Leadership Theories of Businesses and Organizations

Question: Discuss about the Leadership Theories of Businesses and Organizations. Answer: Introduction: Leadership theories have played a crucial role in advancing businesses and organizations across the globe. It must be noted that theories of leadership have often acted as the keys to success in terms of organizational growth and development. Myriads of leadership theories have been proposed by scholars and academicians in several fields and specifically in the field of management, and among those advocated leadership theories, four leadership theories deserve special mention, viz. Fiedlers Contingency Theory, Situational Leadership Theory (developed by Paul Hersey and Ken Blanchard), Path-Goal Theory, and Leader Substitute Model. Fred Fiedlers Contingency Theory appeared in his work, Leader Attitudes and Group Effectiveness that was published in 1958 (Leadership-central.com, 2016). Classified under the genre of contingency theories, Fiedlers theory states that, the efficacy of a leader does not solely depend on the style of leading, but it is also reliant on the degree of control over a particular situation (Leadership-central.com, 2016). A good leadership needs to develop a good leader-follower/member relation, and it is also imperative for a good leader to convey to the followers, clearly, the goals that are to be accomplished (Leadership-central.com, 2016). Good leadership also depends largely on the ability of the leader to use rewards and punishments effectively in the course of motivating followers/members/employees (Leadership-central.com, 2016). Hersey-Blanchard Situational Leadership Theory or simply, Situational Leadership Theory advocates the role of situation in determining the efficacy of a leader. The theory states that there is no single leadership style that can be considered the best, and that, the quality and efficacy of leadership depends largely upon each individual situation (Hersey-Blanchard Situational Leadership Theory, 2016). The theory states that the key ingredients required for a leader to succeed include goal-setting capability, capacity to assume responsibility and accountability, education, and experience in handling difficult situations (Hersey-Blanchard Situational Leadership Theory, 2016). It is noteworthy that, For Hershey and Blanchard, tasks are different and each type of task requires a different leadership style (Hersey-Blanchard Situational Leadership Theory, 2016). Another important theory of leadership is the Path-Goal Theory which states that good leaders should encourage and support their followers in the course of accomplishing the given goals and objectives by making the path they should take clear and easy (Changingminds.org, 2016). This theory states that a leader must clarify the path to success to his/her subordinates so that the subordinates can ascertain the right direction (Changingminds.org, 2016). The theory puts the burden of responsibility of removing roadblocks for the subordinates on the shoulders of the leaders, and it holds leaders accountable for increasing rewards along the route to success that subordinates take being influenced by the leaders (Changingminds.org, 2016). The Leader Substitute Model or Substitutes for Leadership Theory, on the other hand, states that there are certain circumstances in which situational factors may eventually substitute for leadership (ORG Module Unit 6: Leadership, n.d.). There are certain situational factors, which, according to the model, may neutralize leadership and may thereby prevent the leadership from taking any action (ORG Module Unit 6: Leadership, n.d.). It is noteworthy that situational or organizational factors like job design, group cohesion, employee/follower characteristics, etc, may contribute to the process of substituting leaders in a given situation (ORG Module Unit 6: Leadership, n.d.). In this respect the theory proposes that, Well-designed jobs that provide clarity, meaning and intrinsic motivation should require little guidance and inspiration from a leader (ORG Module Unit 6: Leadership, n.d.). In conclusion, myriads of leadership theories have been proposed by scholars and academicians in several fields and specifically in the field of management, and among those advocated leadership theories, four leadership theories deserve special mention, viz. Fiedlers Contingency Theory, Situational Leadership Theory (developed by Paul Hersey and Ken Blanchard), Path-Goal Theory, and Leader Substitute Model. References Changingminds.org (2016). Path-Goal Theory of Leadership. Retrieved December 18, 2016, from https://changingminds.org/disciplines/leadership/styles/path_goal_leadership.htm Hersey-Blanchard Situational Leadership Theory (2016). Retrieved December 18, 2016, from https://www.leadership-central.com/situational-leadership-theory.html#axzz4TA2sRHn8 Leadership-central.com (2016). Fiedler's Contingency Theory. Retrieved December 18, 2016, from https://www.leadership-central.com/fiedler's-contingency-theory.html#axzz4TA2sRHn8 ORG Module Unit 6: Leadership (n.d.). 6.7 Substitutes for Leadership. Retrieved December 18, 2016, from https://www.le.ac.uk/oerresources/psychology/organising/page_13.htm

Out of the Dust Poetry Terms Flashcard

Out of the Dust Poetry Terms

How to Create a Rubric in 6 Steps

