Thursday, July 23, 2020
How to Change Your Purchasing Decisions
How to Change Your Purchasing Decisions In this short video, Joshua Ryan discuss purchasing habits with Kevin Rose. We know you may not always have time to listen to an entire podcast episode, so weâre posting Quickie Episodes of the The Minimalists Podcast every day on our YouTube channel. The average Quickie is less than 20 minutes and covers only a single topic or question. Subscribe to The Minimalists via email.
Sunday, June 28, 2020
Mythology In Shakespeare - Literature Essay Samples
Many of Shakespeareââ¬â¢s plays contain the structural and symbolic elements of mythology. The inheritance of mythological conventions, which shall be explored in this essay, create an effect that is ritualistic and leads to Nietzscheââ¬â¢s observation of ââ¬Ëan overpowering feeling of unity which leads back to the heart of natureââ¬â¢. This essay is not claiming that Shakespeare applied mythic elements to his plays consciously but that Shakespeareââ¬â¢s plays demonstrate a strong level of acquaintance with ancient myths and folklore. This level of acquaintance is perhaps so deeply imbedded as part of the universal imagination that arguing whether or not the playsââ¬â¢ mythic elements were consciously applied is unnecessary. The aim here is to identify strong mythological strains in order to place Shakespeare in a wider historical and human context, and speculate as to the effects achieved by inclusion of these elements. Through a consideration of Frazerââ¬â¢s ca nonical anthropological text, The Golden Bough: A Study in Magic and Religion (1890), primarily, this essay will assert that the effect of Shakespeareââ¬â¢s mythological aspects is one that communicates in a symbolic language that is universal. Although Michael Levenson claimed that ââ¬ËVague terms still signifyââ¬â¢, it is best for the purposes here to elucidate what is meant by the term ââ¬Ëmythââ¬â¢. The Oxford English Dictionary defines ââ¬Ëmythââ¬â¢ as ââ¬ËA traditional story, typically involving supernatural beings or forces, which embodies and provides an explanation, aetiology, or justification for something such as the early history of a society, a religious belief or ritual, or a natural phenomenonââ¬â¢. This is an apt definition for the elements in Shakespeare that can be termed ââ¬Ëmythologicalââ¬â¢ as parallels can be observed between them and those that occur in societies in history and the ritualistic practices of those societies. Sir James Frazer, in The Golden Bough: A Study in Magic and Religion, writes that ââ¬Ëeven the savage cannot fail to perceive how intimately his own life is bound up with the life of nature, and how the same processes which freeze the stream and strip the earth of vegetation menace him with extinction. At a certain stage of development men seem to have imagined that the means of averting the threatened calamity were in their own hands, and that they could hasten or retard the flight of the seasons by magic artââ¬â¢. In The Tempest, Prospero is the archetypal sorcerer; a figure that is evocative of the shamans of ancient cultures. He talks of his ability in magic as ââ¬Ëmine artââ¬â¢ (I. ii. 291) and controls spirits, such as Ariel, to govern natural ââ¬Ëcalamityââ¬â¢ by invoking the gods: ââ¬ËJoveââ¬â¢s lightningââ¬â¢ (I. ii. 201) and the ââ¬Ëdread tridentââ¬â¢ of ââ¬Ëthe most mighty Neptuneââ¬â¢ are both summoned. In creating Prospero as a sorc erer, controlling nature, Shakespeare is alluding to the idea of the playwright as sorcerer. As well as the several instances where Propsero refers to his ââ¬Ëso potent artââ¬â¢ (V. i. 50), there are other indications that the audience is supposed to infer a similarity between Prospero and playwright, playwright and shaman. Prospero states that the other protagonists ââ¬Ënow are in my powerââ¬â¢ (III. iii. 90) and sees this as a demonstration that his ââ¬Ëhigh charms workââ¬â¢ (88). Later in the play, as if speaking the words of the playwright anticipating the fictionââ¬â¢s narrative arc and