Difference Between Management Skills and Entrepreneurship Essay Example for Free

Difference Between Management Skills and Entrepreneurship Essay What do you think is the difference between management skills and entrepreneurship?. How do they contribute to the economic success of a business? Management skills is about making an existing business work effectively and efficiently, organizing and coordinating the activities according to certain policies and achieving clearly defined objectives (i. e. vision, mission). Usually, the foundation of the business has been laid and established. It involves planning, controlling, leading and directing and the managers are usually focused on managing and growing the business Entrepreneurship is someone who transforms innovation into a business process especially for market which never exists, often associated with uncertainties. An entrepreneur will look for changes, respond to it and seize it as an opportunity. The next step is to assemble a team, locate resources, raise the needed capital and start the new business idea. An entrepreneur is flexible in adapting to the rapid changing to the market conditions and ideas which are important factors in developing strategies for a company’s growth. The economy has become more competitive and more demanding, thus the pressure of having the best management skills and entrepreneurship skills are becoming more important. Management skills will ensure that an established organization is managed effectively and efficiently towards achieving clearly defined objectives.

Symbols and Symbolism in Nathaniel Hawthornes The Scarlet Letter :: Scarlet Letter essays

Symbolism in The Scarlet Letter In The Scarlet Letter by Nathaniel Hawthorne, the theme revolves around a sin that has been committed. It takes places in the seventeenth century in the Massachusetts Bay Colony. Hester Prynne, who had an affair with the local Reverend Arthur Dimmesdale, commits the sin. Roger Chillingworth is Hester's husband while the affair is taking place. Because of the affair, Hester and Arthur have a daughter named Pearl. The sin that Hester commits is adultery. Hawthorne uses a variety of symbols throughout The Scarlet Letter, and he symbolizes the scarlet letter "A" in several ways. In the Puritan community, "A" is a sign of punishment, and the red "A" is worn on the chest of the offender's clothing. The "A" may mean adultery, Angel and Able. Hester, after years of helping, serving and sympathizing with the townspeople, was viewed by the Puritans to mean Able rather than adulteress; "A" meant Able; "so strong was Hester Prynne, with a woman's strength" (186). For example, when Hester has won some respect from the Puritans, "Such helpfulness was found in her, -so much... that many people refused to interpret the scarlet "A" by its original signification" (186). To the Puritans the letter "A" also symbolizes an Angel. "A great red letter in the sky, Ñthe letter A..." showed up at Governor Winthrop's death in the sky" (182). "For, as our good Governor Winthrop was made an angel this past night..." (182). The meaning of the "A" is also different to each of the characters. To Hester it is a constant reminder of humiliation and of the sin that she committed. Dimmesdale believes that the "A" reminds him of his own guilt, and there is no way that he can forgive himself. The "A" to Pearl, a young girl, is a bright and mysterious curiosity. Hester Prynne is an English woman who is punished by having to wear the embroidered scarlet letter "A" on the breasts of her clothing receives public humiliation by standing in front of the townspeople of Boston. The "A" that Hester wears is "... in fine red cloth, surrounded with an elaborate embroidery and fantastic flourishes of gold thread..." (58). Hester Prynne, through the eyes of many Puritans, is an extreme sinner; she has gone against the Puritan ways, committing adultery. For this harsh sin, she must wear a symbol of shame for the rest of her life.