How to Create a Rubric in 6 Steps How to Create a Rubric: Introduction Perhaps you have never even thought about the care it takes to create a rubric. Perhaps you have never even heard  of a rubric and its usage in education, in which case, you should take a peek at this article: What is a rubric? Basically, this tool that teachers and professors use to help them  communicate expectations, provide focused feedback, and grade products, can be invaluable when the correct answer is not as cut and dried as Choice A on a multiple choice test. But creating a great rubric is more than just slapping some expectations on a paper, assigning some percentage points, and calling it a day. A good rubric needs to be designed with care and precision in order to truly help teachers distribute and receive the expected work.   Steps to Create a Rubric The following six steps will help you when you decide to use a rubric for assessing an essay, a project, group work, or any other task that does not have a clear right or wrong answer.   Step 1: Define Your Goal Before you can create a rubric, you need to decide the type of rubric youd like to use, and that will largely be determined by your goals for the assessment. Ask yourself the following questions: How detailed do I want my feedback to be?  How will I break down my expectations for this project?Are all of the tasks equally important?How do I want to assess performance?What standards must the students hit in order to achieve acceptable or exceptional performance?Do I want to give one final grade on the project or a cluster of smaller grades based on several criteria?Am I grading based on the work or on participation? Am I grading on both? Once youve figured out how detailed youd like the rubric to be and the goals you are trying to reach, you can choose a type of rubric. Step 2: Choose a Rubric Type Although there are many variations of rubrics, it can be helpful to at least have a standard set to help you decide where to start. Here are two that are widely used in teaching as defined by DePaul Universitys Graduate Educational department: Analytic Rubric: This is the standard grid rubric that many teachers routinely use to assess students work. This is the optimal rubric for providing clear, detailed feedback. With an analytic rubric,  criteria for the students work is listed in the left column and performance levels are listed across the top. The squares inside the grid will typically contain the specs for each level. A rubric for an essay, for example, might contain criteria like Organization, Support, and Focus, and may contain performance levels like (4) Exceptional, (3) Satisfactory, (2) Developing, and (1) Unsatisfactory.​ The performance levels are typically given percentage points or letter grades and a final grade is typically calculated at the end. The scoring rubrics for the ACT and SAT are designed this way, although when students take them, they will receive a holistic score.   Holistic Rubric:  This is the type of rubric that is much easier to create, but much more difficult to use accurat ely. Typically, a teacher provides a series of letter grades or a range of numbers (1-4 or 1-6, for example) and then assigns expectations for each of those scores. When grading, the teacher  matches the student work in its entirety to a single description on the scale. This is useful for grading multiple essays, but it does not leave room for detailed feedback on student work.   Step 3: Determine Your Criteria This is where the learning objectives for your unit or course come into play. Here, youll need to brainstorm a list of knowledge and skills you would like to assess for the project. Group them according to similarities and get rid of anything that is not absolutely critical. A rubric with too much criteria is difficult to use! Try to stick with 4-7 specific  subjects for which youll be able to create unambiguous, measurable expectations in the performance levels. Youll want to be able to spot the criteria quickly while grading and be able to explain them quickly when instructing your students. In an analytic rubric, the criteria are typically listed along the left column.   Step 4: Create Your Performance Levels Once you have determined the broad levels you would like students to demonstrate mastery of, you will need to figure out what type of scores you will assign based on each level of mastery. Most ratings scales include between three and five levels. Some teachers use a combination of numbers and descriptive labels like (4) Exceptional, (3) Satisfactory, etc. while other teachers simply assign numbers, percentages, letter grades or any combination of the three for each level. You can arrange them from highest to lowest or lowest to highest as long as your levels are organized and easy to understand.   Step 5: Write Descriptors for Each Level of Your Rubric This is probably your most difficult step in creating a rubric.Here, you will need to write short statements of your expectations underneath each performance level for every single criteria. The descriptions should be specific and measurable. The language should be parallel to help with student comprehension and the degree to which the standards are met should be explained. Again, to use an analytic essay rubric as an example, if your criteria was Organization and you used the  (4) Exceptional, (3) Satisfactory, (2) Developing, and (1) Unsatisfactory scale, you would need to write the specific content a student would need to produce to meet each level. It could look something like this: 4Exceptional 3Satisfactory 2Developing 1 Unsatisfactory Organization Organization is