Unemployment Essay

How to Deal with Unemployment Unemployment seems to be a problem that is faced by many nations around the world. Whenever there is an economic downturn, people lose their jobs and unemployment rears its ugly head once more. An ever-recurring problem does not seem to have a proper solution. Although the economic situation in the world does have an effect on employment, its impact on individuals is varied. While some people become the immediate preys of unemployment, others seem to thrive in any situation that they are placed under. No matter what circumstances they go through, they always come out on top, while others keep going down. We are not talking about those that come up by hook or by crook, but about the ones that come up through perseverance, patience and determination. It looks like employability has more to do with the mind than with the world economics. It is what goes on inside a person’s mind that really matters. External factors can impact a person’s life to some extent, but their effect on people’s life is a direct result of their mental attitude and belief system. When the recession started and gloom and doom were predicted, many people committed suicide even before they lost their jobs. Fear can cripple many people and make them do things that they would not do under normal circumstances. Others have been able to survive and go through the recession and come out on top successfully. Some who have lost their jobs have started businesses, which are now thriving. Recession can, therefore, affect those who allow it to take control of their lives. On the other hand, when people are determined to be successful, no recession can stop them from achieving their goals in life.

Analysis Of Kill A Mockingbird By Harper Lee - 1248 Words

Lucas Sschodowski Mrs. Ramin English 8, 6th Hour 28 February 2016 To Feel Feelings Realistic Fiction authors tend to use techniques in their novels to prove a point or show a goal. Techniques are very helpful in writing rRealistic fFiction novels because it helps the reader understand what the author is trying to convey. In this novel with the title To Kill A Mockingbird, Harper Lee used that to her own advantage;, the techniques in this book were very clear to the eye and it helped the reader more to understand the part that they were reading. In the book To Kill A Mockingbird the story is about a little girl named Scout who lives in the south in a little town called Maycomb, Alabama and during the Great Depression in the 1930s. and currently living in the great depression. During the story, Scout’s father Atticus receives a case involving a black man Tom Robinson (a black man) who is convicted of committing a crime to a white woman, and throughout the story many people are against Scout and her family because of her dad’s case and how he is defendin g a black man. Scout is also the narrator throughout the story and she tells else all of what happens in Maycomb those couple of years. The author Harper Lee uses many techniques, such as providing multiple points of view, showing symbolism, and revealing actions to prove or show a goal in her writing. In this book she used techniques such as providing multiple points of view, showing symbolism, and revealing actions throughoutShow MoreRelatedAnalysis Of Theme Of Kill A Mockingbird By Harper Lee1765 Words   |  8 PagesAnalysis Of Themes In To Kill A Mockingbird The novel To Kill A Mockingbird, by Harper Lee, published in 1960, comes out during a flourishing time of tremendous segregation and injustices in the United States. In fact, during this time in America, Civil Rights Movement are at their peak; also, some residents are pushing for equality for all, during this time period. One of those United States citizens who is exposing the South for what it truly is, is Harper Lee. Harper Lee, born on April 28, 1926Read MoreAnalysis of To Kill a Mockingbird by Harper Lee Essay1360 Words   |  6 PagesAnalysis of To Kill a Mockingbird by Harper Lee In 1960, Harper Lee published her critically acclaimed book To Kill a Mockingbird. Only a year after being published the American classic novel was awarded the Pulitzer Prize in fiction as well as the Brotherhood Award of the National Conference of Christians and Jews. Gregory Peck stared as Atticus in the successfully adapted 1962 motion picture of To Kill a Mockingbird that won an Academy Award. This book is based on many childhood experiencesRead MoreEssay on Analysis of To Kill a Mockingbird by Harper Lee1323 Words   |  6 PagesAnalysis of To Kill a Mockingbird by Harper Lee â€Å"To Kill a Mockingbird† by Harper Lee is a story of national magnitude that contains complex characters. Harper Lee deals with the emotions and spirits of the characters insightfully. A few of these characters display courage at one point or another in the story. These flashes of courage come during turbulent times of the story, and often led to success. Atticus Finch displayed courage on numerous occasions. Without his wife he had toRead MoreAnalysis Of Kill A Mockingbird By Harper Lee1431 Words   |  6 PagesPrison in To Kill A Mockingbird Historically, women have spent time living in the shadows of men, purely because of their gender. Women are oppressed and expected to conform to certain gender roles/expectations because of their sex, just like men. Caitlyn Jenner is a transgender female. Her name was Bruce Jenner however she felt trapped in a male’s body when deep in side she knew that she was a female. Caitlyn Jenner did not fit well into the stereotypical description of a male. Harper Lee wrote ToRead MoreAnalysis Of Kill A Mockingbird By Harper Lee988 Words   |  4 PagesDo you have the courage to stand up for good when evil lingers all around? To Kill a