CISG Contract , Goodscan Contract Fact Pattern Assignment

CISG Contract , Goodscan Contract Fact Pattern - Assignment Example This condition applies if offeree gets the withdrawal before the offer or at the same time like the offer. Goodson is the offeror, in the case being analyzed, while Hospitex is the offeree. There is an offer from Goodscan to sell Hospitex five X-ray machines. A negotiator from Goodscan travels to Toronto to make an offer to the CEO of Hospitex. Terms of the offer are two hundred thousand Canadian dollars for 5 x-ray machines. Hospitex (offeree) accepts the offer but on a condition that Goodscan includes a clause stating that incase of any conflicts in future the two parties will use Canadian law to resolve it. It is evident there is an offer and an acceptance from the offeree, but there are additions that constitutes to a counter offer according since the offeree agree to the offer on condition that the clause is included (Ramberg 5). A mutual agreement refers to a contract that is agreeable to both parties. Article 29 clarifies that a mere agreement of both parties can be initiated to either modify or terminate a contract (Ramberg 6). The two parties agreeing to enter into an agreement are capable of performing specific duties of the contract against each other. Ramberg (6) says each of the both parties may be precluded by each other’s conduct from asserting certain provisions to a point whereby the other party has respectively relied on the other’s conduct respectively. Any contract can be a mutual contract, as long as it binds two parties. In this case, the contract between the two parties is mutualistic in that Goodscan should deliver the goods and the offeree (Hospitex) should pay the agreed fee to Goodscan. Both parties, according to the contract, have something to benefit from each other. Consideration is typically a concept of legal value in relation to contracts. It involves valuable goods promised to each other in a contract. It takes the form of physical objects,

Write an action plan for wellness that is custom designed for your Essay

Write an action plan for wellness that is custom designed for your use. Include recommendations offered in the textbook. Remember to cite any sources used, including the textbook - Essay Example Thus, creating one for my own would have to start with identifying my goal for getting into wellness which is to manage stress at work and stay fit at the same time. With this in mind, it would be best to factor into the plan my health needs that are affected by the kind of work I am in, the amount of time that I get sleep, and also the time I can sacrifice for working out. With this, setting specific and manageable work out goals is key. A great way to do so is to plan a 20 minute exercise, three times a week which would not demand so much that would add to my stress which leads to a lot of work out loopholes such as stress eating and lack of motivation to continue a program while still giving myself time to enjoy nourishing myself with more greens and have a spare time for rest. Also, it is important to make the most of the time committed for work out such as targeting different kinds of exercise from cardio, strength, and flexibility drills (How to Start an Exercise Program, n.d.). Shaping a mindset that does not only associated work out with the gym but pretty much in everything such as taking the stairs instead of the elevator. Lastly, avoiding the work out stumbling block by setting up a non-food reward system as I tend to feast on unhealthy food pleasures is best to do. Instead of food, a treat to a massage would do great! How to Create a Wellness Plan: Steps to Writing Your Own Health Routine | Suite101.com. (n.d.). Amy Kreydin Writing Profile | Suite101.com. Retrieved May 18, 2012, from

Gun control Essay Example | Topics and Well Written Essays - 1250 words - 1

Gun control - Essay Example This paper will argue that there is a need for national laws regulating the sale of fire arms in gun shows, flea markets, and conventions. The controversy between gun control and gun rights advocates starts with the gun casualty statistics in America. Gun control proponents cite spiraling casualties as the reason for government intervention, while gun rights proponents downplay the carnage. For instance, since the 1990s, statistics compiled that each day in the United States, a person dies by gunshot every eighteen minutes, totaling nearly 30,000 deaths per year: about half of these are suicides, another 11,000 are murders, and about 1,500 are gunshot accidents. (Crooker, p. 1) The Violence Policy Center has reported the following figures on firearms deaths and injuries: Firearms are the second leading cause of traumatic death to a consumer product in the United States and are the second most frequent cause of death overall for Americans ages 15 to 24. Since 1960, more than a million Americans have died in firearm suicide, homiides and unintentional injuries. (cited in