coherent, unified, and effective in support of the papers purpose andconsistently demonstrateseffective and appropriatetransitionsbetween ideas and paragraphs. Organization is coherent and unified in support of the papers purpose and usually demonstrates effective and appropriate transitions between ideas and paragraphs. Organization is coherent insupport of the essays purpose, but is ineffective at times and may demonstrate abrupt or weak transitions between ideas or paragraphs. Organization is confused and fragmented. It does not support the essays purpose and demonstrates alack of structure or coherence that negativelyaffects readability. A holistic rubric would not break down the essays grading criteria with such precision. The top two tiers of a holistic essay rubric would look more like this: 6 Essay demonstrates excellent composition skills including a clear and thought-provoking thesis, appropriate and effective organization, lively and convincing supporting materials, effective diction and sentence skills, and perfect or near perfect mechanics including spelling and punctuation. The writing perfectly accomplishes the objectives of the assignment. 5 Essay contains strong composition skills including a clear and thought-provoking thesis, but development, diction, and sentence style may suffer minor flaws. The essay shows careful and acceptable use of mechanics. The writing effectively accomplishes the goals of the assignment. Step 6: Revise Your Rubric After creating the descriptive language for all of the levels (making sure it is parallel, specific and measurable), you need to go back through and limit your rubric to a single page. Too many parameters will be difficult to assess at once, and may be an ineffective way to assess students mastery of a specific standard. Consider the effectiveness of the rubric, asking for student understanding and co-teacher feedback before moving forward. Do not be afraid to revise as necessary. It may even be helpful to grade a sample project in order to gauge the effectiveness of your rubric. You can always adjust the rubric if need be before handing it out, but once its distributed, it will be difficult to retract.   Teacher Resources: Creative Writing Prompts for High School Students14 Ways to Write Better in High SchoolThe Top Reading Skills to Teach Your StudentsGreat Books to Recommend To Teens

Web activity 2 Research Paper Example | Topics and Well Written Essays - 250 words

Web activity 2 - Research Paper Example The value proposed by these scientists is higher than VAP measure because the VAP measure does not account for increased number of immigrants along with convicted felons while calculating the total population that can vote in presidential elections. This is why the VEP has been able to calculate a higher rate of turn around as compared to the VAP. While calculating the figures of voting population one should use the VEP measure because it takes into consideration the demographics of the population that is technically eligible to vote. The population that passes the eligibility test is the ones who are registered to vote. It eliminates those who can not register or vote which includes those who are non citizens and those who are considered as felons (United States Elections Project 2008). VEP is more appropriate than VAP because the registration has become easier than before; new programs such as mail services have been used by the US to register voters. Due to introduction of technology in voting registration, the numbers have increased and should be clearly taken into account. The total turnaround rate of US is higher than the total turnaround rate of Texas even though several new ways of voting have been used such as the mailing and online registration system. This is due to several reasons which mainly include socio and economical reasons. One of the main reasons is that the education and literacy rate of Texas is quite low and a huge number of the population is below the eligibility age. Secondly due to lower literacy rate, the population of Texas has failed to use the advance ways of registering and voting. The total population of Texas is heavily covered by minorities who do not get a chance to vote or fear

In class, the stories we learned about talk about sex and violence and Essay

In class, the stories we learned about talk about sex and violence and some sound a lot like Pagan myths. How, a friend asks, can anyone ever believe in the Bible after taking a course like that - Essay Example Imagine how earnest God’s patience was in those times when men were called for a change of heart yet they rather chose to adhere to old wicked ways still. My friend, God is fully aware of every intention, passing thought, and act committed by men heretofore including paganism which was widespread in ancient times, as well as killings, theft, plunder, orgies, and other immoral deeds which were not given detailed account in the Bible. If you read the entire content of the Old Testament text, you would come across events when God spoke directly to religious leaders whom He handpicked himself and human laws rested on unstable grounds so He needed to establish His covenant with the tribes people on a gradual basis through the strengths and gifts of vision bestowed upon their representatives such as in the case of Abraham and Moses. It even came to a point when incest was permitted as at Lot’s time when Lot’s daughters made love with their father for the sake of fulfilling God’s design