Quantitative Risk Management Concepts - Techniques and Tools

Question: Discuss about the Quantitative Risk Management for Concepts, Techniques and Tools. Answer: Introduction: The increased prospect of globalisation is responsible for significant changes in the business context of medium-size and large-size to expand its customer population by expanding to the international market. In the present context, the discussion of international business context and the associated risk conidiation are analysed, taking into a reference of Commonwealth Bank, Australia (Turner, 2014). The strategic strength of this company is linked to its brand popularity, scale (assets and merging strength), and diversified business mix that offer varieties of solutions to its client. The international business projects of Commbank is known to have its global presence since 2008 and marked its presence through retail banking in New Zealand and Indonesia, Banking investment in China and Vietnam, Banking branches in UK, Singapore, India, Japan, China, and New York. Apart from this, the company also offers international services in B2B form to several locations including Beijing, Hanoi , New Zealand, China, and India. It is vital to discuss that international business context is not only about networking to penetrate into the international location and framing strategic alliance to gain competitiveness, but is also linked with risk consideration in an overseas location such that continuity of business can be maintained and that the total asset value of the company should not be a risk (Ang, Benischke and Doh, 2015). The common form of risk that are probable to encounter for banks, as well as other commercial companies in conjunction with overseas projects, include country (legalisation) risk, commercial risk, currency risk, and cross-cultural risk (Turner, 2014). The reason that such factors must be carefully analysed is that with understanding to critical information, the company can avoid financial loss or product failure like situation. In addition to this, with accurate market understanding, the company can also manage the competitiveness in the market and manage the corporate social responsib ilities. Notably, the commonwealth bank has accurately identified such risk propensities, which can be reviewed with fact that they entered into the selective market with selective product lines. The major risk is the country risk which is linked with government intervention and protectionism. For instance, in China, the customer protection framework is poor and that financial liabilities in terms of consumer protection is minimal, because of which Commonwealth tends to expand its branches for financial investment in businesses (Stahl and Tung, 2015). Likewise, another concern is linked with legal safeguards, economic failure due to nations GDP, and adversities with reference to social and political unrest or instability. Particularly, in Asian countries, the GDP is stable only for India, Singapore, and China, whereas social and political interference are more in Pakistan, Nepal, Sri Lank, and Bangladesh, due to which the company have limited product launches. Note that these terms are also i ncluded within the scope of currency risk as the foreign taxation, asset valuation, and fluctuation in currency conversation rate also affects the overall business procedure (McNeil, Frey and Embrechts, 2015). Thus, careful evaluation of these terms, in each financial year is mandatory for global companies, in these nations, for avoiding any major loss in finance, which is accurately handled by Commonwealth Bank. Another significant risk is considered with respect to commercial risks such as weak partner of Merger and Acquisition (MA), the timing of entry into the market, and competitive intensities. It is reflective of the past MAs activities of Commonwealth Bank that they have an association with nationalised banks such that they can make a good return of their share values and can also avoid the risk of asset loss to market fluctuations (Henningsson and Kettinger, 2016). Lastly, the cross-cultural risk is associated with a reference to the local employees, their communication standard, and ways of decision making. For example, the commonwealth can only invest in B2B format to minimise the risk, whereas for the investment into the microeconomic of nations like New Zealand, US, Asia, and other European nation will be difficult unless they have more branches and executives working in the host markets. References: Ang, S.H., Benischke, M.H. and Doh, J.P., 2015. The interactions of institutions on foreign market entry mode.Strategic Management Journal,36(10), pp.1536-1553. Henningsson, S. and Kettinger, W.J., 2016. Understanding Information Systems Integration Deficiencies in Mergers and Acquisitions: A Configurational Perspective.Journal of Management Information Systems,33(4), pp.942-977. McNeil, A.J., Frey, R. and Embrechts, P., 2015.Quantitative risk management: Concepts, techniques and tools. Princeton university press. Stahl, G.K. and Tung, R.L., 2015. Towards a more balanced treatment of culture in international business studies: The need for positive cross-cultural scholarship.Journal of International Business Studies,46(4), pp.391-414. Turner, P., 2014. The global long-term interest rate, financial risks and policy choices in EMEs. [Assessed from https://www.iadb.org/res/centralBanks/publications/cbm77_1166.pdf Dated 24 Mar 2016].

