A Discussion of Tim Walkers Work Essay Example for Free

A Discussion of Tim Walkers Work Essay Walkers’ upbringing in Guildford, surrounded by country has left in him with a feeling of love when it comes to Britain’s landscapes that he wants to show it off in his images, in any which way he can. This essay compares and contrast two works by Tim Walker that are identifiable as his signature style, however individually differ in diverse ways to each other. Taking into consideration the ideas behind the image and how and where he draws his inspiration from to create images that inspire others. His style so unique and recognisable, this essay will take into consideration the historical and social contexts to his works and if his style is a reflection of his inner self, childhood and naturally occurring ideas, or if this style is something he created and now lives within. After graduating from Exeter College of Art, where he studied photography for 3 years, Walker worked as a freelance photography assistant in London. However, it was his move to New York and assisting the photographer Richard Avedon that may have forwarded his career so that at the very early age of 25 he had shot his first fashion story for Vogue. Today a London based photographer, Tim Walker is at the top of his profession and internationally known for his cutting- edge fashion photography; taking fashion further so that fashion becomes seconded to fantasy and surrealism. Walkers innovative photography places him in the midst of the most creative and imaginative photographers out there today. ‘Tim sees pictures in front of him which are not yet there’ (DERRICK, 2008, p124. It is the detailed planning of every image and the ideas that starts the process of the final images he is famous for; for each project of Tim’s, you’ll be able to find a scrapbook full of clippings and ideas found from anywhere. ‘My ideas for all my photographs come from any number of places; a film, or a book I’m reading, a story someone tells me. I take loads of visual references and put them into scrapbooks. I’ve got hundreds of them. ’ (WALKER, 2009, [WWW]) It is these scrapbooks that have provided inspiration for a number of Tim’s shoots. But it’s to be remembered that the inspiration has come from things that have already been, but that he took interest in. ‘I don’t believe in originality. You take inspiration from whatever moves you and you find your own voice in those things’ (WALKER, 2008, p242) Tim Walker saying this, is almost find ironic because his pictures are often named original. However, if it is replicated from/inspired by something/anything he may have seen before- as like most pictures- it can only be your take with your voice on it. However Walker’s inspiration doesn’t stop at that, he also looks to photographers before him for inspiration. Cecil Beaton took so many photographs that purely to me represent the joy one gets from creating fantasy† (WALKER TIM, 2009, [WWW]) The opening to Tim Walkers book Pictures, like all others, start with a foreword. However, unlike all others Tim has handwritten his as if it was just another page in his scrapbook. Located only six pages in after only the credits and title, this is really the very first thing you see in the book and it gives great indication to the style of the book and if you did not know much about Tim beforehand; a great introduction to him, his style and how he thinks. Not only is it the actually content of the foreword: ‘as you tour your imagination you want to photograph what you are seeing†¦you are SO very keen to be able to show what you’ve seen that it somehow becomes true, and the picture you end up taking becomes a souvenir, a piece of proof brought back [all the way] from the daydream. ’ (WALKER, 2008, P6) But the design and the layout of the page also: He cleverly drops the control of the layout, slanting the writing just as he talks about his mind drifting. It’s a clever play on the typography that as we read, we too feel as if we’ve sunken into this relaxed state of daydreaming. The way Tim describes in depth the path he often goes on that lands him at the conclusion of an image shows deeply how creative it often is, usually because it begins with something as simple as walking round a clothes store. The pictures he takes then become a snapshot almost, and a gift he shares with us from his imagination†¦from his daydream. Tim’s childhood plays a big part in the ‘fun’ many of his images are filled with. ‘He draws upon his childhood to construct sets for his images that are witty and playful yet sufficiently sophisticated enough to perform for his fashion clients. (THOMAS, 2008, [WWW]) Bringing such essences of an adolescent age into something quite professional could be risky, but it is this that give’s Tim’s pictures that exciting, magical vibe. Tim Walker says in an ICP awards interview, ‘fashion is the dream department for photography and I’ve always been a daydreamer. Tim’s pictures relate to and reflect a time in the 1940’s era and the time of the Neo-Romantic artists, that happened at a time of Britain’s ‘dark hours’. Today, although we might not be in the middle of Second World War, the world is in a state of