of expanding humanity in number. God did not immediately destroy the overly sinful cities Sodom and Gomorrah, holding thoughtful consideration if there ever were at least five righteous people in the place, despite the case of widespread homosexuality and prostitution. Sins of men were so great at the time so on further Bible reading, we would typically encounter God’s wrath being mentioned several times and certain accounts where God sent His angels over a particular region that ought to be blotted out due to deliberate transgressions. There is no valid reason thus my friend to lose hope and conviction about God’s word for your faith should reveal that it would still hold true in the generations to come. Our in-depth study in class of the nature of sins occurring in the Old Testament age does not have anything to do with the values

Explication Of Jacques Derridas Signature Event Context English Language Essay

Explication Of Jacques Derridas Signature Event Context English Language Essay Derridas essay Signature Event Context was first delivered in the form of a spoken conference paper in Montreal in 1971 on the theme of Communication, and published initially as an essay as part of the conference Proceedings. The context of Derridas essay is relevant in relation to the theme of the paper itself. In its initial form, a spoken essay preformed or produced in the French language, the essay (now in its written English form), discusses the importance and differences of context in both the written language and in speech.  [1]   The essay was then published in 1988 in Graffs collection Limited Inc., which highlighted the differences between Anglo-American and European-Continental towards the theoretical debate on literary analysis.  [2]  The historical context of the essay is relevant to the themes of original meaning and context which are discussed within the essay. Derrida discusses the distinction between the nature of truth and language, and he presents arguments on the privileging of spoken words, which is deemed as being closer to the speaker and thereby the intended meaning; whereas written words are given a secondary status and the meaning is derived by the understanding of the listener. Derrida examines the meaning of context, and then the significance of context in relation to other factors surrounding a text, such as events, discourses and signature. He argues that these issues all factor into the meaning of the text as it is produced by the writer or speaker, and then understood by the listener or reader. Derrida begins the essay in a discussion on the nature and definition of Communication, when Derrida states: à ¢Ã¢â€š ¬Ã‚ ¦one must first of all ask oneself whether or not the word or signifier communication communicates a determinate content, an identifiable meaning, or a describable value. (Derrida 1). The word or signifier communication occurs twice, in the marked form communication, and again as the verb form communicates. For the reader the use of the word in this way signifies a question which must be explored in the text of the essay. For Derrida this is a rhetorical question. As readers and as a writer approaching the text, if the word communication had a definite or indisputable meaning, there would be no need for a discussion or essay on the subject. This is typical of Derridas stylistic approach in the rhetorical questioning which occurs throughout the text of the essay. The essay is then structured into three sections discussing the factors mentioned in the title Signature Event Context, and Derrida uses examples from other theorists in order to present his arguments for each element. In the first section on Writing and Communication Derrida looks at the arguments of Condillacs essay  [3]  because it : à ¢Ã¢â€š ¬Ã‚ ¦contains an explicit reflection on the origin and function of the written textà ¢Ã¢â€š ¬Ã‚ ¦which organizes itself here within a philosophical discourse that, in this case and throughout philosophy, presupposes the simplicity of the origin, the continuity of all derivation, of all production, of all analysis, and the homogeneity of all dimensions [orders]. (Derrida 4) In using Condillac Derrida is presenting the philosophical ideas on theories of writing from a classical theoretical perspective, whereby writing is taken as presenting the original ideas of the writer and all contributing factors to the writing such as origin, production, derivation and analysis and essentially equal in nature and quality. There is thus no hierarchical system to the elements which form writing, and all contributing factors producing a text, are equal in their importance and relevance to the formation and understanding of the text. Derrida suggests that Condillacs ideas on writing mean that: à ¢Ã¢â€š ¬Ã‚ ¦the birth and progress of writing will follow in a line that is direct, simple, and continuousà ¢Ã¢â€š ¬Ã‚ ¦writing will never have the slightest effect on either the structure or the contents of the meaning (the ideas) that it is supposed to transmit [vehicular]. (Derrida 4) Here Derrida presents Condillacs analysis, whereby if writing is taken as a higher medium of communication than spoken language, the origin and progression of the writing remains an absolute which is uncomplicated and incorruptible; this therefore means that the written form is also constant in its meaning, and for the understanding of the reader. Derrida takes issue with the notion of an absolute meaning of the written later in his