Population Estimation Essays - Environmental Statistics,

Population Estimation Population estimation Introduction Estimates of population size play a vital role in many fisheries management decisions. The numbers of fish in a stock are used to identify influences of environmental factors, human exploitation, and ultimately to identify the effectiveness of management strategies. (Van Den Avyle & Hayward 1999) The three most common methods of population estimation among biologist are sample plots, mark and recapture, and removal. Counts on sample plots is based on the principle that an estimate of population size can be obtained by determining the average density of animals per unit area and multiplying its value by the total area covered by the population. This procedure is done by setting up a pre-determined number of circular, square, or rectangular plots. These plots should be randomly placed and should not over lap. This method is used when all members of the target population can be counted with reasonable certainty(Van Der Avyle & Hayward 1999). The formula used with this method is: Where A is the size of the study area, a is the size of the plot, and n is the average number of animals counted per sample plot (Van Der Avyle & Hayward 1999). The mark and recapture method is simply preformed by collecting fish, marking them, releasing them, and at a later time collecting fish from the same area and examining them for marks. This is based on the principle that the number of marked fish in the second sample is proportional to the total number of fish in the population. This is called the Peterson method and the equation is as follows: Where M is the number of fish initially marked and released, C is the number of fish collected, and R is the number of recaptures (Van Der Avyle so several modifications have been made to correct this. One being Bailey's modification which is used when sampling during the recapture period is conducted with replacement. The Chapman method is used if replacement is not taking place. The differences in these three methods would be of little significance if the recapture number exceeds 7 (Van Der Avyle & Hayward). All three of these variations are based on the assumptions that: 1. Marked fish don't lose their marks. 2. Marked fish are not over looked in the recapture sample. 3. Marked and unmarked fish are equally vulnerable to recapture. 4. Marked and unmarked fish have equal mortality. 5. Following release marked and unmarked fish become randomly mixed. 6. There are no additions to the population during the study. If any of these conditions are not met over estimation will most likely occur (Van Der Avyle & Hayward 1999). The third and final method of population estimation is the removal method. This is based on the idea that the number of fish caught per unit of effort will progressively decline as members of the population are removed. The population can be estimated from data on fishing effort and catch rates. The assumptions with this method are: 1. All members of the target population are equally vulnerable to capture. 2. Vulnerability to capture is constant over time. 3. There are no additions to the population or losses other than the removal itself (Van Der Avyle & Hayward). The Leslie and DeLury methods are used in cases when sampling effort my vary among periods. They are used on large populations where the probability of catching an individual fish is low (Kohler 138). The Leslie method assumes that the number of fish caught per unit effort is proportional to the number of fish present at the beginning of the interval. The DeLury method differs in tha t the population estimate is based on total effort rather than cumulative data. The Zippin method is used where the catchability is high and equal effort is expended in each sample period. This is most commonly used in small mountain streams in conjunction with electrofishing as the removal method. Materials & Methods On September 13, 2000 we went to Mull Creek. We set up two stop nets spanning 75m one upstream and one downstream to keep the population contained. We made three runs with electrofishing

DUKE ELLINGTON FROM HIS POINT OF VIEW essays