uncertainty. For Walker, it may just be that creativity in fashion photography and the understanding of make believe places in his imaginations may just be the sort of images that the world need to see, to remember themselves, how magical and escapist day-dreaming can be. The first image of Tim Walkers I have chosen is this one titled ‘Lily Cole on fish hook. ’ Surrealism is a big factor in the creation of a Tim Walker shoot and it is the surrealism in this image that makes it so striking. It grabs your attention straight away and with little effort in the actual design of the image. Although the content is completely random, the image works in so many different ways that you almost don’t recognise it until a few moments after looking. The whole image looks calm; the stillness of the water, the sunlight reflected off of it, the grip of her hands on the hook, her expression. This image is magical, because it looks right, for something that shouldn’t ever be. The shoot was located in Northumberland, England and the location only helps set this calm relaxed scene as well as adding to that ‘very English’ feeling he often brings forth to many of his images. Recreational fishing is fishing for pleasure, with the fisher not really too interested in catching fish, but for the tranquillity and relaxation of it. This shoot, is extremely reflective of this, oozing tranquillity with the colours and calmness. Lily allowing her tip toes to play with the surface of the water, creating disturbance in it, works well within the image; it doesn’t have a negative effect on it, but almost brings her as a model to life. This was not Lily’s first shoot with Tim, and posing as bait on a giant fish hook was nothing out of the ordinary madness. He loved working with the English model, who first posed for him at the age of 15. ‘Some Models know how to stitch and weave themselves into a picture. Lily instinctively knows how to become part of it. ’ (WALKER, 2008, p124) In this image of Lily on the hook, she really does own it; she pulls of her ‘act’ as bait, attracting the fish just with her stance and beauty, and looking calm and really engaged with the photographer. She’s wearing a random collaboration of 3 tutus and her hair fizzed up to mirror them. Although quite dainty and delicate in body, she looks strong and very in control ironic to her state as bait. But this works nicely as the setting of the lake and the fields in the background add to that gentle voice the image has, balancing it nicely. The second image is one that Walker had designed for Italian Vogue. The image named ‘Eglingham Stream’ was shot in Northumberland, England, 2004. The image shows a bedroom with a stream running through it from the fireplace. The room is cluttered, and filled with clear personal belongings of somebody. The contents of the coat stand and the drinks trolley-in which the whiskey is the most noticeable bottle-all refer to the occupant being a man. The fishes on the stone and those in the basket on the table suggest that the person that lives her is a man that has a fond passion for fishing. These objects that the viewer initially notices, cleverly lead them to be mysterious as to what the image is showing us. When looking further into the image, we notice smaller details such as the images framed on the wall that are not of any family members or portraits of him, but of horses and landscapes. This could suggest that he has no family members and is possibly quite a reserved man and this is strengthened by the big matter of his room being right by the lake. It raises questions as to how obsessed this man actually is with fishing, that he has moved his bedroom to live within meters of the lake. Although, there are some signifiers that suggest that a woman is present: the pink bedding and net chiffon, the frill trimmed lamps and the two tooth brushes on the chest of drawers. There is also a small portrait of a young boy in the frame above the fireplace. Because of how out of place this looks as the only one, it seems to be a ‘woman’s touch’, as do the shells on top of the fireplace. The image as a whole has a romantic, feminine and fantastical feel-created by the lighting and whispery stream-that is signature to Walkers style. The shoot seems to be set in the twilight hour, or in the early evening, indicated by the bluely tint to the night and the 3 lamps in the room being on. The absence in the room could well just mean that the man is off fishing with his dog shown by the empty dog basket. There are many things about both the images that make them similar when talking about them in context of Walkers style. Both images were shot in Northumberland in the same year and although it isn’t stated, the lake that we see Lily suspended above is likely to be part of the stream that is present in the second image. The images both have strong fishing references to them: Lily is suspended on a giant fishing hook, and the setting of the second is the home of someone completely obsessed with fishing. The images are not part of the same set or story, and do not look it either. However, contextually, they seem to work hand in hand. Having the countryside and fields in the background that run our eyes