Crooker, p. 2) Critics of gun control argue that a rather large empirical literature has failed to establish a consistent, statistically significant link between gun ownership and crime. According to William Shughart, it was even reported that there is a negative relationship (i.e., that gun ownership deters crime), (p. 157) The consensus finding – no statistically significant link – seems consistent with ordinary common sense: Criminals can use guns to prey on law-abiding citizens, but if guns were legal. Law-abiding citizens can also use guns to defend themselves from the criminal elements. It is possible, Harry Wilson (2006) wrote, that all citizens benefit from those who own guns if criminals are deterred because they think a potential victim might be armed. (p. 74) Indeed, there is probably no stopping the individual who is intent upon killing another

Argument Essay Example | Topics and Well Written Essays - 1250 words - 1

Argument - Essay Example Thus, the issue of awarding the capital punishment remains a highly controversial topic across the world. In the US many states award death penalty to offenders who commit premeditated homicide while some others do not have capital punishment. Killing a human being intentionally is a heinous crime and offenders who commit premeditated homicide need to be punished with capital punishment to deter others from engaging in such criminal activities. Criminal justice system awards punishment to the criminals with a view to prevent the recurrence of crimes. The society considers that every criminal offender needs to be awarded a punishment appropriate to the crime he or she commits. Thus, the advocates of death penalty contend that when capital punishment is awarded to a person who commits murder, â€Å"potential murderers will think twice before killing for fear of losing their own life† (The Death Penalty: Arguments for and Against the Death Penalty 1). Evidence also points to an a nalysis by the criminologist Isaac Ehrlich, which shows that â€Å"for every inmate who was executed, 7 lives were spared† as other perpetrators become deterred from committing similar crimes (1). This source concedes to the fact that studies relating to deterrence are sometimes â€Å"inconclusive† but it attributes this to the rare use of death penalty and the delay in its execution (1). Thus, it can be construed that death penalty acts as a deterrent to crime, which is a â€Å"practical justification† for the award of capital punishment (2). Criminal justice system relies on the basic tenet that every crime deserves a proportionate punishment for meeting the objectives of natural justice. Therefore, it appears natural that the person who perpetrates a premeditated murder of another person should be punished with death so that the victim and his or her family receive justice. Thus, the principle evolves that criminal justice must consider the extent of â€Å"h arm caused by the criminal† and award a punishment that is â€Å"proportionate† to the crime (Bidinotto 20). However, the opponents of capital punishment hold the view that punitive measures derive from the concept of vengeance and the â€Å"vindictive notion of an eye for an eye† (23). Refuting this theory, Bidinotto argues that justice does not rely on the notion of vengeance but, on the other hand, is â€Å"based on retribution† (23). He further contends that showing mercy to murderers amounts to â€Å"negation of simple justice† and will actually act as an encouragement for criminals as they can â€Å"gain more from crimes than any costs they will have to bear† (23). Thus, it becomes evident that a punishment proportionate to the crime is only moral and, therefore, the award of capital punishment to a murderer is justified. Deliberate murder is a crime that destabilizes the society and, therefore, when such crimes occur the community has a responsibility to respond. The death penalty can be considered as a â€Å"uniquely powerful† response to such a crime due to its being a â€Å"permanent† solution that cannot be â€Å"retracted or overturned† (Gelernter 26). Thus, by awarding death penalty to criminals who commit the offence of premeditated homicide, society makes a proclamation that such crimes are â€Å"absolutely evil and absolutely intolerable† (26). Therefore, it will dissuade criminals from engaging in such crimes and reduce murders. Though the opponents of death penalty are

Lars Von Trier Essay Example for Free