DUKE ELLINGTON FROM HIS POINT OF VIEW essays I am the Duke; the Duke of jazz that is. I have earned it. I have won thirteen Grammys. I was the first jazz musician to be elected as a member of the Royal Music Academy of Stockholm. I have been honored with the Legion of Honor by the French government. And by the end of my fifty year career, I have performed over 20,000 times. All these accomplishments and many more that I am so proud of; but they have not come easy. I had to work for them, and so my story begins. I am sure Daisy Kennedy Ellington and James Edward Ellington, my parents, remember this date better than I do. April 29, 1899. The turn of the century, the day I was born. I was born Edward Kennedy Ellington; I received the name Duke, from a childhood friend. He loved my proper manners, bearing, and the way that I dressed. I was born in Washington, D.C. hence the name of my orchestra, the Washingtonians, but we will get into that later. I started playing the piano at seven, but I was not that interested then. Other aspects of life were on the top of my priorities, I wanted to be a baseball player. However, I still had the heart and passion for the craft. I remember I would travel to Philadelphia with my mother during the summers. There I would look for the best ragtime pianists in the city. Finally, while in Asbury Park, I heard of a hot pianist named Harvey Brooks and I just had to see him. I am grateful, that I met him; he taught me all the tricks and shortcuts of the piano. I am also grateful for Doc. You know Oliver Perry? He taught me the fundamentals, how to red music and he helped me to improve all of my piano skills. Though I had plenty of training, I could not shake my fear of the stage. So I got my first job selling peanuts at the Washington Senators baseball games. There I was somewhat of a performer. I never received an education that was academically oriented. I attended Armstrong Manua...

How to Write Dialogue 10 Simple Rules (Plus 5 Mistakes to Avoid!)

How to Write Dialogue 10 Simple Rules (Plus 5 Mistakes to Avoid!) How to Write Dialogue: 10 Simple Rules (Plus 5 Mistakes to Avoid!) No matter what your genre, learning how to write dialogue effectively is a vital part of any writer’s education. Poor dialogue can make readers put your book down in disgust - but great dialogue can transform your characters into truly believable people, and your readers into satisfied customers.Of course, the best kind of dialogue isn’t just believable. It also provides exposition, involves distinct language depending on who’s speaking, and - perhaps most crucially - moves the story along. Without dialogue, you’d just have pages and pages of description with barely any character dynamics or interpersonal drama. How boring would that be?Because dialogue is essential to a strong narrative, we want to help you get it exactly right. To that end, we’ve put together this list of rules, examples, and more that will have you writing sparkling conversation in no time! We’ll also cover in detail how to format and punctuate dialogue, for those who a ren’t sure exactly what goes where.If you’re especially curious about formatting, go ahead and skip to #10 using the table of contents on the left - otherwise, let’s jump right in with dialogue rule #1.1. Enter the conversation lateAlfred Hitchcock once said that â€Å"drama is life with all the boring bits cut out.† Comparably, we could say that good dialogue is like a real conversation without all the fluff. And one of the best ways to cut out that boring fluff is to enter the conversation as late as possible.Think about it: few "classic" scenes start with characters going, â€Å"Hey buddy! How are you doing? Wow, long time no see.† This is because people enjoy making inferences based on details in action and speech - and the last thing you want to do is insult their intelligence by spelling everything out for them.For a more tangible taste of this technique, here’s screenwriter Aaron Sorkin talking about the first scene of his Oscar-win ning screenplay for The Social Network:â€Å"We started at 100 miles an hour in the middle of a conversation, and that makes the audience have to run to catch up. The worst crime you can commit with an audience is telling them something they already know. We were always running ahead.†Sorkin's ability to give the audience just the right amount of detail is a huge strength, and something all writers should strive for. So don’t slow down to accommodate your readers - make them catch up to you. id=attachment_19354 style="width: 1047px" class="wp-caption aligncenter">Now that you know exactly what to do when it comes to writing dialogue, let’s talk about what not to do - with these five critical mistakes to avoid.5 dialogue mistakes to avoid1. Too many dialogue tagsAs you may have already gathered, one of the most egregious errors you can make when writing dialogue is using too many dialogue tags. Constantly repeating â€Å"he said,† â€Å"she said,† and so on is boring and repetitive for your readers, as you can see here:â€Å"Hey, how’s it going?† Billy said.â€Å"Not bad,† said Ann. â€Å"Just warming up for the day.