to the edge of the Fish Hook image just above the halfway line is similar in comparison to the way the Eglingham Stream image is cut off. This image is split by the striking pink/reddish colour of the walls meeting the grey wet slate form the stream that make the bedroom floor. Both splitting factors are of natural earthly objects; possibly representing that county, earthly, English vibe Walker has been known to create in many of his images. There is a terrible truthfulness about photography that the ideas which might work in a painting or a sketch won’t necessarily work in a photograph’ (UNKNOWN, 2008, p254. ) This statement is from Tim Walkers book Pictures and although this was not said in reference to Walkers work, it almost seems as if this is something he fights hard to overcome in his own pictures. He doesn’t let the normal be a limi t, he combines familiarity with fantasy and imagination to create what has never been seen before. This is what gives them that edge over many other fantastic editorials, and sketching ideas to visualise them is a big thing with Tim Walker; something he prides his work upon. Despite all their similarities, the images are in fact very different and not only of location and setting, but of story and design. In the first image of Lily on the hook, that is the surrealism; this beautiful girl dressed in a random combination of tutus with huge frizzy ginger hair hanging on a fishing hook. This is what we are supposed to look at and see the dreamlike, far from ordinary image in front of us. In the second image, the stream running out of the fire place through the middle of the room is also surreal, but that’s not only what the image is about. It’s about the story the scene creates. Yes you look at the stream and think ‘wow’ and begin to question it, but it doesn’t stop there, your questioning goes on to the room and what the contents of it mean. The images also differ in terms of layout. The first is portrait and works better in this format as it allows the full size of the hook to be appreciated. If this was on a landscape layout, the surrealism of the hook may not be fully valued due to it physically having to be shrunk on the page. However, the double page landscape layout for the second image allows a full viewing of the room and many details and objects to be noticed. This image in a portrait layout would not be successful as the image would have to be shrunken or cropped- both having negative effects on the way the image is viewed. The subject matter and the use of a model being used in the first image but not in the second is another differing factor between them both. Lily as a model is the subject in Figure 2 that the viewer connects with; she gives the image that presence so that when we look at it, it’s not just a picture, it’s a situation that we feel as if we are now part of. In Figure 3, Tim Walker is successful in including the viewer, but in a very different way and without using any models; we are invited to look into somebody’s bedroom while they are not there and just by looking at the photograph, the viewer becomes an intruder. But this intrusion plays as a foundation for the story behind the image, the one we seek out and uncover more of the more we look at it. Although the lamps warm up the image, it still has this cold feel created by the grey stones, real flowing stream and lack of natural light. The absence of anybody in the room assists in creating this ‘chill-in- the-air’ feeling. Figure 2, where Lily is standing on a large fishing hook, has a surprisingly warm tone to it and this may be due to her relaxed pose and the warming colours present in the image: The ginger of her hair, the red of her tutu and the fishing tackle and the brown/copper of the lake. The colours are softened by the sunlight adding to that warm tone. ‘Photography is a bit like cooking: you take the ingredients out of the cupboard and mix them up- old pictures, characters, colours, landscapes, to create something that is in your imagination that surprises you. ’ (WALKER, 2009, P208) It is clear to see that Walker uses certain ingredients in both of these images; fantasy and surrealism become like the salt and pepper; the underlying flavour and present always. After looking at Lily On The Hook and Eglingham Stream in comparison to each other, many similarities are because of Walkers ‘style’ that are consistent throughout. Even though both are editorials, contently, technically and visually, there is a big difference between them. Creatively, they are alike. These are just two out of hundreds of Tim Walkers photographs, but as like all of his images, there will always be something magical, fantastical or romantic to hint that the image was photographed by Walker. The images are real in their own terms; that is what they are. As a fashion photographer you are a documentary photographer within a fantasy land. ’ (WALKER, 2009, p210) By Walker referring to himself as a documentary photographer within a fantasy land gives us a clear insight to how he sees fashion photography; in a childlike day-dream way. He escapes to this place in which his imagination can be real and he sees his job as a photographer to document this.