resolution, Prospero informs Ariel that ââ¬ËShortly shall all my labours endââ¬â¢ (IV. i. 264). In drawing parallels between the sorcerer figure and the playwright, Shakespeare shows that, in the same way that the ancient priest exerted control over his environment through magic, the playwright exerts control over his audience through the magic and illusion of the stag e. The magic and illusion of the stage can be seen metaphorically, in The Tempest, through the recurring motif of sleeping and dreaming, whilst Shakespeare points to the artifice that creates the illusion of the stage through placing a play-within-a-play in works such as A Midsummer Nightââ¬â¢s Dream. It is significant, in The Tempest, that Arielââ¬â¢s first appearance comes directly after Prospero has induced sleep in his daughter, Miranda. He tells her that ââ¬ËThou art inclined to sleep; ââ¬Ëtis a good dullness, | And give it way. I know thou canst not chooseââ¬â¢ (I. ii. 185-6). Prosperoââ¬â¢s power to induce sleep contains the playwrightââ¬â¢s self-conscious aim to, in the words of Coleridge, solicit the audience it ââ¬Ëyieldââ¬â¢ itself ââ¬Ëto a dreamââ¬â¢. This is reinforced by Artaudââ¬â¢s assertion that the ââ¬Ëaudience will believe in the illusion of theatre on condition they really take it for a dream, not for a servile imitation of real ityââ¬â¢. Once Miranda is asleep, Prospero can call his spirit to ââ¬ËApproachââ¬â¢ (188), in the same way that Shakespeare can construct the siege at Harfleur, in Henry V, once the Chorus has instructed the audience to ââ¬Ëwork your thoughts, and therein see a siegeââ¬â¢ (III. 25). These are self-conscious elements, like the recitation of charms, that preceed, and then induce, the dream-like state. The connection between dreams and myth is one that simultaneously shows both to evoke a symbolic language and infer a primitive past, which used ritual to celebrate the death and rebirth of a god. Northrop Frye sees a connection between the two, in his Anatomy of Criticism (1957), and talks about ââ¬Ëa rhythmic movement from normal world to green world and back again [â⬠¦] The green world has analogies, not only to the fertile world of ritual, but to the dream world that we create out of our own desiresââ¬â¢. The idea of descending into a dream state, like one does in the theatre, or like the protagonists of The Tempest and A Midsummer Nightââ¬â¢s Dream do, recalls the death of an ancient god because the descension into a dream is similar to the godââ¬â¢s descension into death. The godââ¬â¢s death is dreamlike due to the fact that he has the ability to rise again, or ââ¬ËAwakeââ¬â¢ (306), to use Prosperoââ¬â¢s instruction to Miranda. The god awakes because of a ritual controlled by a priest, who needs the godââ¬â¢s rebirth in order for the environment to be fertilised. Frazer recalls that ââ¬Ëevery year Tammuz was believed to die, passing away from the cheerful earth to the gloomy subterranean worldââ¬â¢ (326). In A Midsummer Nightââ¬â¢s Dream, the protagonists also pass into a ââ¬Ësubterranean worldââ¬â¢. To call Shakespeareââ¬â¢s other-world ââ¬Ëgloomyââ¬â¢, however, would be incorrect. Instead, Shakespeare constructs a world that is vibrant and colourful in order to make the idea of his playââ¬â¢s function as ritual for fertility more overt. The aim of descension in order to return revitalised is implicit in Demetriusââ¬â¢ comment to Helena, that he is ââ¬Ëwode within this woodââ¬â¢ (II. i. 192). In the word ââ¬Ëwoodââ¬â¢ the idea of fertility is conjured, whilst ââ¬Ëwodeââ¬â¢ is a play on words suggesting both ââ¬Ëwooedââ¬â¢, further suggesting the attempt to attain fertili ty, and the idea of ââ¬Ëfrenzyââ¬â¢, as the word derives from the Old English ââ¬ËwÃâdââ¬â¢. The ââ¬Ësubterranean worldââ¬â¢ of A Midsummer Nightââ¬â¢s Dream may not be ââ¬Ëgloomyââ¬â¢ but there is a sense of frenzy as the protagonists attempt to fulfill their sexual desires. The idea of descension into another world as reminiscent of the rivival rituals of primitive societies is one that manifests itself