†Ã¢â‚¬Å"Ah. Liquid courage,† said Billy.â€Å"Yeah, those customers aren’t going to yell at themselves,† Ann said.So keep in mind that you can often eschew dialogue tags if you’ve already established the speakers, like so:Billy approached Ann as she was pouring a cup of coffee.  "Hey, how’s it going?†Ã¢â‚¬Å"Not bad.† She gestured to the cup. â€Å"Just warming up for the day.†Ã¢â‚¬Å"Ah. Liquid courage.†Ã¢â‚¬Å"Yeah, those customers aren’t going to yell at themselves.†One can tell from the action beats, as well as the fact that it’s a two-person back-and-forth conversation, which lines are Billy’s and which are Ann’s. Dialogue tags just distract from the conversation - although if you did want to use them, â€Å"said† would still be better than fancy tags like â€Å"announced† or â€Å"effused.†2. Lack of structural varietySimilar to the â€Å"too many tags† issue is the lack of structural variety that can sometimes arise in dialogue. Not sure what we’re talking about? Take a look at this:â€Å"This is going terribly. We need a new plan.† Sophie started erasing the blackboard.â€Å"Wait, stop! I have another idea.† Ethan grabbed her hand to stop her.â€Å"Oh yeah? When has that ever helped us before?† She glared at him, uncompromising.â€Å"I mean it this time. I think this could really work.† He grabbed the chalk from the table and began to write.Now, action beats are great, but here they’re used repeatedly in exactly the same way - first the dialogue, then the beat - which looks odd and unnatural on the page. Indeed, any recurrent structure like this (which also includes putting dialogue tags in the same place every time) should be vehemently avoided.Luckily, it’s easy to rework repetitive structure into something much more lively and organic, just by shifting around some of the action beats and tags:â€Å"This is going terribly. We need a new plan.† Sophie started erasing the blackboard.â€Å"Wait, stop!† Ethan shouted, grabbing her hand. â€Å"I have another idea.†Ã¢â‚¬Å"Oh yeah? When has that ever helped us before?†Ã¢â‚¬Å"I mean it this time. I think this could really work.†3. Restating the obviousAnother common dialogue mistake is restating the obvious - i.e. information that either the characters themselves or the reader already knows. For example, say you want to introduce two brothers, so you write the following exchange:â€Å"Say, Gary, how long have we been brothers?†Ã¢â‚¬Å"Thirty-five years, Barry. Ever since Ma gave birth to two bouncing baby boys in ‘84.†This is clearly awkward and a bit ridiculous, as the characters obviously know how old they are. It also insults the reader’s intelligence - even if they didn’t already know that Barry and Gary were thirty-five-year-old brothers, they wouldn’t appreciate being spoon-fed like this.If you wanted to convey the same information in a subtler way, you might write it into a different conversation, like:â€Å"Hey, Gary - Raiders of the Lost of Ark came out in 1984, right? Wasn’t Ma was about to see it when she went into labor with u s?†Ã¢â‚¬Å"That was Temple of Doom, Barry. No wonder we keep losing at trivia night.†This makes the dialogue more about Indiana Jones than the brothers’ age, sneaking in the info so readers can figure it out for themselves.4. Unrealistic smooth-talking and clichà ©sThough you want your dialogue to flow, you don’t want it to flow so smoothly that it sounds fake. Unfortunately, there’s a fine line between enthralling, Sorkin-esque dialogue and unrealistic smooth-talking, so be careful!Saying your dialogue out loud, as we mentioned in rule #8, should help with this problem. It can also be helpful to record dialogue (with the participants’ permission, of course) and study it for natural speech patterns and phrases. Of course, we’re not saying you should include every â€Å"um† and â€Å"er† that people say in real life - only that authentic-sounding written dialogue reflects real life.In a similar vein, you want to watch out for clichà ©s in your dialogue as much as in the rest of your writing. While it’s certainly true that people sometimes speak in clichà ©s (though this is often tongue-in-cheek), if you find yourself writing the phrase â€Å"Are you thinking what I’m thinking?