people use. The most common source of energy used is fossil fuels. Fossil fuels are coal, oil, and gas. Other types of energy are solar, wind, and hydroelectric. These sources of energy are much more efficient. Along with this, they are much cleaner than fossil fuels. Lastly, wind power, along with solar and hydroelectric will never run dry. Wind Power is a great source of energy. The terms "wind energy" or "wind power" describe the process by which the wind is used to generate mechanical power or electricity. Wind turbines convert the kinetic energy in the wind into mechanical power. The best way to collect wind power would be threw the use of windmills or wind Turbines. Modern wind turbines fall into two basic groups; the horizontal-axis variety, like the traditional farm windmills used for pumping water; and the vertical-axis design. Modern wind technology takes advantage of advances in materials, engineering, electronics, and aerodynamics. All electric-generating wind turbines, no matter what size, are comprised of a few basic components: the rotor (the part that actually rotates in the wind), the electrical generator, a speed control system, and a tower. Some wind machines have fail-safe shutdown systems so that if part of the machine fails, the shutdown systems turn the blades out of the wind or puts on brakes. Wind turbines are often grouped together into a single wind power plant, also known as a wind farm, and generate bulk electrical power. Electricity from these turbines is fed into the local utility grid and distribute to customers just as it is with conventional power plants. Unlike many other power plants, wind farms are very quite. Many people experimented with wind Power, but Charles F. Brush was a great wind power pioneer. During the winter of 1887-88 Brush built what is today believed to be the first automatically operating wind turbine for elec...

Required Courses for Law School

Required Courses for Law School Law school applicants should have a variety of courses on their transcripts, including studies in the areas of business, logic, and social studies, among others. While most colleges do not ask students to complete a set of required courses for law school, there are certain classes and majors that can best prepare students for the rigors of this field of study. Business Students who are hoping to practice law in business-related areas, such as corporate law, real estate law, and tax will greatly benefit from early exposure to business studies. Business courses provide students with a strong command of business issues such as contracts, negotiations, and corporate structure. These courses require that students think critically and come up with solutions to intricate problems. This coursework can also be useful for students who expect to practice law in the areas of government regulation, business litigation, and aspects of representing nonprofits. A business major, in particular, covers many subjects that a student will encounter in law school. Courses within this major include reading, writing, contracts, and speaking, all courses that will provide a solid foundation for students ultimately seeking a law degree.  Many business courses also cover basic analytics skills. Relevant courses include accounting, finance, and negotiation. History, Government, and Politics   The legal profession requires basic knowledge of the government, as well as its history and processes. Courses in these subjects are advised so students have some understanding of the topics before beginning law school. These courses covering world history, government, jurisprudence, law and/or taxation are usually reading-intensive, which is also great preparation for law school. Economics Students who study economics will be required to apply logical thinking to their studies, as well as interpret and analyze complex data.  Students might consider taking courses that provide fundamentals of economics, history of economics, and those that tackle law and economics directly. English Literature and Composition A legal education will build on writing and analytical thinking, so courses that showcase a candidates ability to excel in these areas will look good on an undergraduate transcript. Students must show a strong command of the English language through writing, reading, and speaking. While most students will find that their writing styles will definitely change in law school, they still must work to strengthen their skills during the undergraduate years. English courses might include literature studies, logic and reasoning, philosophy, public policy, and writing. Political Science This is one of the more popular degrees for pre-law students. Political science degrees are designed to expose students to the intricate nature of a complex judicial system. Politics and law go hand in hand, and these courses teach students about how our laws are both structured and carried out. As a political science major, the pre-law student will learn how to speak in public. Students will learn about the Constitution and how it developed the foundations for our legal system, and how different courts operate. Along with developing an understanding of politics and law, students will also have the opportunity to write comparative papers on a variety of political issues.  These courses might include public policy, international politics, leadership studies, and even courses related to current events. Public Speaking Students who are not political science majors need to seek out courses that emphasize public speaking skills. While students can enroll in public speaking classes, they should also practice speaking in public or to a large group of people- theres a lot of that in law school. This includes both giving in-class presentations as well as other public speaking endeavors. Writing for speech is also a skill that needs to be honed, not just speaking. Students should consider classes in debate, public speaking, and speech writing. Additional Courses Disciplines that study human behavior can also be useful, including both psychology and sociology. They involve critical thinking and analysis, two valuable legal skills. Many students will also benefit from exploring courses in criminology, anthropology, and even religion. The bottom line is that students who want to prepare for law school should take courses that emphasize reading, writing, and critical thinking skills. Admissions officers look favorably on transcripts that show a student has both practiced these skills and has done well in courses that require them.   Two of the most important components of the law school application are the GPA and LSAT score. Both should be at or above the school’s averages to be a competitive candidate, and students can often distinguish themselves from a pack of applicants with similar testing scores provided they show a range of high-quality classes.