not only in Shakespeareââ¬â¢s plays. Literature has used the convention of dreaming as a means for its protagonists to learn and change as early as the Breton Lays and romantic poetry of the Medieval era in British history. This can be seen in the dreaming that preceeds the heroââ¬â¢s adventure in Sir Orfeo and the change of the dreamerââ¬â¢s perspective in Pearl, to name just two. The link between sleep and death is also one that has been well established by Shakespeareââ¬â¢s time of writing; a level of knowledge about the synonymous nature of sleep with death can be inferred in The Tempest in one of Arielââ¬â¢s songs. The spirit sings, ââ¬ËFull fathom five thy father lies, | Of his bones are coral made; | Those are pearls that were his eyes, | Nothing of him that doth fade | But doth suffer a sea-change | Into something rich and stran geââ¬â¢ (I. ii. 397-402). Implicit in this song is the idea that death, like sleep, is not a finite point. It is a point for ââ¬Ëchangeââ¬â¢. The influence of mythology on Shakespeareââ¬â¢s writing is apparent here not only in the philosophy that is evoked but in the application of water imagery; death is not just a change, but a ââ¬Ësea-changeââ¬â¢. Shakespeare uses imagery of water that abounds in Frazerââ¬â¢s depiction of rituals celebrating Adonis and Osiris, among others, which then became common currency in the mythological stories of Christianity; the stories of water into wine and the ritual of water used in baptism are just two that show the symbol to be used to convey the idea of transmutation. The philosophy that is implicit in Arielââ¬â¢s song, of oneââ¬â¢s ââ¬Ëbonesââ¬â¢ becoming ââ¬Ëcoralââ¬â¢ and oneââ¬â¢s ââ¬Ëeyesââ¬â¢ becoming ââ¬Ëpearlsââ¬â¢ after death, is one that extends across historical cultures as vast as Egyptian to Roman to Oriental. The mythology of ancient Oriental cultures, in particular, would have been difficult for Shakespeare to have had access to. He would have known something of the Roman belief system from reading Plutarchââ¬â¢s Lives, but the philosophy of the Buddha would, most likely, have been inaccessible. Yet the Buddhaââ¬â¢s idea of the one containing the many, and the many containing the one, is alluded to strongly in Arielââ¬â¢s song. The symbolic mutability of death and sleep is further conveyed in Hamlet. Contemplating suicide, Hamlet repeats the phrase ââ¬ËTo die, to sleepââ¬â¢ (III. i. 59) and wonders ââ¬Ëwhat dreams may comeââ¬â¢ ââ¬Ëin that sleep of deathââ¬â¢ (65). In focusing on two, of many possible, examples, it can be ascertained that Shakespeareââ¬â¢s mythology was one drawn from a universal pool, whether he knew it or not. Whilst the act of descending into a ââ¬Ësubterranean worldââ¬â¢, along with lexical and symbolic comparisons of sleep and death, aid the inferrence of a debt to the ancient mythologies of the dying god, it is in The Winterââ¬â¢s Tale that this idea is even more implicit. Hermioneââ¬â¢s death and rebirth is both literal and symbolic. Literal in the sense, like in the myth of Adonis or the myth of Jesus, she really does die and she really does come to life again. Symbolic in the sense that this idea is portrayed in her bodyââ¬â¢s transmutation into a statue. This symbol recalls, and reinforces, the idea of the death of the father, in The Tempest, as a ââ¬Ësea-changeââ¬â¢; like the ââ¬Ëbonesââ¬â¢ which have become ââ¬Ëcoralââ¬â¢, Hermioneââ¬â¢s body has become marble. The expectation of Hermioneââ¬â¢s revival is created in Paulinaââ¬â¢s words: ââ¬ËI say sheââ¬â¢s dead [â⬠¦] If you can bring | Tincture or lustre in her lip, her eye, | H eat outwardly or breath within, Iââ¬â¢ll serve you | As I would do the godsââ¬â¢ (III. ii. 203-7). In The Winterââ¬â¢s Tale, like in the myth of Adonis, anticipation of Hermioneââ¬â¢s revival is inherent in her death. In Paulinaââ¬â¢s words, Shakespeare alludes to the idea that this death and rebirth are entwined with the act of ritual and prayer; Paulina will serve the person who revives Hermione in the same way that she would serve the