The Nice Guy Essay Example for Free

The Nice Guy Essay Maybe he’ll say he’s ? nally ready to pass me the baton. out a way to ? nalize the data. Who was helping you out, Lynne or Aaron? †¦ Neither? Ugh. All right, all right. Call me when you’re on your way in to the of? ce, OK? See ya. † [Hangs up. ] Damn. This totally messes up my morning. Now I’ll have to try to hack my way through the spreadsheet before the meeting. I can’t imagine what it’s like taking care of a parent with a terminal illness. How awful. But Lisa’s really slipping. She was such a go-getter and a great operations manager, but her focus has been shot since her mother got sick. Instead, he was starting a â€Å"new media† company. The notion of leaving a great job at TRH and joining his team was the furthest thing from my mind, yet the crazy guy pitched me so hard I couldn’t resist. And he was right. He knew that companies would need a strategic partner that could provide creative ideas in all media – print, radio, TV, and â€Å"that information superhighway I keep hearing about. †Daner was going to be that partner. We’ve had our ups and downs, but it’s been an incredible ride. Up from ? ve people to over a hundred, a client list that boasts some of the biggest companies in the world. And the best part is, it’s just the beginning. Larry is still a tiger, but he’s getting a bit tired and wants to golf. I can’t blame him for that. It’s de? nitely time for him to retire. Lately I could swear he’s been doing the nudge-nudge, winkwink in my direction. George thinks he’s in the running too, but I think he’ll be cool with reporting to me. Wonder: Once I’m CEO, should I put George in charge of our European expansion? A footprint in Europe will make us even more indispensable to our clients. It will make us a global leader, not just a domestic shop. George has done well under Larry for the past two years. He was pretty psyched about his promotion to VP of business development. He’s great on the technical end of things, but he still needs more polish and experience with customers. He is feisty, though–always willing to take on anything. And he’ll challenge Larry at the drop of a hat. I’m surprised Larry puts up with it and doesn’t chop him off at the knees. Still, when it comes to people, Larry can really be so hard-nosed. His take- no-prisoners attitude is understandable when bidding on business but not when it comes to people. Like when Larry said Lisa’s become a liability lately; he even hinted about replacing her. Ugh. Lay off Lisa? I can barely think the words, let alone say them to her. She’s always been my right arm. She usually knows what I’m thinking even before I do. Sure, Jim or Andrea could eventually handle the role of operations manager, but there’s a steep learning curve. Note to self: Have another heart-to-heart with Lisa to discuss the possibility of reducing her workload for a while–or maybe see how she’d feel about taking a leave of absence that would let her focus on her mom. I really want the old Lisa back. 7:38 AM Passing Edgewater Park on the Shoreway This traf? c is ridiculous. If I leave by 6:00, I’m golden. But if I wait until after 6:30 to wake Sheila and the kids on my way out, I’m hosed. At least today I get to see an amazing sunrise. Bonus. Man, I could jog faster than this. I remember all those brainstorming jogs with Larry along the lake. It was great to compare notes and talk about the future. For an old guy, he did pretty well – up until his heart attack three years ago. I almost lost it last week when he said that he was going to start jogging again – and he’s aiming to run the Boston Marathon in April. Please, Larry, stick with golf and sailing! It’ll be fun to blow him away with the strategy and the numbers. It’s been a ton of work preparing for this, but now we’re ready. We can mobilize quickly once he gives us the green light. I’m a little surprised that he’s stayed away from our recent planning sessions. I thought he’d want to provide some feedback and direction. Perhaps it’s his way of pulling back and empowering me before handing me the reins. So, the million-dollar question is: What will he say? I think I know the answer. He’ll love the bottom line–that he can golf and sail as much as he wants. He’ll like his new chairman-only role so that he can step away from the dayharvard business review Between you and me, I’m not totally ruling out compromise, but you need to push back. Remind them how much business we’ve given them over the years, and remember we’re talking about a big chunk of change here. Besides, they should have caught the mistake. You can do this, Justin. Keep me posted. † I can’t believe this. More problems? Abbe Printing had to redo the whole thing because of their mistake, and now that rep Randy is trying to convince Justin that Daner should split the cost of the reprint with them? Forget it! I can’t stand it when people try to take advantage. I grew up in a print shop, for cryin’ out loud. Gimme a break! Justin does have a point, though. The murky print specs Lisa prepared on that job created a bit of a gray area in terms of culpability, but still – we give Abbe dozens of jobs a year. Over $2 million in revenues, I’ll bet! We could be hardnosed on this. Sticking us with a bill like this just doesn’t feel right. Still†¦maybe there’s room for compromise. I know that Randy is a good guy, and besides, they’ve gone above and beyond the call of duty for us many times. I really don’t want to torch that vendor relationship. a little after the kids go to school.