Post Operative Care After Gall Stone Removal

Post Operative Care After Gall Stone Removal Bianca Robinson Patients who are undergoing operative procedures are required the delivery of ongoing care to optimize their recovery and prevent complications. This delivery of care will enable early identification of circumstances surrounding surgery that may put patients at risk of harm. Mr Whakanna is a 36 year old Polynesian male who has just returned to the ward after having a laparoscopic cholecystectomy. A laparoscopic cholecystectomy is the surgical removal of the gall bladder using laparoscopic technology in a process also known as keyhole surgery (Graham, 2008, p. 47). The aim of this report is to identify and prioritize the problems associated with in the first four hours of Mr Whakaana’s return. It is important for nurses to have an understanding of gallstone disease and the surgical procedure, to ensure that patients are cared for with empathy but also safely and effectively. This report presents the four highest problems that may occur with Mr Whakaana on return to the ward fro m surgery. ABCD’s, Vital Signs and Pain Although different surgical procedures require specific and specialist nursing care, the principles of post-operative care remain the same. It is essential for a structured assessment of Mr Whakaana to be carried out such as that described by Elliot, Aitken Chaboyer (2007) where Airway, Breathing, Circulation, Disability and Environment are examined. This is known as a primary assessment, and is used to identify any signs of airway obstruction, respiratory failure, circulatory failure or neurological dysfunction (Graham, 2008). In this scenario, the nurse must pay particular attention to Mr Whakaana’s airway due to the fact that he has been administered 8mg of morphine, and morphine can cause respiratory depression (Tiziani, 2010). Bradypnoea is a respiratory rate less than 12 breathes per minute in an adult at rest, and is the first sign of respiratory depression; Mr Whakaana should be monitored closely to prevent this (Tiziani, 2010). Mr Whakaana’s conscious state sh ould also be monitored especially as he is currently scored as 1 on the Glasgow Coma Scale, the nurse must pay particular attention to this to ensure that Mr Whakaana does not go into shock (Elliot, Aitken Chaboyer, 2007). It is also helpful to include the patency of drainage systems and vascular devices into your primary assessment of Mr Whakaana, and note if any allergies are known (Elliot, Aitken Chaboyer, 2007). Vital signs should be assessed as often as possible (every half hour/hour) during the first four hours of Mr Whakaana’s return to the ward to determine any signs of deterioration. Vital sign measurements include blood pressure, respirations, pulse, temperature and oxygen saturation levels. Changes in Mr Whakaana’s blood pressure can be used to monitor changes in his cardiac output; pulse assessment can determine Mr Whakaana’s heart rate and rhythm, and can estimate the volume of blood being pumped by his heart (Elliot, Aitken Chaboyer, 2007). Core body temperature differences can occur in illnesses and an abnormal reading can be an indication of infection; Mr Whakaana’s temperature is 36.5C at present, which is within normal range (REFERENCE). Pulse oximeters give a non-invasive estimate of the arterial haemoglobin oxygen saturation, and measurement should always be above 95% (REFERENCE). The nurse should be aware that Mr Whakaana is currently on 3L per m inute of oxygen via nasal prongs, as this could give a false sense of security when recording/documenting Mr Whakaana’s oxygen saturation (Elliot, Aitken Chaboyer, 2007). Pain and discomfort are also important factors in Mr Whakaana’s postoperative period as good pain control is required for an optimal physical and psychological recovery. Post-operative nausea and vomiting (PONV) is common after laparoscopic cholecystectomy because of peritoneal gas insufflation and manipulation of the bowel (Graham, 2008). There are additional risk factors to consider including the use of peri-operative opioids (REFERENCE). Opioids, such as morphine, are a common cause of PONV and so their use, even during laparoscopic cholecystectomy, should be kept to the required minimum. Pain should be measured using an assessment tool that identifies the quantity and quality experienced of Mr Whakaana’s pain. Patients’ self-reporting of their pain is regarded as the gold standard of pain assessment measurement as it provides the most valid measurement of pain (REFERENCE). Self-reporting can be influenced by numerous factors including mood, sleep disturbances and medications and may result in patients not reporting pain accurately (REFERENCE). For example, Mr Whakaana may not report his pain because of the effects of sedation or lethargy and reduced motivation as a consequence of the surgery. Fluid Balance / Output Patients following surgery are vulnerable to fluid and electrolyte imbalance due to many factors, including blood loss, fasting for long periods and exposure during surgery (Walker,2003). Therefore an accurate