Lars Von Trier Essay Lars Trier was born in Kongens Lyngby, north of Copenhagen, the son of Inger Trier (nà ©e Hà ¸st, 1915—1989). He had believed that his biological father was Ulf Trier (1907—1978), until his mother revealed to him on her deathbed that he had been conceived as a result of an affair she had with her employer, Fritz Michael Hartmann. His mother considered herself a Communist, while his father was a Social Democrat, and both were committed nudists,[5] and the young Lars went on several childhood holidays to nudist camps. They regarded the disciplining of children as reactionary. Trier has noted that he was brought up in an atheist family, and that although Ulf Trier was Jewish, he was not religious. His parents did not allow much room in their household for feelings, religion, or enjoyment, and also refused to make any rules for their children,[6] with complex results for von Triers personality and development.[7] He began making his own films at the age of 11 after receiving a Super-8 camera as a gift and continued to be involved in independent moviemaking throughout his high school years.[3] In 1979, he was enrolled in the National Film School of Denmark.[8] His peers at the film school nicknamed him von Trier. The name is sort of an inside-joke with the von (German of or from used as a nobiliary particle), suggesting nobility and a certain arrogance, while Lars is a very common and Trier not an unusual name in Denmark.[9] He reportedly kept the von name in homage to Erich von Stroheim and Josef von Sternberg, both of whom also added it later in life.[10] During his time as a student at the school he made the films Nocturne and The Last Detail, both of which won Best Film awards at the Munich International Festival of Film Schools.[11][12] In 1983 he graduated with the 57-minute Images of Liberation, which became the first Danish school film to receive a regular theatrical release.[13] Europe trilogy After graduation he began work on the very stylized crime drama, The Element of Crime (Forbrydelsens element 1984), which won a technical award at the Cannes Film Festival. His next film was Epidemic (1987), which was also shown at Cannes in the Un Certain Regard section. The film is partly a dark science fiction-tale of a future plague epidemic, and partly chronicles two filmmakers (played by Lars von Trier and screenwriter Niels Và ¸rsel) preparing that film, with the two storylines ultimately colliding. For television von Trier directed Medea (1988), which won the Jean dArcy prize in France. It was based on a screenplay by Carl Th. Dreyer and starred Udo Kier. He completed the Europe-trilogy in 1991 with Europa (released as Zentropa in the U.S.), which won the Prix du Jury at the 1991 Cannes Film Festival[14] and picked up awards at other major festivals. In 1990 he also directed the music video for the worldwide hit Bakerman by Laid Back.[15] This video was reused in 2006 by the English DJ and artist Shaun Baker who did a remake of Bakerman. Zentropa and The Kingdom In 1992 he and producer Peter Aalbà ¦k Jensen founded the movie production company Zentropa Entertainment, named after a train company in Europa, their most recent film at the time.[8] The reason for doing this was to achieve financial independence and to have total creative control. The production company has produced many movies other than von Triers own as well as television series. It also has produced hardcore sex films: Constance (1998), Pink Prison (1999), HotMen CoolBoyz (2000) and All About Anna (2005). In order to make money for his newly founded company,[16] he made The Kingdom (Riget, 1994) and The Kingdom II (Riget II, 1997), a pair of miniseries recorded in the Danish national hospital, the name Riget being a colloquial name for the hospital known as Rigshospitalet (lit. The Kingdoms Hospital) in Danish. A projected third installment in the series was derailed by the 1998 death of Ernst-Hugo Jà ¤regà ¥rd, who played Helmer, one of the major characters. Dogme 95 In 1995, Lars von Trier and Thomas Vinterberg presented their manifesto for a new cinematic movement which they called Dogme 95. It would however take a while before the first of these films appeared, and at this point many thought of the concept mainly as a radical idea with no future.[citation needed] In 1996, von Trier conducted an unusual theatrical experiment in Copenhagen involving 53 actors, which he titled Psychomobile 1: The World Clock. A documentary chronicling the project was directed by Jesper Jargil, and was released in 2000 with the title De Udstillede (The Exhibited). Von Triers next film, Breaking the Waves (1996), the first film in von Triers Golden Heart Trilogy, won the Grand Prix at Cannes and featured Emily Watson, who was nominated for the Academy Award for Best Actress. Its grainy images and hand-held photography pointed towards Dogme 95. The second was The Idiots (1998), nominated for a Palme dOr, which he presented in person at the Cannes Film Festival notwithstanding his dislike of travelling. Dancer in the Dark (2000) was the final component of the trilogy. As originator of the Dogme 95 concept, which has led to international interest in Danish film as a whole, he has inspired filmmakers all over the world.