† or â€Å"Shut up and kiss me,† you may need a reality check.For a full roster of dialogue clichà ©s, check out this super-helpful list from Scott Myers.5. Disregarding dialogue entirelyFinally, the last mistake you can make when writing dialogue is†¦ well, not writing it! Circling back to one of the very first points we made in this article, dialogue is a super-important element in almost any story - it provides exposition, indicates personality and character relationships, and may even reveal a major plot twist during the climax. Suffice to say, if your story doesn’t have enough dialogue, it’s not going to have many readers either.We know that writing dialogue can be intimida ting, especially if you don’t have much experience with it. But that should never keep you from including it in your work! Just remember that the more you practice, the better you’ll get. And with the help of the tips and in this article, you should already be a little bit (if not a lot!) closer to writing dialogue that captivates your readers just as much as their real-life conversations. ðŸâ€" £We hope you enjoyed this post on how to write dialogue! If you’d like to learn even more, check out our course on Writing Dialogue That Develops Plot and Character. How to Write Dialogue 10 Simple Rules (Plus 5 Mistakes to Avoid!) How to Write Dialogue: 10 Simple Rules (Plus 5 Mistakes to Avoid!) No matter what your genre, learning how to write dialogue effectively is a vital part of any writer’s education. Poor dialogue can make readers put your book down in disgust - but great dialogue can transform your characters into truly believable people, and your readers into satisfied customers.Of course, the best kind of dialogue isn’t just believable. It also provides exposition, involves distinct language depending on who’s speaking, and - perhaps most crucially - moves the story along. Without dialogue, you’d just have pages and pages of description with barely any character dynamics or interpersonal drama. How boring would that be?Because dialogue is essential to a strong narrative, we want to help you get it exactly right. To that end, we’ve put together this list of rules, examples, and more that will have you writing sparkling conversation in no time! We’ll also cover in detail how to format and punctuate dialogue, for those who a ren’t sure exactly what goes where.If you’re especially curious about formatting, go ahead and skip to #10 using the table of contents on the left - otherwise, let’s jump right in with dialogue rule #1.1. Enter the conversation lateAlfred Hitchcock once said that â€Å"drama is life with all the boring bits cut out.† Comparably, we could say that good dialogue is like a real conversation without all the fluff. And one of the best ways to cut out that boring fluff is to enter the conversation as late as possible.Think about it: few "classic" scenes start with characters going, â€Å"Hey buddy! How are you doing? Wow, long time no see.† This is because people enjoy making inferences based on details in action and speech - and the last thing you want to do is insult their intelligence by spelling everything out for them.For a more tangible taste of this technique, here’s screenwriter Aaron Sorkin talking about the first scene of his Oscar-win ning screenplay for The Social Network:â€Å"We started at 100 miles an hour in the middle of a conversation, and that makes the audience have to run to catch up. The worst crime you can commit with an audience is telling them something they already know. We were always running ahead.†Sorkin's ability to give the audience just the right amount of detail is a huge strength, and something all writers should strive for. So don’t slow down to accommodate your readers - make them catch up to you. id=attachment_19354 style="width: 1047px" class="wp-caption aligncenter">Now that you know exactly what to do when it comes to writing dialogue, let’s talk about what not to do - with these five critical mistakes to avoid.5 dialogue mistakes to avoid1. Too many dialogue tagsAs you may have already gathered, one of the most egregious errors you can make when writing dialogue is using too many dialogue tags. Constantly repeating â€Å"he said,† â€Å"she said,† and so on is boring and repetitive for your readers, as you can see here:â€Å"Hey, how’s it going?† Billy said.â€Å"Not bad,† said Ann. â€Å"Just warming up for the day.†Ã¢â‚¬Å"Ah. Liquid courage,† said Billy.â€Å"Yeah, those customers aren’t going to yell at themselves,† Ann said.So keep in mind that you can often eschew dialogue tags if you’ve already established the speakers, like so:Billy approached Ann as she was pouring a cup of coffee.  "Hey, how’s it going?†Ã¢â‚¬Å"Not bad.† She gestured to the cup. â€Å"Just warming up for the day.†Ã¢â‚¬Å"Ah. Liquid courage.†Ã¢â‚¬Å"Yeah, those customers aren’t going to yell at themselves.†One can tell from the action beats, as well as the fact that it’s a two-person back-and-forth conversation, which lines are Billy’s and which are Ann’s. Dialogue tags just distract from the conversation - although if you did want to use them, â€Å"said† would still be better than fancy tags like â€Å"announced† or â€Å"effused.