Mockingbird is set in the town of Maycomb, Alabama, during the great depression, while facing social status discrimination, racial discrimination, prejudices, and stereotyping. However, there remained courage by some to see good in all. While Atticus Finch was of a higher social status as an attorney in Maycomb, he always displayed the courage to sta nd up for what was right, or for good, even when evil lingeredRead MoreAnalysis Of Kill A Mockingbird By Harper Lee1078 Words   |  5 Pagesmeans those who are poor have less. In To Kill a Mockingbird many of the poverty struck people are looked down on because of status, and there is little to support why they are. If someone has less, it does not necessarily indicate they are less, they just don’t have the means to be where others are in society. Today, there are many, even some who work, that live in poverty. When they get looked down on it is an injustice to society. In To Kill a Mockingbird, two examples of poverty are the CunninghamsRead MoreAnalysis Of Kill A Mockingbird By Harper Lee785 Words   |  4 PagesInequality is an issue that the American society has been struggling to solve for generations. 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The mockingbirds share a connection with Tom Robinson since they are both innocent and don’t deserve toRead MoreAnalysis Of Kill A Mockingbird By Harper Lee880 Words   |  4 PagesAnalysis on Tom Robinson’s Trial Harper Lee’s â€Å"To Kill a Mockingbird† is set in a small Southern United States community called Maycomb during the Great Depression era. The whole book primarily revolves around segregation and racism and how it relates to Maycomb’s history. It eventually leads to the trial of Tom Robinson where he is accused of beating up and raping Mayella Ewell. Even though it was clear that Tom Robinson did not do anything wrong he was convicted by an all white jury simply becauseRead MoreAnalysis Of Kill A Mockingbird By Harper Lee1545 Words   |  7 PagesSouth during the 1930’s, Harper Lee’s To Kill a Mockingbird was an instant classic that has endured for more than half a century. Still taught in schools and often referenced in popular culture, Lee’s story of the Finch family in tiny Maycomb, Alabama is known as a â€Å"Great American Novel† because of Lee’s entertaining examination of so many timeless, socially relevant themes. T hrough her characters of Atticus Finch, his daughter Scout, and their mysterious neighbor Boo Radley, Lee considers the theme of

Hateship, Friendship, Courtship, Loveship, Marriag Essay Example For Students

Hateship, Friendship, Courtship, Loveship, Marriag Essay e: Stories In Wild Swans a girl on a train, fondled by a minister, feels disgusted but also hugely curious. Munro describes as Ive never seen anyone else do how people put erotic memories, not always pleasant ones, to use over and over in their lives. 1. This paper reports that Rose is sitting on a train ride during which a self-described minister gropes her throughout the ride. She cannot take a stand against him, because she knows that the abuse is hidden and that her outcry will be deafened by an indifferent society. Most living writers are not, most of the time, reading one anothers work. They are reconsidering the classics. They are consuming cookbooks, comics, self-help manuals, mysteries, pornography, Martha Stewart (a variety of pornography for women). They are skimming biographies, dabbling in dictionaries. Writers are watching The Sopranos or learning, late in life, to play tennis. They are obsessing about their love affairs, their disappointing careers, their children. Every once in a while, though, a rumor burns through the tentative, decentralized community of American writers that a certain book must be owned. Hateship, Friendship, Courtship, Loveship, Marriage, a new collection by Alice Munro, her tenth, has already incited writers to call one another on the telephone, to send e-mail exhortations, and in the extreme (writers are not profligate) to pay retail for more than one copy in order to give the book away. Every artist, brilliant, pretty good, or aspiring, has the same wish to make something beautiful and lasting and the concomitant capacity for awe in the presence of the serene achievement (as Conrad called Henry Jamess New York Editions). The highest compliment a critic can pay a short-story writer is to say that he or she is our Chekhov. More than one writer has made that claim for Alice Munro. Her genius, like Chekhovs, is quiet and particularly hard to describe, because it has the simplicity of the best naturalism, in that it seems not translated from life but, rather, like life itself. In analyzing another Russian writers transparent straightforwardness, James Wood described the critics frustration: Why are his characters so real? Because they are so individual. Why does his world feel so true? Because it is so real. And so on. It may be instructive, in trying to account for Munros disproportionate power, to consider Lady With Lapdog, arguably Chekhovs most famous and beloved story. Even after dozens of readings (in several translations) I still find it exceedingly difficult to pinpoint how the story works as deeply as it does. One might seize on the regular use of incongruities: the cynical philanderers thoughts of a young womans slender neck and beautiful eyes, followed by his impression that she is pathetic; the rou cutting a watermelon and eating it silently for a half hour while the woman sobs, thinking herself fallen after their first tryst; the open ending. Chekhov properly placed all statements about beauty, eternity, and falling in love right next to comic, breezy, urbane sentences, lending the impression that this young married woman and her older Muscovite lover, although