[17] Trier and Thomas Vinterberg, who created the Dogme 95 Manifesto and the Vow of Chastity together with their fellow Dogme directors Kristian Levring and Sà ¸ren Kragh-Jacobsen shared in 2008 the European Film Award European Achievement in World Cinema. Explicit images Von Triers use of sexually explicit images in The Idiots (1998) started a wave[citation needed] of arthouse mainstream films with unsimulated sex, such as Catherine Breillats Romance (1999), Baise-Moi (2000), Intimacy (2001), Vincent Gallos The Brown Bunny (2003) and Michael Winterbottoms 9 Songs (2004). In 1998, Lars von Trier also made history by having his company Zentropa be the worlds first mainstream film company to produce hardcore pornographic films. Three of these films, Constance (1998), Pink Prison (1999) and the adult/mainstream crossover-feature All About Anna (2005), were made primarily for a female audience, and were extremely successful in Europe, with the first two being directly responsible for the March 2006 legalizing of pornography in Norway.[18] Women too like to see other people having sex. What they don’t like is the endless close-ups of hammering bodyparts without a story. Lars von Trier is the first to have realised this and produced valuable quality porn films for women. — Stern No. 40, 27 September 2007[19] Lars von Triers initiative spearheaded a European wave of female-friendly porn films from directors such as Anna Span, Erika Lust and Petra Joy, while von Triers company Zentropa was forced to abandon the experiment due to pressure from English business partners.[20] In July 2009, womens magazine Cosmopolitan ranked Pink Prison as No. 1 in its Top Five of the best women’s porn, calling it the role model for the new porn-generation.[21] Lars von Trier would return to explicit images in his self-directed Antichrist (2009), exploring darker themes. 2000s In 2000, von Trier premiered a musical featuring Icelandic musician Bjà ¶rk, Dancer in the Dark. The film won the Palme dOr at Cannes.[22] The song Ive Seen It All (which Trier co-wrote) received an Academy Award nomination for Best Song. The Five Obstructions (2003), made by Lars von Trier and Jà ¸rgen Leth, is a documentary, but also incorporates lengthy sections of experimental films. The premise is that Lars von Trier challenges director Jà ¸rgen Leth, his friend and mentor, to remake his old experimental film The Perfect Human (1967) five times, each time with a different obstruction (or obstacle) specified by von Trier.[23] He then directed two films in his announced U.S. trilogy: Dogville (2003), starring Nicole Kidman and Manderlay (2005), starring Bryce Dallas Howard in the same role – as Grace. Both films are extremely stylized, with the actors playing their parts on a nearly empty soundstage with little but chalk marks on the floor to indicate the sets. Both films had huge casts of major international actors (Harriet Andersson, Lauren Bacall, James Caan, Danny Glover, Willem Dafoe, etc.), and questioned various issues relating to American society, such as intolerance in Dogville and slavery in Manderlay. Controversy erupted on the 2004 set for Manderlay when actor John C. Reilly walked off the Trollhà ¤ttan, Sweden, set in late March. Reilly walked off the film when he learned that an upcoming scene involved the slaughter of a donkey for food. The films producer says the animal—who was old and not expected to live much longer—was killed off-camera by a certified veterinarian, in accordance with Swedish law. Reilly was replaced by Zeljko Ivanek.[24] The U.S. was also the scene for Dear Wendy (2005), a feature film directed by von Triers Dogme-brother Thomas Vinterberg from a script by von Trier. It starred Jamie Bell and Bill Pullman and dealt with gun worship and violence in American society. In 2006, von Trier released a Danish-language comedy film, The Boss of it All. It was shot using a process that von Trier has called Automavision, which involves the director choosing the best possible fixed camera position and then allowing a computer to randomly choose when to tilt, pan or zoom. It was followed by an autobiographical film, De unge à ¥r: Erik Nietzsche sagaen del 1 (2007), scripted by von Trier but directed by Jacob Thuesen, which tells the story of von Triers years as a student at the National Film School of Denmark. It stars Jonatan Spang as von Triers alter ego, called Erik Nietzsche, and is narrated by von Trier himself. All main characters in the film are based on real people from the Danish film industry,[citation needed] with the thinly veiled portrayals including Jens Albinus as director Nils Malmros, Dejan ÄÅ'ukić as screenwriter Mogens Rukov and Sà ¸ren Pilmark in an especially unflattering portrayal as sex-obsessed school principal Henning Camre. Von Triers next feature film was Antichrist, an art film about a grieving couple who retreat to their cabin in the woods, hoping a return to Eden will repair their broken hearts and troubled marriage; but nature takes its course and things go from bad to worse. The film, which includes sexually explicit content, stars Willem Dafoe and Charlotte Gainsbourg. It premiered in competition at the 2009 Cannes Film Festival, where the festivals jury honoured the movie by giving the Best Actress award to Gainsbourg.