measurement of Mr Whakaana’s fluid balance is an essential factor in evaluating his condition. This should include strict readings of the output of drains as well as urine and vomit, and the measurement of fluid intake (oral, nasogastric and intravenous). Wound drainage sites and the surgical wound itself should be inspected at regular intervals for excessive blood loss, as this may indicate haemorrhage. Other factors that should be taken into account include diarrhoea, sweating and the use of diuretic therapy. Blood Sugars Diabetes is associated with an increased requirement for surgical procedures and increased postoperative morbidity and mortality (Dagogo-Jack Alberti, 2002). Hyperglycaemia impairs leukocyte function and wound healing (Tiziani, 2010). The management goal for Mr Whakaana is to optimize metabolic control through close monitoring, adequate fluid and caloric repletion, and sensible use of insulin (Dagogo-Jack Alberti, 2002). This assessment is to prevent hyperglycaemia and prevent further complications during Mr Whakaana hospital stay. Infection /Sepsis Conclusion Although postoperative care is a daily occurrence within many areas of practice, it is evident that the theory underpinning nursing actions is often forgotten in daily practice and hence actions may not be prioritised as they should be. It is hoped that this paper has enabled the reader to revisit the principles underpinning postoperative care. Such care must be viewed as a priority, and although there are local policies in place to guide nursing staff, the responsibility for understanding the reasons for actions lies with each individual practitioner. REFERENCES Dagogo-Jack,S., Alberti,K.G. (2002). Management of Diabetes Mellitus in Surgical Patients.Diabetes Spectrum. doi:10.2337/diaspect.15.1.44, Retreived from http://spectrum.diabetesjournals.org/content/15/1/44.full Elliott,D., Aitken,L.M., Chaboyer,W., Australian College of Critical Care Nurses (2007).ACCCNs critical care nursing. Sydney: Mosby Elsevier. Graham, L. (2008). Care of patients undergoing laparoscopic cholecystectomy.Nursing Standard,23(7), 41-8; quiz 50. Retrieved from http://0-search.proquest.com.alpha2.latrobe.edu.au/docview/219887551?accountid=12001 Tiziani, A. (2010). Havards nursing guide to drugs. Sydney, New South Wales: Mosby/Elsevier Australia. Walker,J.A. (2003).Care of the postoperative patient | Practice | Nursing Times. RetrievedMarch28, 2014, from http://www.nursingtimes.net/care-of-the-postoperative-patient/200004.article Walker,J.A. (2003).Care of the postoperative patient Part 2 | Practice | Nursing Times. RetrievedMarch28, 2014, from http://www.nursingtimes.net/care-of-the-postoperative-patient/200004.article

An Introduction to Plastic Gears :: essays papers

An Introduction to Plastic Gears As an employee of a world-class plastic gear manufacturer for many years, I see how this is an undeniably growing part of the gear industry. I hope to briefly describe how something seemingly simple as a plastic gear requires the culmination of many very state-of-the-art processes. Within one word I’ll say that at every level precision is required. Initially, a gear engineer must design a gear that meets the design intent while remaining cognizant of all variables that result from using materials such as plastic. This engineer must design a gear electrode that will actually determine the form of the gear. This electrode is then burned into the mold cavity using a method commonly referred to as EDM or electrical discharge machining. It is essential that the gear electrode be cut identical to the finished gear tooth form. Some compensation is normally made for the shrinkage of plastic as well as the overburn that occurs during the EDM process. The gear engineer normally will alter the gear tooth geometry to relieve stress and strengthen the gear tooth form. This alteration is normally done at the base or root of the gear tooth and at the tip or peak of the tooth. Next, a mold maker then will evaluate what the expected life of the gear program will be so that he can build a mold that is robust and capable producing the many millions of parts with the highest of accuracy. He will ensure that the plastic that will be entering the mold will travel along balanced pathway or runner system that will allow for consistent fill into each mold cavity. His tool for evaluating this flow is done through a computer model commonly referred to as mold flow analysis. He must be capable of understanding what makes a good mold as well as a good gear. Once the mold is completed it is then set into an injection-molding machine. It is important in the precision gear molding industry that the molding unit has a highly controlled system in place to monitor the molding process. It is equally important during this process that there is a means by which all peripheral variables can be controlled. This is done utilizing a central processor, which will maintain balance on all settings for every parameter. Transducers relay all of their information into a central processor that will monitor and maintain this consistent process.