gods. The statue of Hermione is a means of symbolically encapsulating the idea of transformation; death and rebirth conglomerating together in one visually representative fixture. The statue is reminiscent of the effigies of gods that would be burnt or thrown out to sea as part of the fertility ritual. The idea for the effect of Shakespeareââ¬â¢s mythology as being one that communicates in a universal language arose from a reading of Là ©vi-Straussââ¬â¢ essay, ââ¬ËThe Structural Study of Mythââ¬â¢. In seeing the contradictory nature of mythology, and therefore suggesting its difficulty to define, Là ©vi-Strauss asked, ââ¬ËIf the content of a myth is contingent, how are we going to explain the fact that myths throughout the world are so similar?ââ¬â¢ He proceeds, in his essay, to analyze the semiotics of mythology on a linguistic level (ââ¬Ësoundsââ¬â¢ and ââ¬Ëmeaningââ¬â¢) in order to answer his own question: ââ¬ËMyth is language ââ¬â to be known, myth has to be told; it is a part of human speechââ¬â¢. The Tempest, in demonstrating its visually and philosophically mythological elements, also shows, within its narrative, the idea that myth itself is language. The mythological elements of sleep and magic are juxtaposed with the recurring them e of language. Prospero instructs his earth spirit, Caliban, ââ¬ËThou earth, thou: speak!ââ¬â¢ (I. ii. 314), in a way that is reminiscent of the primitive priest invoking his environment to communicate with him. Interaction can be seen, among the protagonists who are not equipped with magic, to take place within the mythic framework. Ferdinand, in speaking with Miranda, exclaims, ââ¬ËMy language? Heavens! | I am the best of them that speak this speech, | Were I but where ââ¬Ëtis spokenââ¬â¢ (I. ii. 429-431); speech, here, is seen as a valuable tool in which to communicate with oneââ¬â¢s environment. Removed from the environment in which his language is understood, Ferdinand is powerless. Further on in the play, once more time has been spent on the island and in Mirandaââ¬â¢s company, Ferdinand learns to speak the language of mythology; he speaks from his ââ¬Ësoulââ¬â¢ (III. i. 63) and implores ââ¬Ëheavenââ¬â¢ and ââ¬Ëearthââ¬â¢ to ââ¬Ëbear w itness to this soundââ¬â¢ (68). In the microcosm of the island, speech is intricately bound with mythology; Sebastian observes, for example, that Antonio speaks a ââ¬Ësleepy languageââ¬â¢ (II. i. 211). On a metatheatrical level, words are used by both playwright and sorcerer. Words are used to induce stage illusion and to construct myth. They are used to invoke spirits and gods. Caliban suggests all of this when he informs Stephano that ââ¬Ëvoices, | That if I then had waked after long sleep, | Will make me sleep againââ¬â¢ (III. ii. 138-40). Prospero, too, makes an inference between the illusion of mythology and the illusion of the stage as created by words: ââ¬ËThese our actors, | As I foretold you, were all spirits and | Are melted into air, into thin air [â⬠¦] We are such stuff | As dreams are made on, and our little life | Is rounded with a sleepââ¬â¢ (IV. i. 148-158). Freud saw dreams as arising from a need to sublimate desires. Dreams and myth coexist closely in Shakespeareââ¬â¢s plays and the idea of desire is added to this existence in statements such as Northrop Fryeââ¬â¢s, in which the ââ¬Ëdream worldââ¬â¢ is created out of ââ¬Ëour own desiresââ¬â¢. Freudââ¬â¢s studies, particularly in The Interpretation of Dreams (1890), suggest that there are common desires in everyone and sees them manifested in dreams, mythological stories, and Shakespeareââ¬â¢s plays. A famous example is that of the ââ¬ËOedipus Complexââ¬â¢. The complex takes its name, and what it designates, from Sophoclesââ¬â¢ play Oedipus Rex, which itself is influenced by a mythological background. Freud defines it , in ââ¬ËGroup Psychology and the Analysis of the Egoââ¬â¢, as a ââ¬Ëstraightforward sexual object-cathexis towards his mother and an identification with his father which takes him as the modelââ¬â¢. Freud saw this particular de