particular to us, are not out of the human ordinary. Yet I could think of hal f a dozen stories to which one could fairly ascribe these same techniques of juxtaposition and tonal incongruity but which nonetheless lack this storys power. Likewise, I could strain to name a few writers who possess an immense lyric gift, in whose work a poets compression punctuates a novelists love of leisured complication, of time; yet their stories register altogether differently from Munros. Ann Close, Munros American editor since The Beggar Maid (1978), has described the experience of going back to a place in a story where she remembered a particular passage and finding that it had never been there. More than with other writers, Close said, with Alice, theres a huge amount between the lines. At the heart of all great naturalism is mystery, an emotional sum greater than its technical parts. I am not a sophisticated chronicler of literary reputation. I dont really know how famous Munro is. And perhaps with our particular favorites there is a tendency to downplay their popularit y. No one likes to think his or her taste is common. More than one high school girl has been dismayed to learn that the one boy she personally, idiosyncratically found cute is a general heartthrob. In the early eighties I asked friends who were traveling north of the border to find me anything they could by Alice Munro, and my copies of her first three books are Canadian paperbacks. In 1986, when The Progress of Love was published, she read to a full house in a large NYU auditorium (New Yorkers are prescient, and by then shed been publishing stories in their namesake magazine for almost ten years). I have a sense that whatever Munros reputation is (and it is lofty among writers, of that I am sure), it is not yet exactly what it should be. And the ways in which it is not quite what it should be are somehow murky and would seem to have little to do with literature. Lorrie Moore hinted at this recently in The Paris Review: I dont believe any serious reader would call her provincial, Mo ore said, but I also dont think it is often emphasized how she is the opposite. I can think of no better illustration of the universality of Alice Munros work than the memory of reading it in my twenties. I lived in a fifteenth-floor apartment in New York City, worked as an editor at The Paris Review, took the crosstown bus dressed in the city uniform of black stockings, skirts, and pumps bought on sale. My love affairs tended to be of the wistful variety from afar if not altogether imaginary. Yet I read Alice Munros stories of adulterous wives, and country girls gutting turkeys, with the page-turning avidity of someone discovering her own true future. The managing editor, Jeanne McCulloch, did the same. We read them deeply personally, to learn how to live. Without really garnering the permission of our boss, George Plimpton, we planned to interview Munro for The Paris Review. We hoped by this to achieve for her a kind of canonization. No writer in his right mind would have wanted c anonization to depend on us. Though we read the stories over and over, we were also terribly busy, figuring out not only the craft of writing rejection letters but also the tricks of making a living in New York City. We met Alice Munro and her editor at the Chelsea brownstone of her agent, Virginia Barber, where the three women seemed occupied and prosperous, in the middle of life. They talked about shopping with the exhilaration of serious women who dont often shop. We started the interview, and in the fashion typical of The Paris Review (often edited by would-be writers in their twenties), it languished for seven years. Making a case for Alice Munro in 2001 is not what making a case for Herman Melville would have been in the 1880s, or for Henry James at the time of the New York Editions, early in the 1900s. Since The Beggar Maid most reviews have been stellar; Munro has received all the major Canadian literary prizes and our National Book Critics Circle Award. (As a Canadian, she is not eligible for our National Book Award or Pulitzer Prize; Her last five books have not been short-listed for the Booker Prize, because the Booker no longer considers short-story collections.) So splitting hairs about precisely to which tier of the pantheon she belongs can feel a bit like carping that Proust, Joyce, and Kafka never won the Nobel Prize. But when educated general readers talk about the great living fiction writers, Munro isnt consistently mentioned with Saul Bellow, Toni Morrison, Philip Roth, and John Updike. Three reasons come to mind. First, Munro writes about the lives of girls and women, to quote the title of her one novel, their conflicts, comedy, milestones, irony, and domestic detail, vacuuming and all. We are still, despite thirty years of feminism, a culture that considers the word domestic when applied to fiction to mean tamer and even less. Munros reach has become vast in recent collections, but her stories about the western expansion, about North Amer ican history, and even about murder are centered on a credible female character. Second, she, like the great majority of writers, has claimed a specific fictional geography, and hers-midwestern rural Canada does not have any particular edge or sexiness. Third, she writes short stories. The roughly contemporary writers most akin to her in sensibility, the late Illinoisan William Maxwell and the Irish William Trevor (both writers of exquisite short stories and also novels), share her relative obscurity. They, like Grace Paley, Isaac Babel, and Marilynne Robinson, are sometimes said to be writers writers, meaning that most people havent ever heard of them. Munros first three books, Dance of the Happy Shades (1968), Lives of Girls and Women (1971), and Something Ive Been Meaning to Tell You (1974), introduced her great themes shame and its connection to poverty, how class monkeys with sexual desire, the problems of a female artist in functioning satisfactorily as an artist or a female a nd also some of her leitmotifs: the glamour of airplanes, the changes in domestic life brought about by electrification and indoor plumbing, the recurring figure of a half-decrepit grandmother who is still an actor, however minor, in the household drama. An archetypal family emerges. The mother, refined and particular, strives for elegance even as her health is declining. She has a wealth of aunts and perhaps considers herself a little above her husbands family. The father remains upright and honorable, with necessary privacies; he is often a trapper of sorts (fox, mink, muskrat, marten), comfortable with a rougher male world outside, in possession of raucous relatives and perhaps a randy past. The fathers family is apt to play practical jokes, put uncooked beans in the soup, and throw forks and dishrags at one another. (A bad thing in that family was to have them say you were sensitive, as they did of my mother.) In Walker Brothers Cowboy, the first story in Munros first collection , the mother takes the Depression personally. Though casual readers may derive a sense that Munros characters come from the wrong side of the tracks, it seems to me that she writes about the construction of class not only in broad, upstairs-downstairs extremes (the husband rich, the wife a scholarship student) but also within families and communities whose differences appear invisible from the outside. She chronicles the nuances, snubs, and unsent invitations on which we build class and maintain it. Im not sure whether country girls still sleep with rich boys who come to the Canadian lakes for the summer, as they do in Thanks for the Ride. But what lingers, memorably, is the conundrum of why they ever did. It wasnt for money, or the hope of marriage. The old grandma, hovering in the living room, knows better than that. It seems to have been its own rough convention, the trophy of a certain glamour the glamour of just that night. Munro also returns again and again to the Jamesian sub ject of the artist. In her work, though, the artist is a woman in a small town, without the complications of recognition. There is a poetess in the wilds of nineteenth-century frontier Canada (Meneseteung), a violinist in the 1940s who dreams of leaving her baby outside to die (My Mothers Dream), and an aging piano teacher, Miss Marsalles, whose popularity is waning (Dance of the Happy Shades): Mary Lamberts girl no longer takes; neither does Joan CrimblesPiano lessons are not so important now as they once were; everybody knows that. Dancing is believed to be more favourable to the development of the whole child. HELPING THE HOMELESS EssayThe husband and wife here stay within their mythic traditional parade, but Munro gives them the dignity of the processions end while also including two counterpoints to the march: one of frivolity, in the wifes youthful glamour, her linen dress and white gloves, her knowledge of fashion trivia (Balmains exhortation to wear white gloves); the other the fugitive melody of an erotic betrayal, wound deeply and perhaps productively into this marriage. There is something I always hope for in fiction that has no literary term. Its best explained by analogy. In a certain painting by Degas a woman dries herself after a bath, one foot up on the rim of the tub, her whole body leaning over. Seeing that image, one might recognize a human position common in life but never before seen through the bending lens of representation. The same thing could be said for a shade of red in Mondrian. Munro gives us such recognitions. Her emotional palette is vast. Here is a portrait of a young woman, from Family Furnishings: After a lunch with the aunt she once idolized, full of country food, full also of emotion, from secrets revealed with their attendant burdens of guilt and sorrow, the young woman walks alone through the city. Her friends are away. Her fianc (who admired Hamlet but had no time for tragedy for the squalor of tragedy in ordinary life) is visiting his good-looking parents. She walks and walks, and then slips into a drugstore coffee shop, where the bitter black coffee tastes medicinal. She feels full not only of food but of people, of life. What soothes her as much as the coffee is the solitude, the urban anonymity: such happiness, to be alone. Ive never before seen the artists need for solitude as alleviation of fullness, an overload of life. There is a long line of idolized women in Munros stories, usually independent and childless, living emotionally extravagant, artistic lives, admired by shyer, more cautious, and often younger women. The ve ry real suffering and squalor endured by these idols is sometimes glimpsed in flashes, with the troubling suggestion that their more colorful ways may not all have been a matter of choice. But usually the younger woman is too much in the thick of her own life to pause long to consider the implications of these hardships for herself or her future. In real life, when Jeanne and I met her in Canada, Alice Munro lived in the two-story wooden house in which her second husband was born. She told us (a cautionary tale) that shed never had a house she really loved. She worked in the dining room, at a small table that held a manual typewriter. She said she often stood up before her dictionary, and spent hours there daydreamily composing. There were moments when we felt our generational difference: her two years at university were the only time in her life when she didnt have to do housework (we