The Lottery :: essays research papers

'The Lottery,'; written by Shirley Jackson is a story that takes place in a small town of approximately three hundred residents. Every year on June 27th the townspeople congregate in a giant mass in the middle of town, where the 'lottery'; takes place. This lottery is a ceremony in which each family throughout the town is represented by a tiny white piece of paper. The family representatives, who are the heads of the household, take turns drawing from a box that contains these three hundred pieces of papers. On one of the pieces of paper there is located a black dot, marked the previous night by Mr. Summers. This black dot indicates the 'winner'; of the lottery. The lottery is a ritual that has been around for years and years and it has developed into a way of life for the people of the town. When June comes rolling along everyone is anticipating the lottery. Kids fill their pockets full of rocks and plans are discussed about making a new box. They can not wait to attend and finally get it over with. This drawing seems to transform the people. Tension builds before the lottery occurs, but the townspeople are still able to joke with one another. Tension increases in the story when the author, Shirley Jackson, implies to the reader that Mr. Hutchinson has drawn the marked paper. We assume he does because he walks up on to the stage with his family and they are then made to draw again from the worn out black box. Mr. Hutchinson reaches his hand in and grabs out a piece with his children and his wife following in succession. The one that holds the winning ticket is Mrs. Hutchinson. We learn throughout the story that the power and traditional aspect of the lottery has slowly diminished. In the case of Mrs. Hutchinson, '';Clean forgot what day it was.''; The lottery had been present within the neighboring towns; however, the lottery had been ended. The people of the town believed that the box represented tradition and therefore were reluctant to make another one. This box is representative of the lottery in that they have both worn down and are in need of change.

Essays --

Introduction The law of contract can be states as the division of law that determines the condition whether a promise should be lawfully bind on the person who making it (Beatson et al., 2010). Contracts play a basis part in our everyday lives as well as for the businesses transactions (Lee and Detta, 2009). A contract defined as a voluntary agreement to exchange of promises, services, and things which can be enforceable by law (Lee and Detta, 2009). Besides, a contract also known as agreement where there is a legally binding contract between the parties, promisor and promisee (Lee and Detta, 2009). However, not all agreements become contract recognizable in law because there are parties who have no intention to create a legal relations or the agreement is offend against the law and is illegal (Lee and Detta, 2009). In Malaysia, the Contracts Act 1950 (Act 136) is the governing contracts and has been revised in 1974 (Lee and Detta, 2009). In contrast, English law applies by the virtue of Civil Law Act 1956 when the provisions are not complete or have no provisions to relating with a particular subject in the Contracts Act 1950 (Lee and Detta, 2009). The provisions in the Contracts Act 1950 must prevail when some of the provisions are different from the English Law (Lee and Detta, 2009). Furthermore, after 7th April 1956, any developments or changes in English Law will not be binding on the courts of states in Peninsular Malaysia but it not included in states of Penang, Malacca, Sabah, and Sarawak (Lee and Detta, 2009). Question One Roland is a businessman selling of expensive cars. One day, he mistakenly placed a notice on one car by stating that it was sale for RM 10,000 where in fact, the real price was RM 30,000. Bernie, Kat... ...he Malaysian laws as we might enter into contracts at any point of time in our everyday life. By doing and completing this assignment, it helps me to gain a better understanding in the elements and principles of Law of Contract as what is the laws trying to do in response to specific issues or situations. For example, there is no legal contract between the parties until an offer is accepted, and offeree or offeror may reject or revoke an offer before acceptance takes place. Furthermore, I also get to know and understood on the employee’s rights and duties, the meaning of wages, laws and procedures which apply on an employee’s dismissal based on Employment and Labour Laws. Therefore, it is important for us to understand about the Malaysian Contract Law and Malaysian Employment and Labour Laws as it may be helpful for us in future either in our careers or daily life.