[25] The Cannes Film Festival Ecumenical Jury, which gives prizes for movies that promote spiritual, humanist and universal values, also honoured the film with a special anti-award; a spokesman for the jury described it as the most misogynist movie from the self-proclaimed biggest director in the world.[26] In 2010 the Swedish newspaper Dagens Nyheter reported on their website that the film production company Zentropa is reportedly making more revenue from suing movie pirates in Germany that have downloaded Antichrist illegally than from box office and DVD sales, demanding a payment of around 1,300 euros per download to avoid legal action.[27] 2010s Von Triers latest work is Melancholia, a psychological disaster drama;[28] shot between 22 July and 8 September 2010 at Film i Và ¤sts studios in Trollhà ¤ttan, Sweden,[29] and with exteriors in the area surrounding the Tjolà ¶holm Castle.[30] Magnolia Pictures has acquired the distribution rights for North America.[31] The film was in competition at the 2011 Cannes Film Festival.[32] Von Trier announced that after finishing Melancholia he hopes to begin production of The Nymphomaniac, a two-part film about the sexual awakening of a woman (Charlotte Gainsbourg).[33] The director explained how he got the idea for the upcoming project: my DP on [Melancholia], Manuel Claro, at one point voiced a surprising prejudice. He urged me not to fall into the trap that so many aging directors fall into – that the women get younger and younger and nuder and nuder. Thats all I needed to hear. I most definitely intend for the women in my films to get younger and younger and nuder and nuder .[34] The announced cast includes Gainsbourg, Stellan Skarsgà ¥rd, Shia LaBeouf, Willem Dafoe, Connie Nielsen, Jamie Bell, Jens Albinus, Jesper Christensen and Nicole Kidman. Phobias Von Trier suffers from multiple phobias, including an intense fear of flying.[35] His fear of air travel frequently places severely limiting constraints on him and his crew, necessitating that virtually all of his films be shot in either Denmark or Sweden, even those set in the United States or other foreign countries. Von Trier has had a number of his films featured at the Cannes Film Festival over the course of his career, and each time has insisted on driving from Denmark to France for the festival and back. On numerous occasions von Trier has also stated that he suffers from occasional depression which renders him incapable of performing his work and unable to fulfill social obligations.[36] Filming techniques Lars von Trier has said that a film should be like a stone in your shoe. In order to create original art he feels that filmmakers must distinguish themselves stylistically from other films, often by placing restrictions on the filmmaking process. The most famous restriction is the cinematic vow of chastity of the Dogme95 movement with which he is associated, though only one of his films, The Idiots, is an actual Dogme 95 film. In Dancer in the Dark, jump shots[37] and dramatically-different color palettes and camera techniques were used for the real world and musical portions of the film, and in Dogville everything was filmed on a sound stage with no set where the walls of the buildings in the fictional town were marked as lines on the floor. Von Trier often shoots digitally and operates the camera himself, preferring to continuously shoot the actors in-character without stopping between takes. In Dogville he let actors stay in character for hours, in the style of method acting. These techniques often put great strain on actors, most famously with Bjà ¶rk during the filming of Dancer in the Dark. Often he uses the same regular group of actors in many of his films: some of his frequently used actors are Jean-Marc Barr, Udo Kier and Stellan Skarsgà ¥rd. He is heavily influenced by the work of Carl Theodor Dreyer[38] and the film The Night Porter.[39] He was so inspired by the short film The Perfect Human directed by Jà ¸rgen Leth that he challenged Leth to redo the short five times in feature film The Five Obstructions.[40] Trilogies Von Trier has on occasion referred to his films as falling into thematic and stylistic trilogies. This pattern began with his first feature film, marking the beginning of The Europa Trilogy, though he claims a trilogy was not initially planned, instead being applied to the films in retrospect. The Europe trilogy illuminated the traumas of Europe in the past and future. This trilogy includes The Element of Crime (1984), Epidemic (1987) and Europa (1991). The Golden Heart trilogy was about naive heroines who maintain their golden hearts despite the tragedies they experience. This trilogy consists of Breaking the Waves (1996), The Idiots (1998) and Dancer in the Dark (2000). While all three films are sometimes associated with the Dogme 95 movement, only The Idiots is a certified Dogme 95 film. The USA: Land of Opportunities trilogy follows the character of Grace, and is set in a stylized American