†2. Lack of structural varietySimilar to the â€Å"too many tags† issue is the lack of structural variety that can sometimes arise in dialogue. Not sure what we’re talking about? Take a look at this:â€Å"This is going terribly. We need a new plan.† Sophie started erasing the blackboard.â€Å"Wait, stop! I have another idea.† Ethan grabbed her hand to stop her.â€Å"Oh yeah? When has that ever helped us before?† She glared at him, uncompromising.â€Å"I mean it this time. I think this could really work.† He grabbed the chalk from the table and began to write.Now, action beats are great, but here they’re used repeatedly in exactly the same way - first the dialogue, then the beat - which looks odd and unnatural on the page. Indeed, any recurrent structure like this (which also includes putting dialogue tags in the same place every time) should be vehemently avoided.Luckily, it’s easy to rework repetitive structure into something much more lively and organic, just by shifting around some of the action beats and tags:â€Å"This is going terribly. We need a new plan.† Sophie started erasing the blackboard.â€Å"Wait, stop!† Ethan shouted, grabbing her hand. â€Å"I have another idea.†Ã¢â‚¬Å"Oh yeah? When has that ever helped us before?†Ã¢â‚¬Å"I mean it this time. I think this could really work.†3. Restating the obviousAnother common dialogue mistake is restating the obvious - i.e. information that either the characters themselves or the reader already knows. For example, say you want to introduce two brothers, so you write the following exchange:â€Å"Say, Gary, how long have we been brothers?†Ã¢â‚¬Å"Thirty-five years, Barry. Ever since Ma gave birth to two bouncing baby boys in ‘84.†This is clearly awkward and a bit ridiculous, as the characters obviously know how old they are. It also insults the reader’s intelligence - even if they didn’t already know that Barry and Gary were thirty-five-year-old brothers, they wouldn’t appreciate being spoon-fed like this.If you wanted to convey the same information in a subtler way, you might write it into a different conversation, like:â€Å"Hey, Gary - Raiders of the Lost of Ark came out in 1984, right? Wasn’t Ma was about to see it when she went into labor with u s?†Ã¢â‚¬Å"That was Temple of Doom, Barry. No wonder we keep losing at trivia night.†This makes the dialogue more about Indiana Jones than the brothers’ age, sneaking in the info so readers can figure it out for themselves.4. Unrealistic smooth-talking and clichà ©sThough you want your dialogue to flow, you don’t want it to flow so smoothly that it sounds fake. Unfortunately, there’s a fine line between enthralling, Sorkin-esque dialogue and unrealistic smooth-talking, so be careful!Saying your dialogue out loud, as we mentioned in rule #8, should help with this problem. It can also be helpful to record dialogue (with the participants’ permission, of course) and study it for natural speech patterns and phrases. Of course, we’re not saying you should include every â€Å"um† and â€Å"er† that people say in real life - only that authentic-sounding written dialogue reflects real life.In a similar vein, you want to watch out for clichà ©s in your dialogue as much as in the rest of your writing. While it’s certainly true that people sometimes speak in clichà ©s (though this is often tongue-in-cheek), if you find yourself writing the phrase â€Å"Are you thinking what I’m thinking?† or â€Å"Shut up and kiss me,† you may need a reality check.For a full roster of dialogue clichà ©s, check out this super-helpful list from Scott Myers.5. Disregarding dialogue entirelyFinally, the last mistake you can make when writing dialogue is†¦ well, not writing it! Circling back to one of the very first points we made in this article, dialogue is a super-important element in almost any story - it provides exposition, indicates personality and character relationships, and may even reveal a major plot twist during the climax. Suffice to say, if your story doesn’t have enough dialogue, it’s not going to have many readers either.We know that writing dialogue can be intimida ting, especially if you don’t have much experience with it. But that should never keep you from including it in your work! Just remember that the more you practice, the better you’ll get. And with the help of the tips and in this article, you should already be a little bit (if not a lot!) closer to writing dialogue that captivates your readers just as much as their real-life conversations. ðŸâ€" £We hope you enjoyed this post on how to write dialogue! If you’d like to learn even more, check out our course on Writing Dialogue That Develops Plot and Character.