hoped there wasnt too too much housework looming in our futures). When her daughters were very sma ll, she worked during their naps. (This particularly consoled me. I intended to put down my future son for three or four naps daily.) There were silent spots in the interview, points too private and difficult to pursue, which seemed to have to do with prices paid for needing work while having children. We shook our heads; somehow it would be different for us. At moments even Munros casual conversation had the cadences of poetry, as in her description of a suburb in western Canada where she once lived: I was with the wives of the climbing men. But iambic or not, the suburbs, with their wives, were not where we hoped to live. She made it all seem not easy but possible. Later we sensed a vast gulf between the woman telling us how she made the thing and the thing itself, a gulf still containing the enormous my

Music History Essays (1130 words) - Musical Texture, Harmony

Music History Music has been a great influence in the lives of many people through lyrics and rhythm. There are many different styles that can be performed by either a male or female. Music has been around for many years and is constantly changing. Music has been divided into six periods: Medieval, Renaissance, Baroque, Classical, and Twentieth Century. Music is written in symbols that represent musical sounds. The system of written symbols is called Musical Notation. "The primary requirement of any notation is that it be suited to the music it represents (Gerboth)." The simplest texture of music is monophonic or single voiced texture. Gregorian chant is an example of monophonic texture. "All music up to about a thousand years ago, of which we have any knowledge, was monophonic (Machlis 295)." Its melody is heard with out a harmonic accompaniment or other vocal lines and attention is focused on the single line (Machlis 295). "To this day the music of the Oriental world - of China, Japan, India, Java, Bali, and the Arab nations -is largely monophonic (Machlis 295)." Polyphonic or many-voiced texture is when two or more melodic lines are combined. Most Medieval polyphonic music is anonymous, though some composers were so important that their name was preserved along with their music ("Historical"). The polyphonic texture is based on counterpoint: the art and science of combining in a single texture two or more simultaneous melodic lines, each with a rhythmic life of its own (Machlis 295-96). The development of counterpoint took place at a time when composers were mainly occupied with religious choral music, which was by its nature, many-voiced (Machlis 296). Polyphony had to be written in a way that would indicate the rhythm and pitch precisely. It brought the emergence of regular meters that enabled different voices to stay together. Polychoral music is music for several chiors singing in answer to each other across the huge resesses of the church (Frowler 122). Homophonic texture is a single-melody with chords (Machlis 296). Homophonic means "same" or similar sounding. Its texture is based mainly on harmony. This texture dominated the Classical style. The Medieval period was the longest and most distant period of musical history and consists of almost a millennium's worth of music ("Historical"). One of the difficulties in studying Medieval music is that a system for notating music developed only gradually ("Historical"). A musical notation system was started in the 12th or 13th century. Notation in music, for several centuries, only indicated what pitch (or note) to sing. The Renaissance (1400-1600) began in 14th century Italy (Kirshner) and its name means rebirth. A cultural break with Medieval tradition was the Renaissance idea of humanism. "The Renaissance was a time of brilliant accomplishments in literature, science, and the arts (Frowler 445)." During the Renaissance there is an increase in individualism that is reflected by the changing role of the composer ("Historical"). In late Renaissance instrumental music went toward an independence from vocal music (Ulrich). Most of the popular songs were played on the lute. The Renaissance, in the arts, was on of the most innovative and active periods in the history of Western man, based partly on the philosophic movement called humanism (Ulrich). The Baroque period (or Middle Ages) (1600-1750) is divided into three fifty-year periods, early, middle, and late Baroque. Music of the Baroque era was characterized by the vastness of proportion, rich counterpoint, great splender and a highly ornamented melodic line (Mautz). Baroque music is often highly ornate, colorful and richly textured when compared with its predecessors ("Historical"). The term Baroque came from a French word for an imperfect or irregular pearl (Frowler 448-49). "The early baroque was a time of intense experimentation, led in large part by Italian composer Claudio Monteverdi ("Historical")." Many aspects of the Baroque art were determined by religion (Sullavin). "The intensity and immediacy of Baroque art and its individualism and detail - observed in such things as the convincing rendering of cloth and skin textures - make it one of the most compelling periods of Western Art (Sullavin)." Major events of the early 17th century were related to the invention of a new method of composition called monodic style. Monodic style music was for one singer with an instrumental accompaniment. It was achieved by a group of Florentene writers, artists, and musicians known as the Camerata, a name derived from the Italian word for"salon" (Machlis 354). Opera was born around 1600, the beginning of the Baroque era. Opera was considered by many to be the single most important achievement of the Baroque period (Machlis 354).