past. Von Trier has stated he was inspired to make a trilogy about the United States as a reaction to Americans at the Cannes film festival who said he had no right to make the Dancer in the Dark,[8] which was often viewed as being critical of a country he has never been to (and has no intention of ever visiting, due to his phobia of travel); however, von Trier himself has stated in interviews he did not intend it to be a criticism of America, saying the film takes place in a fictional America. Von Trier proposed the films as ‘a series of sermons on America’s sins and hypocrisy’[citation needed], inspired by the fact that American movie makers have made many movies about places across the world to which they have not travelled. All three movies will be shot in the same distinctive style, on a bare sound stage with no set and buildings marked by lines on the floor. This style is inspired by 1970s televised theatre. The trilogy will consist of Dogville (2003), Manderlay (2005) and the so far not produced Washington. The Depression Trilogy consists of Antichrist, Melancholia and the yet to be completed, Nymphomaniac. All three star Charlotte Gainsbourg and deal with characters that deal with depression or grief in different ways. This trilogy is said to represent the current depression that von Trier himself is currently going through. The Kingdom (Riget) was planned as a trilogy of three seasons with 13 episodes in total, but the third season was not filmed due to death of star Ernst-Hugo Jà ¤regà ¥rd shortly after completion of the second season. Biological father In 1989, von Triers mother revealed on her deathbed that the man who he thought was his father was not, and that she had had a tryst with her former employer, Fritz Michael Hartmann (1909–2000),[41] who descended from a long line of Roman Catholic classical musicians (his grandfather was Emil Hartmann, his great grandfather J.P.E. Hartmann, his uncles included Niels Gade and Johan Ernst Hartmann and thus Niels Viggo Bentzon was his cousin). She stated that she did this in order to give her son artistic genes.[42] Until that point I thought I had a Jewish background. But Im really more of a Nazi. I believe that my biological fathers German family went back two further generations. Before she died, my mother told me to be happy that I was the son of this other man. She said my foster father had had no goals and no strength. But he was a loving man. And I was very sad about this revelation. And you then feel manipulated when you really do turn out to be creative. If Id known that my mother had this plan, I would have become something else. I would have shown her. The slut![43] During the German occupation of Denmark, Fritz Michael Hartmann worked as a civil servant and joined a resistance group (Frit Danmark), actively counteracting any pro-German and pro-Nazi colleagues in his department.[44] Another member of this infiltrative resistance group was Hartmanns colleague Viggo Kampmann, who would later become prime minister of Denmark.[45] After four awkward meetings with his biological father, the man refused further contact.[46] The revelations led von Trier to attempt to erase the connections with his stepfather by converting to Catholicism, and to rework his filmmaking into a style emphasizing honesty.[3] I dont know if Im all that Catholic really. Im probably not. Denmark is a very Protestant country. Perhaps I only turned Catholic to piss off a few of my countrymen.[43] In 2009, he declared, Im a very bad Catholic. In fact Im becoming more and more of an atheist.[47] Controversy at 2011 Cannes Film Festival On 19 May 2011, Cannes Film Festivals board of directors declared von Trier persona non grata for comments he made during a press conference for his film Melancholia the day before, an unprecedented move for the film festival.[48][49] Responding to a question by The Times film critic Kate Muir about his German roots and his comments in a Danish film magazine about the Nazi aesthetic, von Trier claimed to have some sympathy for and understanding of Adolf Hitler,[50] and then jokingly claimed to be a Nazi himself:[51][52] Von Trier at the 2011 Cannes Film Festival. What can I say? I understand Hitler, but I think he did some wrong things, yes, absolutely. Hes not what you would call a good guy, but I understand much about him, and I sympathize with him a little bit. But come on, Im not for the Second World War, and Im not against Jews. I am of course very much for Jews, no not too much, because Israel is pain in the ass, but still how can I get out of this sentence. — Press Conference for Melancholia, Cannes, 2011[53][54] Referring to the art of Nazi architect Albert Speer, von Trier added: he had some talent that was kind of possible for him to use during Ok, Im a Nazi. Then, to Toronto Star film critic Peter Howell, who questioned whether Melancholia could be an answer to Hollywood blockbusters and asked von Trier if he could â€Å"envision doing a film on a grander scale than this†, von Trier replied: On a grander scale? Yeah. Yeah thats what we Nazis, we have a tendency to do things on a greater scale. Yeah, maybe you could persuade me into the final solution with journalists. Hours later, von Trier released a brief statement of apology about his comments at the press conference: If I have hurt someone this morning by the words I said at the press conference, I sincerely apologise. I am not anti-semitic or racially prejudiced in any way, nor am I a Nazi.