Religious reforms by Martin Luther and King Henry VIII Essay

The motives of Martin Luther in the German states and King Henry VIII in England could not have been much more dissimilar than they were. However, their actions of bringing about reform likened them. Martin Luther was motivated to reform the church solely for religious reasons; mostly frustration with the corruption of the Catholic Church, while King Henry VIII was motivated by both his personal life and his personal gain. The whole idea to reform the church in England essentially started when King Henry VIII realized he would be unable to divorce his wife, Catherine. He had already set his sights on Anne Boleyn, so he needed to find a quick loophole in order to divorce Catherine and marry Anne. Because the Catholic Church still headed England and even the King had to submit to Papal rule, Henry decided it would be far better if he could just be sovereign (and therefore be able to divorce Catherine). Due to this revelation, King Henry decided to reform the Catholic Church and create â€Å"The Church of England†. Theologically, he stuck to Catholic principals such as confession and clerical celibacy, but he closed monasteries in order to acquire the wealth they held. In essence, all King Henry did was change the legality of the Church but he did not bring about revolutionary religious change. Martin Luther, on the other hand, had no personal motives at hand when he decided he wanted to reform the church. Martin Luther had witnessed and quickly became frustrated with the corrupt acts of the church such as simony, nepotism, neglect of the celibacy rule, absenteeism, and pluralism. The final straw that sent Martin Luther over the edge was when Pope Leo X approved the sale of indulgences by Johan Tetzel in order to fund the building of St. Peter’s Basilica. Luther wrote the 95 Theses in response to this because he believed indulgences undermined the seriousness of penance. Luther went on to denounce the authority of the Pope and at the Diet of Worms, he did not recant so he was excommunicated. After this, he formed his basic theological tenets that differed greatly from the traditional Catholic tenets. He brought about immense religious change including: the dogma of consubstantiation, the abolishment of clerical celibacy and monasticism, the belief that the church was subordinate to the state, and the belief in only two sacraments versus seven. He also introduced new answers to theological  questions that can be summed up in these three Latin phrases: sola scriptura, sola fide, and sola gratia. The motives of Martin Luther and King Henry were different, and even though their common goal of reform was similar, their end results were even quite different. King Henry’s personal, political, social, and economic motives resulted in a temporary reform because they were based off everything but religion. His heirs altered the Church several times so that the national religion would be to their personal liking. Although the Church of England still exists today, it is not based on the beginning principles King Henry VIII set up. Martin Luther’s reformation of the church, however, proved permanent. His genuine religious motives were apparent to the people so his religious changes stuck. Proof of this is simply that Lutheranism is still a popular denomination of Christianity today that is based off of the original principles that Martin Luther set. Bibliography: A History of Western Society: 7th edition (McKay)

A Report to Determine the Benefits of a Good Staff Welfare System

A REPORT TO DETERMINE THE BENEFITS OF A GOOD STAFF WELFARE SYSTEM BY MARK ROSS 21ST October 2012 CONTENTS Introduction1 Executive Summary1 Staff welfare and organisational objectives1 Process for assessing staff welfare2 Actions to be taken2 Communicating responsibilities for staff welfare3 Recording and maintaining staff welfare systems4 Conclusion4 Bibliography4 i 1. INTRODUCTION 1. 1 This report has been asked for by my manager to determine the benefits to the company of good and well integrated staff welfare system.Recent statistics produced by the companies Human Resources department show that the levels of sickness and absenteeism are unacceptably high. 2. EXECUTIVE SUMMARY 2. 