essay, and instead suggests that the only absolute in writing is the idea of absence. For Condillac, all writing denotes an absence. There is firstly the: à ¢Ã¢â€š ¬Ã‚ ¦absence of the addressee. One writes in order to communicate something to those who are absent. The absence of the receiver [destinateur], from the mark that he abandons, and which cuts itself off from him and continues to produce effects independently of his presence and of the present actuality of his intentions [vouloir-dire]à ¢Ã¢â€š ¬Ã‚ ¦ (Derrida 5) The act of writing denotes an absence of the writer (absent at the time of reading), and the absence of the reader (absent at the time of the writing), which means that the writing exists independently of both reader and writer and is yet paradoxically linked to a presence. The writer is present in the writing at the time of reading because his/her intentions are made in the words that are written; the reader is present at the time of writing because the writer is intending to communicate an idea in his/her writing through the act of writing. The act of writing therefore implies the absence of both reader and writer. The writing is an independent entity which stands on its own merits after it is abandoned by the writer, yet still causes an effect on the reader; this effect is also autonomous from the actual intentions of the writer, as the understanding and interpretation depend on the reader. This brings Derrida to the second absolute in writing, which is the absence of a definitive meaning. As Derrida states: Representation regularly supplants [supplà ©e] presenceà ¢Ã¢â€š ¬Ã‚ ¦as a continuous and homogenous reparation and modification of presence in the representation. (Derrida 5) The presence of the writer is therefore denoted in the manner in which the text is received by the reader, whose understanding and interpretation of the text are founded not in the ideas which the writer is trying to communicate, but rather in a more practical system of understanding signs. The systematic rules of writing are based on the understanding of the written word; this is founded in language systems, which according to Derrida are only understandable because of their familiarity. Although signs give a representation of the idea which itself represented the object perceived (Derrida 6), it is only the familiarity which makes them understandable. Derrida states: My communication must be repeatable iterable in the absolute absence of the receiverà ¢Ã¢â€š ¬Ã‚ ¦writing that is not structurally readable iterable beyond the death of the addressee would not be writing. (Derrida 7) The signs (words) must therefore be repeatable and repeated in different circumstances in order to be perceived and understand as to what they are signifying; and more importantly for Derrida what they are denoting or connoting. If the purpose of writing is to convey or communicate the writers ideas, the nature of language and words are a representation of something which is repeatable, no matter who the reader (or writer). Whereby writing is initially a means of communication, the actual physical marks and the meaning must have iterability, citability or citationality. All writing can be copied, or must be copyable in order to be classified as writing; therefore it must be open to both iteration and reiteration. For Derrida signs or writing, are essentially infinite in their iterability, in any capacity whether epistemic, grammatical or semiological; thus lies the distinction between written and oral communication (Derrida 9). Derrida also states that in the classical concept of writing, writing simultaneously carries with it a force that breaks with its context (Derrida 9). Derrida goes on to present an analysis of spoken language/signs from Husserl.  [4]  Again the iterability of spoken language is essential to the understanding of what is signified, denoted and understood by the listener, because language operates within a à ¢Ã¢â€š ¬Ã‚ ¦system of rules of universal grammar, not from a linguistic point of view but from a logical and epistemological one. (Derrida 12). This means one must be able to make certain other cultural, social and epistemological references which are understood, and thereby enable an understanding of words or spoken language. Derrida once again opens up his discussion of writing into a wider analysis of language, communication and cultural relevance. For Derrida the significance lies in that understanding is thereby taken à ¢Ã¢â€š ¬Ã‚ ¦in a context determined by a will to know (Derrida 12). The understanding of language and words, whether spoken or written lie in the wider context in which they are read or heard, rather a specific literal context of semantic meaning. This leads to the second section of the essay where Derrida discusses the notion of truth in language, through an examination of the event. Derridas analysis centres on criticism of Austins  [5]  ideas of communication in speech: à ¢Ã¢â€š ¬Ã‚ ¦speech acts only as acts of communicationà ¢Ã¢â€š ¬Ã‚ ¦.Communicating a force through the impetus [impulsion] of a mark à ¢Ã¢â€š ¬Ã‚ ¦the performative does not have its referent à ¢Ã¢â€š ¬Ã‚ ¦outside of itself or any event, before and in front of itself. (Derrida 13) Derrida suggests here that John Austins ordinary language philosophy is in fact determined and restrictive, working only within a framework of definitively absolute unordinary exclusion; as Austin suggests that the performative nature of language takes precedent