Introduction to the Reserve Ratio

Introduction to the Reserve Ratio The reserve ratio is the fraction of total deposits that a bank keeps on hand as reserves (i.e. cash in the vault). Technically, the reserve ratio can also take the form of a required reserve ratio, or the fraction of deposits that a bank is required to keep on hand as reserves, or an excess reserve ratio, the fraction of total deposits that a bank chooses to keep as reserves above and beyond what it is required to hold. Now that weve explored the conceptual definition, lets look at a question related to the reserve ratio. Suppose the required reserve ratio is 0.2. If an extra $20 billion in reserves is injected into the banking system through an open market purchase of bonds, by how much can demand deposits increase? Would your answer be different if the required reserve ratio was 0.1? First, well examine what the required reserve ratio is. What Is the Reserve Ratio? The reserve ratio is the percentage of depositors bank balances that the banks have on hand. So if a bank has $10 million in deposits, and $1.5 million of those are currently in the bank, then the bank has a reserve ratio of 15%. In most countries, banks are required to keep a minimum percentage of deposits on hand, known as the required reserve ratio.This required reserve ratio is put in place to ensure that banks do not run out of cash on hand to meet the demand for withdrawals. What do the banks do with the money they dont keep on hand? They loan it out to other customers! Knowing this, we can figure out what happens when the money supply increases. When the Federal Reserve buys bonds on the open market, it buys those bonds from investors, increasing the amount of cash those investors hold. They can now do one of two things with the money: Put it in the bank.Use it to make a purchase (such as a consumer good, or a financial investment like a stock or bond) Its possible they could decide to put the money under their mattress or burn it, but generally, the money will either be spent or put into the bank. If every investor who sold a bond put her money in the bank, bank balances would initially increase by $20 billion dollars. Its likely that some of them will spend the money. When they spend the money, theyre essentially transferring the money to someone else. That someone else will now either put the money in the bank or spend it. Eventually, all of that 20 billion dollars will be put into the bank. So bank balances rise by $20 billion. If the reserve ratio is 20%, then the banks are required to keep $4 billion on hand. The other $16 billion they can loan out. What happens to that $16 billion the banks make in loans? Well, it is either put back into banks, or it is spent. But as before, eventually, the money has to find its way back to a bank. So bank balances rise by an additional $16 billion. Since the reserve ratio is 20%, the bank must hold onto $3.2 billion (20% of $16 billion). That leaves $12.8 billion available to be loaned out. Note that the $12.8 billion is 80% of $16 billion, and $16 billion is 80% of $20 billion. In the first period of the cycle, the bank could loan out 80% of $20 billion, in the second period of the cycle, the bank could loan out 80% of 80% of $20 billion, and so on. Thus the amount of money the bank can loan out in some period ​n of the cycle is given by: $20 billion * (80%)n where n represents what period we are in. To think of the problem more generally, we need to define a few variables: Variables Let A be the amount of money injected into the system (in our case, $20 billion dollars)Let r be the required reserve ratio (in our case 20%).Let T be the total amount the bank loans outAs above, n will represent the period we are in. So the amount the bank can lend out in any period is given by: A*(1-r)n This implies that the total amount the bank loans out is: T A*(1-r)1 A*(1-r)2 A*(1-r)3 ... for every period to infinity. Obviously, we cannot directly calculate the amount the bank loans out each period and sum them all together, as there are an infinite number of terms. However, from mathematics we know the following relationship holds for an infinite series: x1 x2 x3 x4 ... x / (1-x) Notice that in our equation each term is multiplied by A. If we pull that out as a common factor we have: T A[(1-r)1 (1-r)2 (1-r)3 ...] Notice that the terms in the square brackets are identical to our infinite series of x terms, with (1-r) replacing x. If we replace x with (1-r), then the series equals (1-r)/(1 - (1 - r)), which simplifies to 1/r - 1. So the total amount the bank loans out is: T A*(1/r - 1) So if A 20 billion and r 20%, then the total amount the bank loans out is: T $20 billion * (1/0.2 - 1) $80 billion. Recall that all the money that is loaned out is eventually put back into the bank. If we want to know how much total deposits go up, we also need to include the original $20 billion that was deposited in the bank. So the total increase is $100 billion dollars. We can represent the total increase in deposits (D) by the formula: D A T But since T A*(1/r - 1), we have after substitution: D A A*(1/r - 1) A*(1/r). So after all this complexity, we are left with the simple formula D A*(1/r). If our required reserve ratio were instead 0.1, total deposits would go up by $200 billion (D $20b * (1/0.1). With the simple formula D A*(1/r) we can quickly and easily determine what effect an open-market sale of bonds will have on the money supply.