1 This Report considers 5 main objectives: Discuss the relationship between staff welfare and organisational objectives. Explain the process for assessing staff welfare. Identify the actions to be taken by the manager in dealing with a staff welfare Issue. Describe how to communicate responsibilities for staff welfare to then team. Discuss records that may be maintained to demonstrate that staff welfare is supported. . Discuss the relationship between staff welfare and organisational objectives. The relationship between staff welfare and organisational objectives can be can be a bit of a balancing act but there are many basic requirements we all expect when we go to work: Safe working conditions / work environment (risk assessments carried out) Safety from any kind of harassment e. g. bullying, sexual, racial. Good employee relations with people being treated with dignity and respect. Equal opportunities. Adequate induction into the company and ongoing training.Some of these process's come at a cost and given the current economic downturn many companies may want try and make cutbacks in certain areas namely ongoing training which can be expensive. If we are able to show our staff that we really care about there interests and personnel development it has been shown in studies to incr ease the overall feeling of well-being in the work place, this is proven to increase productivity and reduce rates of sickness and absenteeism which in-turn leads to a positive effect on bottom line profits. A study by Dr Kerstin Alfes of Kingston University Business School found that:Keeping staff happy might not be a high priority for employers in the economic downturn. But a report from Kingston University argues that a contented workforce can help an organisation to succeed and can even make the difference between whether or not a struggling company survives the recession. 1 4. Explain the process for assessing staff welfare. The process for assessing staff welfare can be achieved in several ways, all are based on an open and honest flow of communication from front-line staff up the chain of command using well defined process's.Making the chain of command clear is also very important so staff know the correct approach to take and who to contact with any given issue/grievance. He re are some of the methods we currently have in place to assess staff welfare: Surveys / Questionnaires. Suggestion Box's (Anonymous). Regular performance reviews / appraisals. Near-miss and accident reporting. Back to work interviews. All these process's are based on getting an understanding of how the workforce feel at work and improvements that may be needed to make things run smoother. One process our company hasn't yet developed fully is a workplace counselling scheme.This concept originated in the USA and looks at staff welfare not only in the work place but outside it too, it recognises that many problems affecting productivity and welfare are not only work related. This counselling must be confidential and empathetic to the personal needs on the individual employee. 5. Identify the actions to be taken by the manager in dealing with a staff welfare issue. A manager may deal with staff welfare issues in the following ways, closely assessing the information gathered during the processing of a staff welfare issue and also looking into other relevant information is one of the most important step.We need to get to the bottom of the issue and take a balanced view on all the concerns raised. Actions to be taken: Following of policies and procedures that are in place. Meetings with those concerned with the specific staff welfare issue. Close assessment of information gathered. These actions should lead to a good overall picture of the staff welfare issue and allow use to take the correct approach in rectifying or putting controlling measures in place to minimize the issue. Often policies and procedures may need to be updated to incorporate things we have learnt from individual issues.This can be seen to be good management tool also as it shows our employees that as a company we are always open to continual improvement. 2 6. Describe how to communicate responsibilities for staff welfare to the team. Staff welfare responsibilities can be communicated to staff via newsletters regular meeting appraisals Notice boards eg last accident/near miss currently our company collects data on accident reports/nears misses but it only used as a tool to pass onto higher management and isn't made freely available to staff, In previous jobs this information has been made public knowledge and published on notice board.I feel this can be used as a good tool to show that we're striving to reduce these figures, the same approach could also be taken with sickness and absenteeism. Publishing information such as days lost due to sickness and cost to the company in having to pay for overtime to cover time could show how important we take this issue. 7. Discuss records that may be maintained to demonstrate that staff welfare is supported. There are several ways in which records can be maintained to support staff welfare such as 8. Conclusion 9. Bibliography http://www. kingston. ac. uk/pressoffice/news/59/26-01-2010-a-happy-workforce-is-good-for-business. html