Rubin? Yes! Yes! Yes! Essay -- Essays Papers

The vulgar and refreshing paraphrase of a simplified hippy version of what shall be taken as topic: We are so oppressed. Maybe we are not repressed, but come on. We are so oppressed. Malcolm X knew it, Catharine MacKinnon knew it. Everyone knows it. One way we are oppressed is sexually. We might not just be repressed, while we still clearly are because there are laws and things. But, come on. Even if sexuality is socially constructed, it’s still very material, it is out there as much as anything - words are actions too. Gayle Rubin’s Thinking Sex considers the political history of sex regulation, its current form, and a bit of theory about sexuality and its discourses. At the very apex of the flow of the article towards freedom in sexual practice, she draws the line at consent, straining out bad sex from good sex on the line in the sand of what is agreed to and what is not. Rubin’s piece fails to take seriously the History of Sexuality that she relies on for her rejection of political regulations about sexuality, and thus ends up advocating the consent limitation that recapitulates all the problems and fancies she finds in sexual legislation. Rubin bemoans the oppressive laws that tell people what sexual practices are to be accepted and unaccepted, as if laws were to be obeyed - a presumption that already constitutes a particular type of subject in relation to a kind of power (the power of/in Law). Because we are so oppressed, unable to choose between sexual practices, we should give up these overrated relics of good sexuality and bad. Instead let everyone do anything, so long as they practice the vaunted ritual of consent. And while consent may be hard to locate, and does have problems, it should still b... ...it in the settled form Rubin’s partial agenda of consent relies on for its humanist restraints, as if recapitulating prevalent representations of the control of nuclear weapons - on a hair trigger, under control, mutually assured, and yet therefore also for these assurances mutually constitutive on the other side of the trigger and self-deploying in their fluxes of power and selves. Sexuality can be much more exciting for â€Å"bodies and pleasures† (Foucault 157) than this half-hearted effort lets itself argue. Why respond to a demand for bread with the offer to let them eat consent? WORKS CITED Foucault, Michel. The History of Sexuality: Volume One. Vintage Books: New York, 1978. Rubin, Gayle. â€Å"Thinking Sex: Notes for a Radical Theory of the Politics of Sexuality.† in Pleasure and Danger: Exploring Female Sexuality. ed. Vance, Carole. Pandora: London, 1992.