sire as sublimated in dreams, mythology, and plays such as Hamlet. What mythology does, in a psychoanalytical sense, is give a language to universal desires. Lacanââ¬â¢s definition of a language, in ââ¬ËThe Symbolic Orderââ¬â¢ (The Function and Field of Speech and Language in Psychoanalysis), compounds the idea that mythology itself is a language: ââ¬ËWhat defines any element of a language as belonging to language, is that, for all the users of this language, this element is distinguished as such in the ensemble supposedly constituted of homologous elementsââ¬â¢. The language of mythology in Shakespeareââ¬â¢s plays, that of dying and rebirth, speaks to the common desire of man to progress and for the seasons to continue their cycle. Jung, in the written format of his lecture ââ¬ËThe Psychology of Rebirthââ¬â¢, confirms this: ââ¬ËThe mere fact that people talk about rebirth, and that there is such a concept at all, means that a store of psychic experiences designated by that term must actually existââ¬â¢. Shakespeareââ¬â¢s plays are at once indebted to the ritualistic practices of primitive times and at the same time use them as a means of communication. Shakespeare, like mythology, speaks in a language that is common to all of us. Bibliography: Artaud, Antonin, The Theatre and its Double, Calder (2005) Frazer, Sir James George, The Golden Bough: A Study in Magic and Religion, Wordsworth (1993) Frye, Northrop, Anatomy of Criticism: Four Essays, Princeton (2000) Heller, Janet Ruth, Coleridge, Lamb, Hazlitt, and the Reader of Drama (1984) Jung, Carl, Four Archetypes, Routledge (2007) Rivkin, Julie, Michael Ryan, Literary Theory: An Anthology, Blackwell (1998) Shakespeare, William, The Riverside Shakespeare: Second Edition, 1997
Friday, May 22, 2020
Purly Imaginative Subject by Gary J. Kornblith - 933 Words
An essay written by Gary J. Kornblith, the main focus is on a purely imaginative subject. The use of this counterfactual approach is widely accepted as a methodology in research of causation. According to Kornblith, counterfactual exercises are necessary to ââ¬Å"think more clearly about causation and to distinguish between essential factors and coincidental developmentsâ⬠(79). He uses the counterfactual method to present the idea that if Henry Clay had been elected in 1844, which he goes on to prove as plausible, we would be in a much different country. The thesis as a whole is stated as ââ¬Å"â⬠¦ My focus is on a different pair of wars: the Mexican-American War of 1846-1848 and the American Civil War of 1861-1865â⬠¦ Rather than project a different military outcome, I posit the absence of the Mexican-American Warâ⬠¦The key to peace in my counterfactual scenario is a victory by Henry Clay over James K. Polk in the very close presidential election of 1844â⬠¦ As a result Texas would almost certainly have remained an independent republic in 1845, and the United States would not have gone to war with Mexico the following year. Based as it is on a highly plausible turn of events, this counterfactual scenario promises to advance our understanding of the causes of the Civil Warâ⬠(77). He then adds the fact that there are two viewpoints that come from this counterfactual exercise; Revisionists, who believe that the Civil War could have been avoided, despite the sectional differences, and
Monday, May 18, 2020
Employee Participation Free Essay Example, 1500 words
According to Markey Townsend, employee participation also saves time for the management by involving in the matters that can be resolved by the employees themselves. Through participation, communication and cooperation among the organizational members improve gradually and thus, they can communicate regarding any issue and solve them without involving the management, which in turn saves time. Moreover, it is found among the participative workers the tendency to supervise themselves. This also helps in saving the time of the management as well as cut down the overhead cost of labor (Han et. al. , 2010). Employee s sense of dignity and