[55] The next day, the festival directors held an extraordinary meeting, deciding his remarks were unacceptable, intolerable and contrary to the ideals of humanity and generosity that preside over the very existence of the festival. [] The board of directors condemns these comments and declares Lars von Trier persona non grata at the Festival de Cannes, with effect immediately.[55] Afterwards, von Trier held a news conference of his own in Danish. His first remark to the Danish journalists was: If any of you journalists will beat me, so just do it. I will enjoy it. He went on to say that The Holocaust is the worst crime that ever happened. I have nothing against Jews. I have a Jewish name, and all my children have Jewish names. He admitted that his remarks about the Nazis had been misguided, saying It was really stupidly done and it was in the wrong forum. At the press conference with Danish journalists, there were no problems, but I do not think the international journalists understand my Danish humor. But he also said he was proud to have been kicked out of the Cannes festival: I am proud to have been declared persona non grata. It is perhaps the first time in cinematic history, it has happened. I think one reason is that French people treated the Jews badly during World War II. Therefore, it is a sensitive topic for them. I respect the Cannes festival very highly, but I also understand that they are very angry at me right now.[56][55] Speaking to other news outlets he said that his comments were very sarcastic and very rude, but thats very Danish. He also added, I dont sympathize with Hitler for one second.[57] In the October 2011 issue of GQ, von Trier is quoted in an interview saying he was not really sorry for the comments he made, only sorry he didnt make it clear that he was joking. He added, I cant be sorry for what I said—its against my nature.[58] On 5 October 2011, von Trier was interviewed by police in Denmark about his remarks at Cannes. Afterwards, he announced that he had decided from this day forth to refrain from all public statements and interviews.[59] Honours Von Trier was made a Knight of the Order of the Dannebrog on 14 January 1997.[60] Ten years later von Trier decided to hand back the prize, saying that the Danish royal family are just simple people of bad quality.[61]

The bullwhip effect

The bullwhip effect Erratic shifts up and down the supply chain is known as the bullwhip effect, and is one of the major difficulties in properly setting inventory levels in various parts of the supply chain (Turban, Leidner, McLean, Wetherbe, 2008). Economists call it a bullwhip because even small increases in demand can cause a big snap in the need for parts and materials further down the supply chain. It has the domino effect, because of the spontaneous demand along the supply chain. This may be an insignificant problem for any one customer, but for the supplier it is huge and costly. Some of the things that contribute to this are price fluctuation, poor demand forecast, order batching, and rationing within the supply chain (Turban, Leidner, McLean, Wetherbe, p.360). Actual demand for a product is influenced by several factors such as competition, prices, weather conditions, technological developments, and consumers general confidence. These would be considered external and unmanageable factors. There are other uncertainties involved as well that can have an effect on the supply chain such as problems in delivery time due to production machine failures. Techniques to lessen or curtail the bullwhip effect would be to understand and recognize who or what is suggesting the variations in demand. Is it the retailer, manufacturer, the customer, or the distributor? The key element to eliminating this setback is being aware of where the demand changes are beginning. Techniques that can be used or put into place to reduce the bullwhip effect is sharing information along the supply chain, Vendor Managed Inventory (VMI), and managing e-business. The most obvious way to reduce the bullwhip effect is to improve communication and forecasting along the supply chain (ehow.com). Master Data Management (MDM) is can be looked at to integrate all data in an organization at the highest level, both internally and externally. One of the most notable examples of information sharing is between large manufacturers and retailers (Turban, Leidner, McLean, Wetherbe, p.307). Inventory if properly managed, it can increase profits and efficiency. The