Wayne Thiebaud

Wayne Thiebaud is an creative person that has been associated with the Pop Art civilization and besides was portion of the pragmatism that came out of the United States west seashore. Thiebaud ‘s existent life representation of his topic has been seen as one of many beginnings photorealism. Before going a painter, Thiebaud worked in New York City as a mark painter and besides as a cartoonist. He merely began to paint in 1949, integrating accomplishments from his former businesss. Thiebaud is best known for the pictures that are associated with the production line of objects that can be found in diners and cafeterias, such as pies and pastries and others objects of common mundane life. The Neapolitan Pie that I found in the Norton Museum embodies the techniques that he frequently used in his pictures. This picture with its thick pigment adding to the deepness and character led me to desire to larn about the creative person behind it. Thiebaud chose to observe and encompass the delectations of the common topographic point and rendered his realistic pictures with a â€Å" superb oculus for abstraction. † Thiebaud ‘s picture technique can be described as a â€Å" cookery book chronicling those that have added sizzle, flavoring or even sprinkle to its prolific pallet † What he wanted to put out to make was to make a different ocular species, which he described as being the ultimate achievement for all painters. Thiebaud says that art needs changeless motion of different facets of itself in order to remain alive. He besides states that art draws inspiration from everything around it. He is non afraid of demoing in his pictures facets from other creat ive persons who inspired him, â€Å" My universe is one offense†¦ I steal from every creative person around the universe. † This may be why Thiebaud wholly followed creative persons that were before him and besides creative persons who were painting in his clip period. Wayne Thiebaud had many creative persons in Abstract Expressionism and creative persons from Pop Art that he gathered techniques from. There were artistic clip periods that he borrowed facets from and combined with others to bring forth his ain characteristic manner. In this paper I will depict all these facets and how their combination gave rise to the celebrated work we know Wayne Thiebaud for today. Thiebaud was a realist painter and painted at a clip between Abstract Expressionism motion and the Pop Art epoch. His growing as an creative person started from when he was a immature kid and as a adolescent made posting designs and on phase sets for theater. Thiebaud worked at Universal Studios and besides as an illustrator for the advertisement section in New York. He subsequently earned a grade from California State College in Sacramento and this was where he learned and became fond of the all right humanistic disciplines. After this he began to analyze art history books intensively and the pictures in them, including the passages in the plants from period to period. Thiebaud, while working, became friends with and interested in the plants of art from Willem De Kooning and Franz Kline who were abstract expressionist painters. This was a â€Å" American station World War II art motion. † the predecessor of this art motion is surrealism, which features elements of surprise an d unexpected appositions. Willem De Kooning besides was involved with action picture, whose features are self-generated, splashed, or smeared onto a canvas. Kooning provinces, â€Å" Peoples are ever seeking to interrupt the dorsums of pictures by anticipating things which pictures can non make†¦ it ‘s merely a picture. A God damned painting. Just a small thing you smear stuff on. You merely hope in the smearing that you have n't insulted people that you ‘re inquiring to look at it. † This statement was a great influence in determining the ideas of Thiebaud. He saw this as a quintessential thought for bring forthing plants of art By the early 1960 ‘s the pictures he had produced now began to derive tenseness, balance, and grace. He placed the signifiers first and objects were pushed frontward and set in a relevant order. He had been doing statements like this with his Neapolitan Pie for old ages before others but was packed together with other creative persons in the Pop Art period when the motion surfaced. Pop Art was a tradition that challenged the graphics at that clip and wanted to demo that anything the creative person used, which was of mass-production of popular civilization could can be connected with all right art. It was widely seen as a reaction and enlargement of the dominant thoughts of abstract pragmatism, which was a self-generated or subconscious creative activity. Pop Art does non mention straight to the art that they made, but the thoughts that moved the whole motion itself. During this clip, Thiebaud besides saw plants of art from the earliest dad creative persons Robert Rauschenberg and Jasper Johns whose pictures were based on Abstract Expressionism to Pop Art. What Thiebaud did was abandoned most of the thoughts that Pop Art committed itself to and respond against it, which is surprising since he was seen as a critical portion to this period. The work that Thiebaud produced is described as â€Å" nostalgic positions of popular civilization and the American scene with which viewing audiences of all sorts can easy place. † Most pictures in the Pop Art period were more daunting for those sing the work in museums and sometimes were excessively rough to appreciate. What Thiebaud said was â€Å" I am non a card transporting Pop creative person†¦ I do n't wish much of it. † Pop to him was more of a concern than an operation of honest picture and he had excessively much regard for the original merchandises that they played off of to be a portion of Pop Art. So while this art period was taking off Thiebaud decided that he was traveling to travel on and became a professor at U-C Davis. Another influence of Wayne Theibaud was of Abstract Expressionism, which was traveling on in the clip he produced work, and can be seen â€Å" in the midst brushstrokes and bold usage of coloring material † which was a changeless subject in his plants. Thiebaud began to paint images based on nutrient that he would see displayed in Windowss, concentrating non on what he was painting but more on the form of the objects. What impacted his picture this manner was his disposition for simple objects, borrowing facets of layouts for ads that he did while working as a cartoonist and mark painter. His simpleness to his designs could be understood and recognized as a method that he took into his pictures. This would besides be around the 1960 ‘s and Thiebaud wanted to demo word pictures of the mundane American life while demoing a new attack to art, representational art. Artists such as Stuart Davis and his Odol Bottle and Gerald Murphy and his Safety Razor were visions of the com ing pop civilization epoch even before Thiebaud began to paint work that would suit into it. As Thiebaud continued to work influences from other creative persons could be seen in his work like the pictures of Giorgio Morandi like his Still Life. Thiebaud long admired Giorgio ‘s work â€Å" for their brooding lull, the tangible sense of drawn-out looking that they convey, and their delicate, varied effects achieved with apparently minimum agencies. † The influence of this was non merely in how Thiebaud structured his work, but besides by how he manipulated the visible radiation and the slow moving shots to heighten the signifier of the object. This facet of pull stringsing visible radiation besides was something he used in his marks and plants, doing a shadow where there is none to pull the oculus to countries that there would be none and giving the work deepness. This facet was besides borrowed from the tromp l'oeil ( gull the oculus ) painter John Peto, who painted the Letter Rack, who besides was said to hold an influence on Thiebaud. Due to this influence, Thiebaud would ne'er hold any infinite of where the object would go forth the page it would be represented in its entireness demoing the readers that it would non be existent. He would set up the object in his picture into a shallow infinite and used shadows, as antecedently stated, to propose some signifier of deepness without there really being any deepness ; tromp l'oeil. The Neapolitan Pie and all the plants Thiebaud has produced had noteworthy influences from his background and creative persons whom he studied and who had an influence on what he produced. Thiebaud had a manner of dragging his pigment across his canvas in a smooth manner that would heighten the juicy textures of oil and transform itself into the really object that he was seeking to portray. This, by the creative persons, refers to object transference and roots can besides be traced to Morandi, but besides in creative persons such as Joaquin Sorolla. He painted objects that are common placed around any single as those of Stuart Davis and Gerald Murphy. Thiebaud had a strong disposition in painting common objects much earlier than those of the Pop civilization motion. When Thiebaud foremost began to paint these common objects though he found it humourous and channeled his cartoonist abilities with his row of pies: â€Å" When I painted the first row of pies, I can retrieve sitting and express joying – kind of a cockamamie alleviation – ‘Now I have flipped out! ‘ The one thing that allowed me to make that was holding been a cartoonist. I did one and thought, â€Å" That ‘s truly brainsick, but no 1 is traveling to look at these things anyhow, so what the heck. † However with all of his pastry pictures he handled the pigment in a manner that makes his work really typical. His pictures bring forth a pragmatism of complete ocular delectation. He made anew the representational capable affair with a bold pallet and used his adept show of brushwork acquired from the Abstract Expressionists he admired. Wayne Thiebaud copied from the Masterss because he respected art so much that he wanted to larn from those greats that came before him. What he did was add his ain manner to it so as to spread out on what he learned into a different class, so as to be seen in a new visible radiation. He delighted in the plants of other art periods like Abstract Expressionism and Realism and saw it as an honor to analyze an be apart of the art motion. He rejected the thoughts of the Pop Art motion that he was classified in because he respected the art work they ridiculed excessively much to do a jeer of it. He was said as feeling honoured that he was able to use himself and that he became a force in the artistic motion that is still germinating today. His work will everlastingly be a basic and used as a tool for creative person that come behind him to analyze learn from and lucubrate on.

