Context
Essays

International Development for Social Awareness (IDSA), in San Juan, Texas has the ultimate goal of developing a program that will allow a limited number of participants each year to travel to a sponsor nation to help…

Though there are almost as many ways of looking at psychology and personality as there are psychologists, there are currently four main branches in the psychological study of personality.

The intent of this paper is to explain the fundamentals of broadband wireless and Bluetooth technologies. Each of these communications technologies and their associated protocols are experiencing exponential growth as a…

1950s Consumer Culture and its Vision on Film

Study Question The alternative hypothesis would be that new literacy instruction does have th potential to improve elementary (K-5) student achievement in reading vocabulary. In other words that significant difference is found between classrooms that employ new literacy instructions and classrooms that do not use this method. The null hypothesis would be that no significant difference is found between classrooms that employ new literacy instructions and classrooms that do not use this method. Sample The study will choose 2 different schools in a certain district with classes k-5 where one school has introduced new literacy techniques (namely technological strategies), and the other school is still employing traditional instruction.

It is often said a manager is what one does, and a leader is who one is. Leadership theorists, experts and practitioners agree that leadership, especially the turbulent 21rst century, is more driven by unanticipated change that strict, formal execution. Leaders who are effective today have the ability to keep their organizations agile, goal-focused and moving forward to attaining challenging objectives despite formidable obstacles and uncertainty. Transformational leaders in the 21rst century nurture and foster creativity and a high level of autonomy, mastery and purpose on the part of their teams (Cheung, Wong, 2011). The growing reliance on virtual teams and the need for creating and sustaining trust within them, transformational leaders are called upon to do more than just accomplish tasks, they are expected to lead entire teams beyond their current levels of performance to higher levels of achievement (Andressen, Konradt, Neck, 2012). The combining forces of greater economic pressure on organizations and the need for greater accuracy and speed in new product development is leading many organizations to create virtual teams that are thinly staffed with highly qualified professions, with many having over a decade of experience in their own fields (Andressen, Konradt, Neck, 2012). The role of the transformational leader has also changed markedly in the 21rst century as well. Now, leaders are expected to maintain teams at high performance levels while also ensuring they stay agile enough to respond to market fluctuations and changes in direction of their firms. To attain this level of agility, the best transformational leaders infuse a very high level of autonomy, mastery and purpose into their organizations, creating a culture of self-driven motivation and long-term learning (Cheok, Eleanor, OHiggins, 2012). It takes a transformational leader to be able to attain this very high level of performance however, a manager acting in an authoritarian or even transactional leadership style will not be able to accomplish this. The prerequisites and foundational elements of a transformational leader enable and accentuate a very high degree of autonomy, mastery and purpose. These foundational elements of transformational leadership have been proven through decades of research and empirical study, and have been underscored in importance due to the pace of severity of change occurring in the 21rst century with teams and what they are expected to accomplish.