in communication. Austin analyses all utterances as performative, yet excludes performative speech acts which are quoted, which Derrida finds essentially problematic. This approach is limiting and restrictive, by focussing primarily on analysing the perlocution and illocution, Austin is forced to: à ¢Ã¢â€š ¬Ã‚ ¦free the analysis of the performative from the authority of the truth value, from the true/false opposition (Derrida 13). If language or words take on a performative dimension, this means that the utterances of the words will be placed within a situation (or context) which is independent of either the true essential meaning, or any false interpretation, of the intended meaning. The problem for Derrida is that the meaning of the words are essentially subordinated to the actual utterance or event of the speech, and/or the context within which they are uttered; which in turn produces an event in the meaning as it is understood by the listener. Derridas criticism of Austin also raises questions as to the totalising element of context whereby there is emphasis on the: à ¢Ã¢â€š ¬Ã‚ ¦conscious presence of the intention of the speaking subject in the totality of his speech act (Derrida 14) In the event of the speech act the presence of the speaker places an importance and foregrounding to the intention of the speaker; if the intention of the speaker is prominent in the speech act, then it must follow that the understanding of the receiver/listener becomes secondary. This leads to the inevitability that à ¢Ã¢â€š ¬Ã‚ ¦performative communication becomes once more the communication of an intentional meaningà ¢Ã¢â€š ¬Ã‚ ¦ (Derrida 14) This poses a wider philosophical problem for Derrida in the context of literary or language discourse, as Austin also discusses the criterion of what actually constitutes a successful or failed speech act with elements of correctness and completeness (Derrida 15). This again is restrictive and finite, and goes against Derridas general philosophical openness and approach to literary theory. For Derrida there is an inherent possibility in the success of the event which lays in the possibilities of for example the infelicities in the event, and may not in fact be distinguishable from a successful event. For Derrida the failure of the event, whether deliberate or accidental, serves a greater purpose. Derrida suggests that the presence or potential of failure is what in fact constitutes the event as an ideal. The scope for error and the negative impact on the event, whilst it may destroy the idealistic approach to the event, in fact serves the paradoxical purpose of making the event ideal; by in its very nature in introducing an element of danger to the event. A perfect or ideal event would therefore have an element of danger, which is avoided. Although Austin cites theatrical events, recitations of poetry or literature as examples of felicitous speech events, as Derrida points out there is still scope for mistakes or errors in the utterances. Derrida ends the section on Event by taking an opposing view to Austin, in the similar vein to his opposition to Condillacs views and refers to the itability of the sign in general. Derrida states that speech utterances, or events have an itability. Austins view of the relative purity of performatives (Derrida 18) must be taken not: à ¢Ã¢â€š ¬Ã‚ ¦in opposition to citationality or iterability, but in opposition to other kinds of iteration within a general iterability which constitutes a violation of the allegedly rigorous purity of every event of discourse or every speech act. (Derrida 18) Derridas view on the event of the speech act is that there is a background to the iterability or possible repetition of an utterance, which means that each utterance or speech act must be taken in the context in which it is said. This has an inevitable effect on the operation or understanding of the words which are spoken and what they signify. Contrary to Austins view that emphasise understanding of the thing and the notion (Derrida 18), Derrida stresses that we must also consider that the: à ¢Ã¢â€š ¬Ã‚ ¦motivations, indestructible necessity and systematic effects would be subject to analysisà ¢Ã¢â€š ¬Ã‚ ¦ (Derrida 18) Here the importance of context is fore grounded in relation to the event and is subject to the same metaphysical origins (Derrida 18) which Austin appropriates to the event. Derrida concludes by suggesting that in order to understand context, the conscious intentions of the speaker (and receiver) must be definite. However consciousness is not a definite and is open to discussion and discourse. Therefore although utterances may be specific, the specificity is not exclusive to having an opposite or contrary effect on the listener and thus the event is open to further metaphysical debate. In the final section of the essay Derrida focuses on Signature' as an indicator and measure of the presence of the writer or author. The signature denotes the writer as the source of the text, or the speaker of an utterance, and they hold the form of regulation for the sign or words which are spoken or written. Derrida illustrates that the possibility and inevitability of repetition and iterability is essential to the signature; as with earlier discussions on the nature of signs and language. By its very nature the signature is iterable, as it must be, and is always repeated in order to be recognisable as a signature specific to the author. As Derrida points out although a signature