Critically assess the proposition that Muslims have become the main Essay

Critically assess the proposition that Muslims have become the main focus of official efforts to exclude Others from the s - Essay Example 5 Muslim communities of the 20th/21st centuries based on three typologies†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ 6 Multiculturalism†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. 6 Differential exclusion / guest worker system†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ 7 Assimilation†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. 8 Terrorism as usually associated with Muslim people†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ 8 Social exclusion†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚ ¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 10 Conclusion†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 13 Introduction Islam is the religion for more than 2 billion people on the earth. Only in Western Europe there are about 10 million Muslims, who are considered to be the largest religious minority in the region and the third largest religion overall growing much faster than traditionally dominant Catholic and Protestant religions. As a result, Islam became a significant religious and social force in the Western European countries, including France, Germany, United Kingdom, and others. In Great Britain, for example, Muslims are the second largest faith group after Christians. More than half of them were born in the United Kingdom having such ethnic backgrounds as Turkish, Arab, Indian, Asian, Kurdish, and Pakistani. Muslims coming to live in France are usually from francophone countries such as Tunisia, Egypt, Algeria and Morocco (Castles and Miller, 2003). Finally, Germany has many Muslims with Turkish and Kurdish origin. Since the number of Muslims living in Western Europe and the United States continue to grow and more and more people become converted into Islam religion, anti-Muslim sentiments and movements started growing across Europe when Muslims have become the main focus of official efforts to exclude them as â€Å"others† from the states of Europe. The main reason for such actions is the fear of a ‘Muslim invasion’ when European national identities can be threatened by the ongoing processes of European integration and immigration from the developing countries (Ferrera, 2005). While in the past immigration rules were less restricted for certain countries, they became tougher recently due to the increased number of immigrants living on the unemployment compensation from the government, which raises concerns and complaints from the citizens who work hard and pay taxes. Even if immigrants find a job, the employers pay much less salaries and wages for them than for national citizens. So, it shifts preferences for employment toward immigrants. In such a way, socially excluded â€Å"national† citizens compete with socially excluded ethnic minorities or immigrant ‘others’ for limited national resources of welfare (Castles and Miller, 2003). Such current situation in the Western European countries can be associated with a â€Å"social regression† or a â€Å"social crisis† in addition to a growing political and cultural crisis based on the established national identities. In such a way, recently there is a strong tendency to exclude Muslim immigrant â€Å"others† out of the European countries to make it â€Å"nationally pure† again. Syncretism Syncretism, which means "combining", is the att empt to reconcile contrary

Russia and Eastern Europe After Lenin Essay Example | Topics and Well Written Essays - 1500 words

Russia and Eastern Europe After Lenin - Essay Example Post war development in Russia under Stalinism influenced the economically and strategically forward European nations which had followed the system of Stalinism for a long time until the result of World War II brought drastic changes in the political and economic definitions across the world. This essay focuses on the development and decline of Stalinism in different countries across Central and Eastern Europe during the post-war period. During the time of developmental changes in Russia, Leninist followers identified the ratification possibilities of the state to approve the powers of capital investors over the working class of the country. Revolutionary leaders of Russia then framed actions and campaigns to direct the state administration to communism. The ideal principle of the movements of Leninists was the preference of revolution to evolution and social democracy to communism. However, the two leaders were guided by more less similar principle and were highly regarded as the leaders of the masses. According Foster (2007), both Lenin and Stalin were men of action and thought who have shown the