Heroes Found in the Iliad and the Odyssey by Homer

In Greek culture it is customary to find a very strong social prototype in society , especially in men, heroes are usually found in every story, such is the case of the literary works of the Iliad and the Odyssey by Homer. Homer’s poems reflect the qualities that should be found on men of this stage, these were predominantly heroic values. Is Homer building an ideal world through his poems? Is he writing about the quiet desires of every man and woman of Greece from these times? The ideal hero has its characteristics embodied into his work, the sense of duty, pride of race, love of glory, the desire of be the best, and the competitive spirit are the fundamental elements in this heroic tale, we can find many aspects of Greek tradition. We can capture the spirit of the time with their values, beliefs, customs and culture among others. Because of its cultural, historical and social system, the Iliad poem can be situated in the ninth century of the Greek history, this work te lls the story of the Trojans and describes the town of Sparta, also the relationship of heroes and kings with gods or prophets; this work goes deep on the high side of society, the nobles, the lives of the kings, and also on the other hand, we have the soldiers both Greeks and Trojans, as they defend their countries from the conflict of the Gods. The Trojan War is the most important episode that has survived in Greek mythology and legends. It is a romantic and a great human story; we face theShow MoreRelatedEssay on The Mysterious Homer, Author of The Odyssey and The Iliad663 Words   |  3 PagesThe Mysterious Homer, Author of The Odyssey and The Iliad   A sketchy figure by the name of Homer is given credit for the two great epic poems of ancient Greece. The Odyssey and The Iliad influenced Greek culture, education, and morality. Little is known about Homer and many scholars question whether he existed at all. (Encarta) Some say two different unknown authors wrote the two poems. (Britannica) Others say that many oral poets were responsible for the finished products. (Britannica) In thisRead MoreSimilarities Between Achilles And Odysseus1110 Words   |  5 PagesOdysseus in Homer’s, Iliad and Odyssey) Humanity has always strived for greatness, and is destined to continue this attempt till the world stops spinning. Through the art of storytelling, and literature, we have weaved images of what the ideal human should be. Countless works of literature depict such humans as â€Å"heroes†, due to the inspiration they stir within our imperfect souls. Truly epic heroes shape future stories, and remain influential despite the weathering of time. 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Odysseus steps in, restrains them and brings them back to the assembly (Homer, Iliad 2.55-225). Odysseus can be seen here as a keeper of peace and order. He does not allow the men to take the easy way out. Once the men have leftRead MoreComparing The Underworld Of Homer And Virgil1744 Words   |  7 PagesViews of the Underworld of Homer and Virgil In both Homer’s Odyssey and Virgil’s Aeneid, the heroes make the dauntless adventure into the underworld. Both of theses visits occur around the middle of the stories, and they bring information about the lives of heroes loved ones. The heroes also get very important information from these loved ones; information that they require to continue on their journeys. However these are not the only things that are similar about the heroes visits. 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However, none are certain of the time in which Homer lived. It is believed now that, if Homer was at all more than myth himself, he did not create the two stories, rather he organized or edited the poems in a written form (Bloom)