is singular to the author, yet again paradoxically, there is an inevitable plurality to its production; in that it is repeated time and again as a sign of the presence of the writer. Derrida refers back to earlier arguments stating that: By definition, a written signature implies the actual or empirical nonpresence of the signer. (Derrida 20) The signature thereby signifies the absence of the writer, while at the same time denoting the presence of the signer in the past, and can be taken as a substitute for their physical presence; it also implies the presence of the reader in the future or present. Derrida also rather playfully adds his own signature to the end of the essay, as a performative example of an event. As readers we are made aware that Derrida must have at some point made the signature to the paper, however the printed copy of the signature in front of us is not the original or authentic mark/sign made by Derrida, it is an repeated printed copy of the same. This act highlights key elements of Derridas arguments from the essay, as to the nature of iterability, repetition, absence and context. The communication of Derridas ideas in the preceding essay are somehow signified as more genuine, or sincere because he has placed his signature at the end of the essay and placed a mark/sign of authenticity to the essay. Derridas conclusions to the essay tie in with this idea, in that while language can be philosophised in an ordinary manner, as a means of communicating semantics, there is always an underlying and infinite possibility to other factors such as presence, knowledge , representation, and truth. For Derrida the practice of communication and the spoken word or writing must be inclusive of these elements in order for a text to be understood or communicated in its entirety. Derridas stylistic presence is evident in the title and structure of the essay, in the use of questions, often at times rhetorical, and the proposition of paradoxes. The essay is actually structured in the reverse order of the title Signature Event Context: Context is discussed first in presentation of Condillacs ideas, followed by Austins arguments on the Event, and the essay ends with Derridas thoughts on Signature.  [6]  This playing with the order of the elements which Derrida is discussing is somewhat typical of Derridas stylistic and consciously playful approach to writing. At times the language and style is analogous to the spoken word or a speech; which again is self-referential to the form of the text, as it was initially a spoken text/utterance. The form and structure of the essay reiterates the ideas and arguments that Derrida presents. The essay is structured in a fairly accessible yet formal manner whereby Derrida at times breaks arguments or ideas down into listed or numbered sections. Although the complexity of the ideas and concepts presented are perhaps more complicated than the stylistic form of the written language. Derrida repeats certain points and arguments, by presenting his theories in a manner which reiterates the essence of his arguments, and by repeating the same central arguments in a slightly altered form. He uses repetition of the arguments to make the ideas that he is presenting familiar and understandable to the reader, and this is his general approach to the function and understanding of language, signs and words the more familiar we become with words, the easier they are to understand in their true meaning. The meaning lies in the repetition and iterability not only of the words, but also in the concepts and ideas which lie beneath the semantics of the sentences and content of the essay. Derridas arguments are therefore communicated to us as readers when we read and understand the text in the context of the structure of the essay, and experience the text as part of a wider cultural discourse.

The Origination Of Punk Rock Essays -- essays research papers fc

The Origination of Punk Rock   Ã‚  Ã‚  Ã‚  Ã‚  The time was in the mid-seventies, there was a void in the music industry that needed to be filled. This need for a new sound was aptly filled by punk rock, a new type of sound that had evolved from mostly rock and a little pop music. The focus of this paper is on punk rock and it’s ample beginnings, early pioneers of the new sound, punk rock listener’s cultural background and their ideas as a whole, bands influenced by the punk rock movement, and the state of punk rock today.   Ã‚  Ã‚  Ã‚  Ã‚  The year is 1974, this year marks the birth of punk rock (1974). There is controversy as to where punk started out at, some say it began in London while others say it started out in New York City. It can be safe to say that two very distinct sounds classified as punk originated at about the same in both London and New York City (Punk). Punk rock began in the bars and nightclubs until the bands garnered enough support to receive a record contract.   