implementation of a Vendor-Managed Inventory (VMI) initiative would be a key factor in improving and controlling the bullwhip effect. VMI indicates that the vendor, usually a distributor, maintains the inventories for manufacturer or buyer and in turn will reduce warehouse costs for suppliers. VMI alleviates uncertainty o f demand and replenishment decisions can be made according to operating needs, and also has heightened awareness of trends in demand. E-commerce brings about new opportunities to improve the performance of the supply chain. The primary advantages of internet utilization are speed, decreased costs, the potential to shorten the supply chain, and flexibility. Electronic marketplaces provide for more efficient resource allocation, better information flow and dissemination on products and services in the supply chain. Electronic data interchange (EDI) can be implemented to help supply chain mangers in reducing misleading signals sent from sales and marketing (distribution). Enterprise resource planning (ERP) is one of the most successful tools for managing supply chains. ERP is software that integrates the planning, management, and use of all sources in the entire enterprise (Turban, Leidner, McLean, Wetherbe, p.2008). The major objective is to integrate all departments and functional information flow across a company onto a single computer system that can serve all of the enterprises needs. A plan created from an SCM system that allows companies to quickly assess the impact of their actions on the entire supply chain, including customer demand, can only be done with the integration of ERP software. ERP and SCM can help alleviate the bullwhip effect across the supply chain by having a shared understanding of what needs to get done, managing the variations in the organization, communication among all thats involved especially top management, and having single control of replenishment or VMI can overcome inflated demand forecasts. Long lead times should also be reduced where it is reasonably beneficial. References: Understanding the BullWhip Effect in Supply Chains. Retrieved March 18, 2010, from http://sloanreview.mit.edu/improvisations/2010/01/27/understanding-the-bullwhip-effect-in-supply-chains/. Turban, E., Leidner, D., McLean, E., Wetherbe, J. (2008). Information technology for management: Transforming organizations in the digital economy. (6th ed.) Hoboken, NJ: John Wiley Sons. http://www.ehow.com/how_5154541_reduce-bullwhip-effect.html

Joy Luck Club: In depth behind Tan and her Writing :: essays research papers fc

The Joy Luck Club was her first big success and was translated into seventeen languages and stood at New York Times best-seller list for nine months. The plot follows the lives of four Chinese Immigrant mothers and their American born daughters. Tan weaves an intricate story as the the four families intertwine and reveal their own secrets forming and strengthening the mother daughter bond.   Ã‚  Ã‚  Ã‚  Ã‚  The story begins on one daughter, Jing-mei, who takes the place of her mother at the Joy Luck Club table in place of her mother (Suyan Woo) who had died. This club was created by the four mothers of the story, Suyan Woo, An-mei Hsu, Lindo Jong, and Ying-ying St. Clair during the war. The mothers met and played Mah-Jong, ate good dinners, and gambled. All to escape the cruelties of their lives, to brighten their spirits.   Ã‚  Ã‚  Ã‚  Ã‚  Jing-mei learns of her mother's past, of her difficult decisions such as leaving behind two daughters in China on the side of the road. The club learns of the location of those two daughters and are saving to send Jing-mei to meet them.   Ã‚  Ã‚  Ã‚  Ã‚  As the date nears each mother recalls in vivid detail their own pasts in China.   Ã‚  Ã‚  Ã‚  Ã‚  An-mei (mother of Rose Hsu) as a child was forbidden to speak her mother's name. She was told her mother dishonered the family by remarrying after her husbands death. Her mother ends up killing herself to give An-mei a better position in life.   Ã‚  Ã‚  Ã‚  Ã‚  Lindo (mother of Waverly Jong) had her marriage arranged when she was very young. The young man she was destined to wed was spoiled and immature. Lindo fabricated a an elaborate story about an angry ancestor who would kill her husband should they stay married. She was given money and pushed off to America and was told to not speak of the curse to anyone.   Ã‚  Ã‚  Ã‚  Ã‚  Ying-ying (mother of Lena St. Clair) discovered as a child that the magic and wonder of many things she believed in such as a favorite Moon Festival was only an elaborate act. As an adult Ying is a strong character, not letting things in general affect her.   Ã‚  Ã‚  Ã‚  Ã‚  The daughters also remember their own lives growing up in California with their Chinese mothers. Many of the daughters grew up, like Tan, feeling they belonged neither in China nor in America and began to reject and question their own background.   Ã‚  Ã‚  Ã‚  Ã‚  Waverly was a chess champion, she quit when she and her friend