example of coordination of theories and practices required for the realisation of daily needs of the masses of the country for achieving the desired outlook of socialism. By the end of Leninist era, Stalin emerged as a prime figure in the Republic of Russia with his principles of centralized administration and trust in th e employment of terror for power. The Stalinist invasion of Europe started with the agreement of Germany giving away the states of Baltic and part of Nazi dominant part of Poland to Russia (Western Civilization, 1997). Stalin’s foremost political identity was reflected by his distrust for the Western Europeans and the immediate lenience he showed to the supporting nations that stood along with his interest. The time of Churchill posed crucial protest

Two sides to welfare Essay Example for Free

Two sides to welfare Essay In this discussion we were suppose to side with either the Conservative side or the Moderate side. The Conservative side had points about the welfare which best described my opinion about welfare. One the other hand the moderate view also had several points to the welfare reform. The welfare issue in the U.S. can not be handled in a similar way for everyone. There are certain cases and situations which show that welfare shouldnt be handled in the same way for everyone. Their should be different procedures for extreme cases, and their should be some sort of restriction too. The government should provide some sort of aid because every state has different procedures of determining welfare. The time restriction in one way is very useful for the society in a whole but again it should be determined by the eligibility. For example, if someone is severely disabled, that person wont be helped enough if the time limit is just five year. So, I believe there should be longer time given to the people who deserved it. The thing about any government sector aid can be done in this way that the government watches over the states, so they dont pass a law that doesnt belong to welfare at all. I agree with the conservative view on welfare more than the moderate view. There are several reasons behind my opinion. Although, I agree that the needy families, single parents, and other in need should be helped financially, but I few issues regarding this. First of all, there should exist a tough procedure and valuation in order to get the welfare. The welfare shouldnt be available as the first thing to anyone who is in need and he/she has dependents. Instead, they should check out other opportunities before getting themselves into welfare. Although these people should be given welfare but should have some sort of penalty along with it. The welfare should be given to most extreme cases. Especially the single parents should be asked to make contributions to their budget as in a part-time job. I believe it is not fair to the tax payer who are working Twenty four hours and paying money for someone who is having couple of kids  as a single parenting while they are not able to support themselves. There should be some sort of pressure in order for single parenting population to receive this aid. A lot of people have created the welfare as their income source; this thing can only be stoped by having them work too, even if they are only working part-time. There should be no support available to the people who have child and they dont show interest in getting independent in future or do some sort of part-time job. For their children we should provide either adoption or some sort of centers which only look after their kids (provide them with food and shelter, not their grown up parents too). Welfare should go to the elderly and the disable people, because they are the people who really deserve the welfare. But still there comes the point of how did this person got disabled. Did it occur naturally or accidentally? If this happened naturally or accidentally it is a situation with is beyond the individuals control. But if, this person has became disabled because of drug abuses; I certainly wont agree that this person should be fed by government through out his/her life. This way at least we might be able to stop people from abusing themselves. Because these people know that they are getting all sorts of financial help they dont care about themselves and become a burden on the society. To reduce this sort of behavior among people some new reforms should be done to the welfare. Beyond the individuals are factors in the economy or society itself that may prevent people from getting a job that can support a family. Some groups suffer from discrimination that blocks them out of the better-paying, career jobs. Sometimes a persons skills are no longer needed in the system. In these cases we can at least help them by welfare for limited time.