"Form follows function" may be a cliché nowadays, one that's parroted in chic commercials for high-end, luxury sedans, but at some point, before the phrase devolved into a catchphrase for Cadillacs, it had real meaning. The architects who designed and built the Los Angeles Fine Arts Building knew what it meant, and they applied that philosophy to their stunning 12-story masterpiece in the city of angels. That issay, the design of the Fine Arts Building not only enriches the architecture, but it gives voice to the activities of the building's original tenants (Several, 1999). It is the purpose of this paper to discuss the elements of architectural style in the Los Angeles Fine Arts Building. But first, here is a brief history of the men behind the masterpiece. The Los Angeles Fine Arts Building was designed by the acclaimed duo of Walker & Eisen; that is Albert R. Walker and Percy A. Eisen. It was built in 1925, during the roaring twenties, a time of unprecedented urban growth and construction, and is located at 811 West 7th Street in downtown Los Angeles. The Building was designed to be more than just a building, but a cultural Mecca for artists, bohemians, and other visionaries of Los Angeles (Several, 1999). The ultimate goal of Walker & Eisen was to create an ideal place (one that was a work of art in and of itself) where people could create, showcase and enjoy art. The first thing one notices about the Fine Arts Building is its Romanesque style. Even if one doesn't know the term "Romanesque" he/she knows that this building is different. This building is not created equal. It's clear, given its context, that this building is different than the other non-descript buildings that surround it. The carefully wrought, semi-circular, two-story arch of the façade tell the visitor that he/she is about to experience something special. Upon closer inspection, this sensation is only accented by the present but not imposing architectural sculptures on the building's exterior. On the terracotta arch itself the visitor is confronted by an array of different stylized birds, griffins, gargoyles, and flowers. On other parts of the façade there are sculptures of flute players and other assorted fantastic creatures (Several 1999). It can be argued that this attention to detail is not something a resident of Los Angeles is used to seeing manifested in local architecture. These details continue on. Both as one looks up the towering edifice and as one prepares to enter its mouth. There are two large terracotta figures representing "Architecture" on the viewer's left and "Sculpture" on the viewer's right, both of these sculptures lean into the ledges on the third story. The inimitable Burt Johnson was commissioned to create these beauties. As one's eyes continue up, there are two nude figures perched on 9th story ledges and two 12' high panels titled "Inspiration" mark the 12th story (LA Conservatory). As one enters the Fine Arts Building, there are more touches of Burt Johnson. That is, seventeen bronze figures line the foyer and the corridor, which eventually leads to, as it's been described, a "Spanish Renaissance ‘courtyard' lobby with a galleried mezzanine" and fountain (Several, 1999). To say that the lobby is spectacular would be an understatement. However, before one goes on to detail the less quantifiable aspects of the Building (traffic flow, appeal to the senses, aesthetics, etc.) a quick point should be made about the materials used to create this awe-inspiring aggregate effect. As mentioned, much of the façade is created from tile and terracotta block to give the effect of stone. Initially, Walker & Eisen wanted to use stone, but opted for terracotta because it was more malleable and would allow for the detailed ornamentation they had envisioned (SOURCE). The large front doors are bronze, which carries on or, depending on one's perspective, initiates the bronze theme throughout the Building. Despite these rather "heavy" medieval or church-like materials, the building has weightlessness to it. That is to say one doesn't feel cloistered in its environs, like the way one does when attending a Catholic Mass. The lobby's high, two-story ceilings uplift one's spirit while shifting focus to the artwork displayed around the capacious room. The colored tiles are rich, but not overbearing on the senses. The fountain in the center of the room, with its purling waters also gives the place a vitality lacking in other Romanesque buildings (consider the staid and placid stoups filled with holy water at a different churches vs. the fountain in the Fine Arts Building with the bronze figures dancing about its circumference). The lines in the Building are symmetrical, but not stifling. In other words, the hard angles do not emphasize conformity over creativity. Instead they show a structure that is arguably sensitive to the soul of an artist. The beautiful columns draw the outward and up, not inward and down. Again, the intent of the building is vocalized by way of its care and attention to detail. This is a place for artists. This is a climate for creative people. This is a destination for deliverance. What's ironic though, is shortly after the building was constructed it was converted to an office building. After the market crashed in 1929, the Great Depression sunk in and monetary concerns became a priority. A malaise of pedestrian worries clouded the cultural milieu. Art took a back seat to business and commerce. The Fine Arts building was renamed by each of its successive owners: The Signal Oil Building, the Havenstrite Building, and Global Marine House. Thankfully though, in 1983 it was purchased by Ratkovich Bowers and Perez and completely restored to its original beauty (Vincent, 2008). Today, when one looks at the Fine Arts Building, he/she knows that it was constructed with a purpose in mind, and that purpose was painstakingly incorporated into every square inch of the building's design, from the materials, to layout, to the ornamentation, to the sensory appeal, etc. The Fine Arts Building is a treasure to behold and a testament do architecture that embraces the notion that form should always follow function. Works Cited Several, M. (1999, November). Fine arts building background information . Retrieved from http://www.publicartinla.com/Downtown/FineArts/background.html Los Angeles Conservancy Tours. (n.d). Los Angeles Fine Arts Building. Retrieved from http://www.laconservancy.org/tours/downtown/finearts.php4. Vincent, R. (2008, May 27). Fine Arts Building Los Angeles Attorneys to Do Justice to Fine Arts Building. Los Angeles Times. Retrieved from http://articles.latimes.com/2008/may/27/business/fi-attorneys27.

Karen Horney was a leading reformer and theorist in the field of psychology and psychoanalysis. One of the first major proponents of feminine psychology, Horney's ideas can be considered neo-Freudian.

Making the most of e-commerce platforms and technologies in the context of an online university needs to include strategies for increasing operational performance across the courses offered to helping students attain the educational goals they are enrolled to achieve. From the strategic aspects of integrating e-commerce platforms into each departments' information systems, to the support for the many suppliers an online university relies on an e-commerce platform just have the ability to support a wide variation in business models and processes. The value of e-commerce platforms and technologies is in unifying diverse business models and making them more centered on and responsive to customers' needs (Chung-Shing, 2001). The greater the integration and cohesive experience delivered by an e-commerce system the greater the level of trust customers have in the services promised and products sold (Beatty, Reay, Dick, Miller, 2011). For an online university, all of these factors are critical to its success, from the back-office integration to the student experience online, and the inclusion of services to support both students and faculty. The intent of this analysis is to define strategies for improving both individual and organizational learning by using e-commerce. The ability to tailor individualized learning programs to students, a technique called scaffolding, is enabled with the latest generation of e-commerce technologies (Najjar, 2008). Combining e-commerce and e-learning shows significant potential in this area as well.

This project consists of a personal analysis of the professional aspirations of a student of psychology. The reasons given for wanting to enter the field include an intellectual interest in understanding the unconscious mind. Professional goals consist mainly of establishing a clinical counseling practice focusing on personal development and family and interpersonal relationship health. Empathy is cited among the student's greatest strengths as a future clinician. Maintaining self-awareness is presented as a key component of avoiding counter-transference and vocational burnout.