Ã‚  Ã‚  Ã‚  Ã‚  When the punk rock explosion occurred in the mid-seventies, a number of new, excitingly innovative bands burst upon the scene. Bands like the Ramones, The Clash, The Velvet Underground, The Virgin Fugs, Patti Smith, The New York Dolls, Iggy Pop and The Stooges, and the punk band with the most success, The Sex Pistols. The thing that made punk rock so unlike anything the music industry had heard before was the notable lack of talent displayed on the musician’s part. Not to say that all punk bands were devoid of any talent, just that anyone with second-rate instruments and the ability to play at least three chords on the guitar could form a punk band. This is part of what punk’s appeal was, it was a new sound that appealed to many of the youths of that era. As Johnny Ramone, the guitarist for the Ramones, stated, â€Å"We were new at writing songs and new at playing our instruments, so we couldn’t write anything too complicated, really† ( 1974). Punk rock bands often had a flair for the flamboyant, not just with their appearance but with their humor, sarcasm, and often carelessness about society and social norms. For example, The Virgin Fugs, their outlook on life is often displayed in the titles of their songs. Songs like â€Å"I Saw The Best Minds of My Generation Rot†, â€Å"Kill For Peace†, and â€Å"New Amphetamine Shriek† captured the F... ..., Bad Brains were all heavily influenced by the punk revolution (History). Also, bands like Nirvana and Pearl Jam seem to have the mind frames of punk rockers and were undoubtedly influenced by them, the sound doesn’t carry over into their own music.   Ã‚  Ã‚  Ã‚  Ã‚  Punk, as it was really intended, will never become commercialized and incorporated as a large part of the music scene. But then again, punk was based on rebellion against mainstream culture and to be publicized and critically acclaimed would be contradictory to the basis of everything punk stands for. True, one can see bands on MTV that claim to be punk, but the true hardcore punk fans will tell you that they are posers. The industrialized, commercialized, mainstream music seen on MTV is really more like punk/pop, it’s good music that may have been influenced by punk, but not true punk rock.   Ã‚  Ã‚  Ã‚  Ã‚   Works Cited â€Å"A History of Punk† http://www.fastnbulbous.com/punk.htm â€Å"Punk† http://www.music.warnerbros.com/rocknroll/cmp/episode9.html â€Å"The Birth of Punk† http://www.pqdweb?TS=953580845&Did=000000042640912&Mtd=1&Fmt=3&Sid=1&Idx=21&Deli=1&3/20/00 The Origination Of Punk Rock Essays -- essays research papers fc The Origination of Punk Rock   Ã‚  Ã‚  Ã‚  Ã‚  The time was in the mid-seventies, there was a void in the music industry that needed to be filled. This need for a new sound was aptly filled by punk rock, a new type of sound that had evolved from mostly rock and a little pop music. The focus of this paper is on punk rock and it’s ample beginnings, early pioneers of the new sound, punk rock listener’s cultural background and their ideas as a whole, bands influenced by the punk rock movement, and the state of punk rock today.   Ã‚  Ã‚  Ã‚  Ã‚  The year is 1974, this year marks the birth of punk rock (1974). There is controversy as to where punk started out at, some say it began in London while others say it started out in New York City. It can be safe to say that two very distinct sounds classified as punk originated at about the same in both London and New York City (Punk). Punk rock began in the bars and nightclubs until the bands garnered enough support to receive a record contract.   Ã‚  Ã‚  Ã‚  Ã‚  When the punk rock explosion occurred in the mid-seventies, a number of new, excitingly innovative bands burst upon the scene. Bands like the Ramones, The Clash, The Velvet Underground, The Virgin Fugs, Patti Smith, The New York Dolls, Iggy Pop and The Stooges, and the punk band with the most success, The Sex Pistols. The thing that made punk rock so unlike anything the music industry had heard before was the notable lack of talent displayed on the musician’s part. Not to say that all punk bands were devoid of any talent, just that anyone with second-rate instruments and the ability to play at least three chords on the guitar could form a punk band. This is part of what punk’s appeal was, it was a new sound that appealed to many of the youths of that era. As Johnny Ramone, the guitarist for the Ramones, stated, â€Å"We were new at writing songs and new at playing our instruments, so we couldn’t write anything too complicated, really† ( 1974). Punk rock bands often had a flair for the flamboyant, not just with their appearance but with their humor, sarcasm, and often carelessness about society and social norms. For example, The Virgin Fugs, their outlook on life is often displayed in the titles of their songs. Songs like â€Å"I Saw The Best Minds of My Generation Rot†, â€Å"Kill For Peace†, and â€Å"New Amphetamine Shriek† captured the F... ..., Bad Brains were all heavily influenced by the punk revolution (History). Also, bands like Nirvana and Pearl Jam seem to have the mind frames of punk rockers and were undoubtedly influenced by them, the sound doesn’t carry over into their own music.   Ã‚  Ã‚  Ã‚  Ã‚  Punk, as it was really intended, will never become commercialized and incorporated as a large part of the music scene. But then again, punk was based on rebellion against mainstream culture and to be publicized and critically acclaimed would be contradictory to the basis of everything punk stands for. True, one can see bands on MTV that claim to be punk, but the true hardcore punk fans will tell you that they are posers. The industrialized, commercialized, mainstream music seen on MTV is really more like punk/pop, it’s good music that may have been influenced by punk, but not true punk rock.   Ã‚  Ã‚  Ã‚  Ã‚   Works Cited â€Å"A History of Punk† http://www.fastnbulbous.com/punk.htm â€Å"Punk† http://www.music.warnerbros.com/rocknroll/cmp/episode9.html â€Å"The Birth of Punk† http://www.pqdweb?TS=953580845&Did=000000042640912&Mtd=1&Fmt=3&Sid=1&Idx=21&Deli=1&3/20/00