Cómo preparar entrevista remoción condiciones greencard

Cà ³mo preparar entrevista remocià ³n condiciones greencard La entrevista para la remocià ³n de las condiciones de la tarjeta de residencia es un requisito fundamental para convertir en definitiva la green card provisional del cà ³nyuge de un ciudadano estadounidense. Cabe destacar que dicha entrevista solo es necesaria en aquellos casos en los que el migrante recibià ³ la tarjeta de residencia con carcter condicional porque se le aprobà ³ cuando llevaba casado con el ciudadano americano menos de 2 aà ±os.   Esta residencia tambià ©n se conoce con el nombre de CR-1. En otras palabras, esto quiere decir que si los cà ³nyuges ya llevaban 2 aà ±os de casados cuando el esposo/o extranjero recibià ³ la residencia, dicha green card fue ya definitiva y no es necesario hacer este trmite. Entrevista remocià ³n condiciones de green card Solo los cà ³nyuges de ciudadanos estadounidenses que recibieron su green card antes de cumplir dos aà ±os de casados deben solicitar la remocià ³n de condiciones para convertir su tarjeta de residencia en definitiva.La entrevista a los cà ³nyuges por parte de un oficial migratorio es una pieza fundamental en el proceso de remocià ³n de dichas condiciones. La finalidad es convencer al oficial de que se trata de un matrimonio real y no de uno de conveniencia por los papeles.Si la pareja ya se ha divorciado o se ha separado las opciones para que el cà ³nyuge extranjero obtenga la green card definitiva se reducen notablemente, pero hay algunas posibilidades.  ¿Cà ³mo se inicia la remocià ³n de las condiciones de la green card? Debe solicitarse la remocià ³n de las condiciones 90 dà ­as antes de que expire la green card condicional, que tiene fecha de expiracià ³n de dos aà ±os a contar desde la fecha de su aprobacià ³n. Para ello el trmite se inicia completando la planilla I-751. Durante este proceso una de las piezas fundamentales es la entrevista ante un oficial migratorio y a la que deben acudir ambos cà ³nyuges.  ¿Quà © se puede hacer si la fecha de la cita para la entrevista resulta inconveniente? En determinadas circunstancias, Inmigracià ³n puede admitir un cambio en la fecha. Estas son las reglas sobre cà ³mo solicitarlo si no se puede acudir a la cita con el USCIS.  ¿Cunto dura la entrevista para la tarjeta de residencia por matrimonio? La entrevista por parte de un oficial de inmigracià ³n al matrimonio formado por un ciudadano/a americano/a y su esposo o mujer extranjero dura, de media, de diez a quince minutos. Se debe responder de manera concisa a las preguntas. Es altamente recomendable no hablar de asuntos sobre los que no se ha preguntado, entre otras cosas, para evitar problemas por hablar en exceso. Si el oficial  de inmigracià ³n necesita una aclaracià ³n o ms datos, asà ­ lo dir.  ¿Hay algà ºn tipo de preguntas estndar para la entrevista para la green card por matrimonio? En realidad, no existe un listado de preguntas estndar, aunque siempre se pregunta por la fecha de la à ºltima entrada a Estados Unidos por parte del cà ³nyuge extranjero. Asimismo, son tà ­picas las preguntas sobre dà ³nde se conocieron, el nombre de los hermanos de ambos y ciertas cosas personales, sin entrar en la intimidad de la pareja ni tampoco asuntos rebuscados. Tambià ©n pueden preguntar sobre el hogar familiar, las familias respectivas, etc. Este es un ejemplo de 65 preguntas que pueden hacer en la entrevista, pero el oficial migratorio puede preguntar cualquier cosa que estime pertinente y que le sirva para determinar si se trata de un matrimonio de buena fe.  ¿Quà © documentacià ³n debe llevarse a la entrevista? Para ingresar al edificio donde tendr lugar la entrevista es necesario llevar un I.D. oficial emitido por el gobierno. En el caso del ciudadano estadounidense puede ser la licencia de manejar, pasaporte, identificacià ³n militar, etc. En el caso del cà ³nyuge extranjero se admite su pasaporte, aunque està © expirado. Adems, es necesario llevar el original de toda la documentacià ³n de la que se envià ³ fotocopia cuando se realizà ³ la aplicacià ³n. El fin es que el oficial de inmigracià ³n pueda comparar el original con la copia. Asimismo, debe llevarse original y fotocopia)de documentos que no existà ­an en el momento en el que se envià ³ la solicitud de tarjeta de residencia para el cà ³nyuge extranjero. Por ejemplo, ya que se trata de un matrimonio, puede suceder que hayan sido padres de un nià ±o o una nià ±a despuà ©s de la solicitud. Entonces debe llevarse copia oficial del acta de nacimiento y fotocopia de la misma. Tambià ©n deben llevarse al dà ­a la documentacià ³n sobre pago de impuestos, ingresos, etc. Asimismo, llevar fotocopias en color de las fotografà ­as de la pareja colocadas en grupos de dos o tres en una misma hoja, seà ±alando los nombres de los que aparecen en las mismas, fecha en la que fueron tomadas y lugar. Es muy recomendable que alguna de ellas tenga como objeto reuniones familiares. Se puede llevar el lbum de bodas, pero no hay que fotocopiarlo.  ¿Quà © puede suceder tras la entrevista? Es posible que se notifique justo despuà ©s de la entrevista que ha tenido lugar la remocià ³n de ls condiciones, pero es ms comà ºn es que el oficial de inmigracià ³n decida notificar por correo. Tambià ©n puede ocurrir que se solicite ms documentacià ³n. En este caso entregar a la pareja una hoja con el listado de documentos que faltan y el plazo mximo para enviarlos. Para evitar problemas es recomendable enviarlos por correo certificado en la que quede constancia de la fecha. Y por supuesto que el oficial de inmigracià ³n puede negar la peticià ³n de la tarjeta de residencia porque cree que puede tratarse de un fraude, en otras palabras, un matrimonio falso para conseguir los papeles. En este caso, puede haber consecuencias legales, adems de no obtener la green card.  ¿Quà © sucede cuando la pareja se separa antes de la entrevista? Por razones varias, el matrimonio puede separarse o divorciarse antes de que la tarjeta de residencia se convierta en definitiva. En la mayorà ­a de los casos eso significar que el migrante se quedar sin la tarjeta de residencia y deber abandonar Estados Unidos a menos que cuenta con otra cobertura legal que le permita mantener un estatus migratorio legal en el paà ­s. Sin embargo, cabe destacar que en determinadas ocasiones hay opciones para el cà ³nyuge extranjero para que pueda obtener una tarjeta de residencia definitiva. a pesar del divorcio, si se cumplen una serie de requisitos. A tener en cuenta: ventajas e inconvenientes de matrimonio con ciudadano Los cà ³nyuges de ciudadanos americanos pueden solicitar la ciudadanà ­a por naturalizacià ³n a los tres aà ±os de convertirse en residentes permanentes. A diferencia de lo que ocurre con el resto de los inmigrantes, que deben esperar cinco aà ±os. Por otro lado, casarse con un estadounidense no garantiza ni parar un procedimiento de deportacià ³n ni que se pueda sacar  la green card. La situacià ³n es complicada en los casos en los que el cà ³nyuge extranjero ingresà ³ a EE.UU. cruzando ilegalmente la frontera. Tambià ©n tienen un problema serio los migrantes que han sido condenados por alguna felonà ­a. En estos casos, lo recomendable es asesorarse con un buen abogado migratorio y ver si se podrà ­a calificar para un perdà ³n provisional o, si no es posible, cules son las posibles opciones. Este es un artà ­culo informativo. No es asesorà ­a legal.

Documentary Summaries Essay Example | Topics and Well Written Essays - 2750 words

Documentary Summaries - Essay Example Lars Larson, a gay man, is the documentary’s first interviewee and speaks positively and in an undisguised manner about being a homosexual. The interview is followed by a CBS News poll that shows opinions from Americans that homosexuality harms America even more than prostitution or adultery. Another gay man is interviewed and he talks about coming out and being treated like a wounded animal, which differs from the opinion of the next interviewee, Warren Adkins, who claims his family treated him warmly. The documentary then talks about homosexuality’s legal aspects with North Carolina Judge James Craven, who notes that the US should decriminalize homosexuality like in England. Frank Kameny, the co-founder of the Washington D.C. Mattachine branch then makes an impassioned plea to allow security clearance for homosexuals. There is also a debate on homosexuality between Albert Goldman and Gore Vidal who argue for and against homosexuality respectively. The interviews end w ith a family man who claims he is gay and that the US was too narcissistic for two men to form a long-term relationship. The documentary ends with the filmmaker contending that the homosexual in America is anonymous, displaced, and an outsider. One of the most poignant moments in the documentary is the short interview involving the gay man, Warren Adkins, who contends that one’s sexual orientation is their innermost aspect and that, just as a heterosexual would not give their orientation up; a homosexual like himself would not either (Kraemer 1). He responds to a question on what causes him to be a homosexual by saying that he does not concern himself with it, putting his homosexuality in the same category as having blonde hair. He contends that he does not dwell on why he is gay, just as a person with blonde hair would not worry about the chromosomes or genes that caused them to have blonde hair. As a part of the broadcast documentary’s research, the TV station carrie d out a demographic survey, which found that at least 90% of people in the US considered homosexuality to be a sickness (Kraemer 1). Majority of them even favored legal punishment for acts of homosexuality carried out anywhere, including sex between two consenting adult males in private. One fascinating aspect of this segment is the manner in which it completely neglects to do a survey on lesbians as part of the society of homosexuals, while also portraying homosexual men as incapable of being monogamous long-term unions and as naturally promiscuous. Even as this point to the failures of civil rights and general trauma that these issues caused in the late 60s, it is interesting that the same debate rages on to date as the world argues on gay marriage and the right of gay men and lesbians to legalize their monogamous relationships in the long term. It leaves one wondering whether a documentary made on lesbians and gays today would sound as antiquated and foreign as this documentary f ifty six years from today (Kraemer 1). While this documentary was made and released at a time when the United States had transgender people, bisexuals, gay men, and lesbians had come out, these people were fewer than they are today, as well as courageous (Kraemer 1). This documentary is particularly important when looking at the people, in this case men, who have fought for the equality of homosexuals in society. Because these people were courageous enough to be on a documentary, including Albert Goldman and Lars Larsson, they made things happen and were important in the progress made towards equality. This documentary, especially its uninspiring and biased ending that claims homosexuals are