And Do You Locke, Take Thee Hughes? Essay

In a comparison of the essays â€Å"The New Negro† by Alain Locke and â€Å"The Negro Artist and the Racial Mountain† by Langston Hughes, there exists both similarities and differences. But, what are most striking are the differences between the two, especially in terms of purpose, tone, and audience. Locke and Hughes wrote their essays during the heart of the Harlem Renaissance; 1925 and 1926, respectively. Both men were writing from that vantage point, and with a gaze set firmly on bettering the conditions of those they held in common – the Negro. But these similarities are, in a sense, superficial. After all, there were many writers in that era – any era really – both Black and White, who felt a moral imperative to right the racial wrongs of their time; to wring justice from the cloth of unwarranted suffering. The differences between Locke and Hughes, however, serve as a model; one that illustrates a chasm between the ideas and opinions of that era in terms of how to better their people, as well as why their condition is such that it needs tending. In â€Å"The New Negro,† Locke is saying that the so-called New Negro is already here – in fact, has been here for some time. And, by extension, he’s arguing for the integration – even assimilation – of Blacks into the larger pool that is America. This sentiment is expressed rather poignantly when he says, â€Å"The fiction is that the life of the races is separate, and increasingly so. The fact is that they have touched too closely at the unfavorable and too lightly at the favorable levels.† (20) And it is further strengthened when he says, â€Å"We realize that we cannot be undone without America’s undoing.† (22) That statement holds equally true if one were to rearrange it to read, â€Å"America cannot be undone without our undoing.† Locke has, whether happily or not, acknowledged that the Negro race – for better or for worse, and until death do they part – is indeed married to America. Thus, he is advocating for integration as a means of survival as much as a means of advancement. Hughes, on the other hand, seems to champion the cause of racial distinction insofar as the Negro should be proud to be a Negro. This desire is laid bare when he says, â€Å"But, to my mind, it is the duty of the younger Negro artist†¦ to change through the force of his art that old whispering ‘I want to be White,’†¦ to ‘Why should I want to be white? I am a Negro – and beautiful.’† (28) Perhaps Hughes, too, would acknowledge a state of matrimony between the Negro race and America. But where he seems to diverge from Locke is in his almost visceral advocacy for the spouses’ maintenance of their own identities within that marriage. With Locke, although he doesn’t use the metaphor â€Å"racial mountain† in his essay, it is apparent that such an impediment exists. His path forward – whether to the top of that mountain or around it – lies in fostering meaningful relationships between the elites of both major races. This is expressed when he says, â€Å"†¦more immediate hope rests in the revaluation by white and black alike of the Negro in terms of his artistic endowments and cultural contributions, past and prospective.† (24) And, more eloquently when he says, â€Å"He now becomes a conscious contributor and lays aside the status of a beneficiary and ward for that of a collaborator and participant in American civilization.† (24) Returning to the marriage analogy, these sentiments politely convey a sense of frustration, perhaps not unlike what many married women in that time period felt; a sense of, â€Å"I’m not feckless or helpless, and I needn’t be a ward or beneficiary; I’m sturdy and bright and equal to any task that’s laid before me; I just need the space and resource to prove it!† For Hughes, conquering the mountain is to be accomplished using a tack different from that of Locke. In Hughes’s world, victory for the Negro hinges on a tempered dissociation from the white race; not to showcase or inflame racial differences, but to highlight the unique, distinct, and high-minded attributes of his own race. In other words, the Negro should be proud of his culture and his race; the Negro is a corollary to, and a parallel of, the American body, and not merely one ingredient in a larger amalgam. As a stepping stone to accomplishing this, Hughes argues that the fabrication of the â€Å"racial mountain† is due largely to the misguided deeds of his own people – the middle-class Negro in particular. This stance is taken from the outset of his essay when chides the young Negro poet for having said, â€Å"I want to be a poet – not a Negro poet.† (25) To Hughes, such a sentiment is tantamount to wanting to be white. He goes on to say, â€Å"The road for the serious black artist, then, who would produce a racial art is most certainly rocky and the mountain is high.† (27) If one operates under the assumption that Hughes makes his case, then it can logically be said that â€Å"wanting to be white† is tantamount to denial both of â€Å"who we are† and â€Å"where we’ve been.† And that’s the rub; how can an artist be true to him or herself if they don’t even know who they are? And worse, how can they ever hope to elevate their position as a people if, by attempting to do so, they give up their very identity by hewing to the strictures of the White world? Let us not forget, â€Å"An artist must be free to choose what he does, certainly, but he must also never be afraid to do what he must choose.† (29) In terms of their respective tones, there are marked differences between Locke and Hughes. While both are persuasive in nature, Locke’s tone comes across as somehow intimate, and yet fairly matter-of-fact. Whether backed by hard truths or not, he lays out his case in such a manner. He also comes across as subtly – even warmly – patronizing; a confidant or cohort who’s merely guiding his readers to the truth. This can be seen when he says, â€Å"But while the minds of most of us†¦Ã¢â‚¬  and â€Å"Recall how suddenly the Negro spirituals revealed themselves†¦Ã¢â‚¬  His tone is like a proverbial â€Å"arm around the shoulder† and an invitation to the obvious. Hughes on the other hand is more visceral, coming across as chiding, cajoling, and cynical. Whether warranted or a fabrication of his own mind, he bursts from the gates with a thesis statement that doubles as a heavy accusation – that in wanting to be a poet, and not a Negro poet, the young man actually meant that he wanted to be white. And he leaves no room for discussion on the matter; in his mind, it is settled. He continues with this tone when he describes what he believes is â€Å"a fairly typical home of the colored middle class.† (25) And this belief – as far as any evidence offered in his essay – is predicated on no more than this one young Negro poet. He goes on to charge that â€Å"the word white comes to be unconsciously a symbol of all virtues. It holds for the children beauty, morality, and money. The whisper of ‘I want to be white’ runs silently through their minds.† (25) Locke and Hughes are also appealing – at least in part – to different audiences. Locke, while certainly writing to the Black community at large, is deliberate in his inclusion of Whites. This inclusion, in fact, is necessary for his argument to work; his argument for integration. He even addresses those who are undoubtedly white in the beginning of his essay when he says, â€Å"The Sociologist, the Philanthropist†¦Ã¢â‚¬  (17) And he leaves no doubt as to white inclusion in his audience when he says, â€Å"But while the minds of most of us, black and white†¦Ã¢â‚¬  (17) Hughes’s appeal is to the Black community at large too. But it is aimed more at the black elites, the black artists, and the black middle class far more than it is at whites. This is apparent when he cajoles the black artist by saying, â€Å"†¦it is the duty of the younger Negro artist†¦Ã¢â‚¬  (28) And it is clear when he condemns the â€Å"prominent Negro clubwoman† for paying eleven dollars to see a white singer while dismissing â€Å"a great black artist† as â€Å"that woman.† (27) Regardless of the differences in style – purpose, tone, and audience – both of these essays have merit and hold power in their respective goals, which, for the most part are one in the same: to improve the Negro’s standing within the American marriage. Works Cited Locke, Alain. â€Å"The New Negro.† Course Reader, English 1B. Ed. Kelly Vogel. Fall 2012. Print. Hughes, Langston. â€Å"The Negro Artist and the Racial Mountain.† Course Reader, English 1B. Ed. Kelly Vogel. Fall 2012. Print.

Reconstruction and Industrialization - 1446 Words

Assignment 1: â€Å"America’s Post-Civil War Growing Pains† Reconstruction and Industrialization 1865-1900 Four years after the first shots were fired at Fort Sumter the Civil War ended with the Union’s Victory over the Confederacy. Though the war was over, there were still many problems that needed to be resolved in order to reunite the states as a nation. The time period in which steps were taken to rebuild the nation is known as reconstruction. Reconstruction lasted from 1865 until 1877. The influence of reconstruction can be seen in the society and also in politics during that time period. Following Reconstruction the nation had to rebuild its economy; industrialization brought in more factories and industries which helped to†¦show more content†¦292). The expansion of railroads was also a great advancement made during the industrial revolution. Railroads were built throughout the country and allowed for good to be transported more easily, cheaper, and more reliable (Schultz 2012, p. 293). With industrialization came more jobs, and because majority of industriali zation occurred in big cities this encouraged farmers to leave the fields and moved to cities to work in factories (Schultz 2012, p. 293). With the constant growth of businesses and manufacturers in the north, the population of northern cities grew. In a forty year time span the population on New York City grew by 1.2 million people (Schultz 2012, p. 302). This growth was called urbanization. Since the cities were growing at such a rapid pace building developers cut codes and built make shift buildings called tenements for people to reside (Schultz 2012, p.302). Tenements were low income apartment buildings. These apartments were small and cramped and sometimes referred to as railroad flats because their layout was similar to that of the box railroad cars (Apartment House, Encyclopedia Britannica). With the high demand of materials and jobs factories were being built in the same manner as the tenements. These buildings did not follow building codes and resulted in many fires (Schult z 2012, p. 303). Perhaps one of the most devastating fires was that of the Triangle ShirtwaistShow MoreRelatedEssay on Reconstruction and Industrialization1259 Words   |  6 PagesReconstruction and Industrialization After the Civil War, the nation witnessed two major social-economic movements: Reconstruction and Industrialization, which changed the country completely and made it one of the greatest industrialized countries in the world. However, it changed not only the country, but also, the society, its way of life and traditions. 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