power is also enhanced through participation in the decision-making process and therefore, the risk of dissatisfaction among the employees decreases that further increases performance of the organizational activities and eliminates conflict with the management. Barney Wright (1997) also stated that involving the employees in the decision-making proce ss of the organization enhances their commitment and loyalty towards the organization. Markey Townsend (2015), further noted that if the management and the employees jointly coordinate with each other in solving problems, the issues would be resolved in an effective manner. We will write a custom essay sample on Employee Participation or any topic specifically for you Only $17.96 $11.86/page The important decisions of an organization are generally made by the top-level management along with collaboration with other higher-level authorities.
Thursday, May 7, 2020
Clothing Company Should Have Kept Their Domestic...
Balagny Clothing Company should have kept their domestic operations within the country rather than outsourcing the work to China and Mexico. I understand that companies want to cut cost and find ways to lower their expenses and gain profits but when outsourcing to other countries, there will be several factors that are tied into play. Wages are not the only thing that weighs on the decisions which is what Balagny Clothing Company made a decision off of. Sure the wages of China and Mexico are much cheaper and cost effective but the inconvenience of shipping, having to deal with foreign contractors through managerial role, the lack of logistics, environmental forces that come into play, countryââ¬â¢s regulations and laws, etc. Is it really worth outsourcing operations just to save on wages and provide more headaches when we need to deal with problems with a foreign country. When companies outsource the manufacturing jobs to foreign countries, the US will take a direct hit of the blo w. Millions of workers will lose their jobs to the foreign country and the United States economy will suffer losses as well. According to AmericanProgress.org ââ¬Å"Manufacturing employment collapsed from a high of 19.5million workers in June 1979 to 11.5 workers in December 2009, a drop of 8 million workers over 30 years.â⬠That alone is a huge number considering that manufacturing jobs were the driving force of the United State economy for decades. Balagny Clothing Company will be just like otherShow MoreRelatedThe Importance Of A New Leader Elected Or Placed At Office Within The Countries Of The World1662 Words à |à 7 Pagesplaced in office within the countries of the world. Sometimes leaders clash on their beliefs on how the country should be run, including the companies that conduct business in and with the country. Coca-Cola will have to be diligent in remaining aware of these leaders and their agendas. Changes will come, and some will not be beneficial to the company . 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Wednesday, May 6, 2020
The Effect Of Ultrasound Imaging On The Quality Of Medical...
Ultrasound imaging is one of the popular, cheapest and noninvasive medical scans. During the time of image acquisition, there is distortion of the quality of image in the form of speckle noise. Now a day, many researches made various experiments to enhance the quality of medical image. But still there is scope to enhance the image. In the proposed method, finding out the seed pixel randomly is basic issue, is treated as an optimization problem, it can be solved by Particle swarm optimization. Using particle swarm optimization algorithm , the fitness function can give us appropriate seed pixel for required ultrasound imaging .In this paper, a novel method wherein segmentation will be applied on the filtered image i.e fuzzy filter. Fuzzy filter basically work on fuzzy rules to detect on different gradient and then filtering the noisy , homogenous and edge region. The proposed method has been tested on different images, and the experimental results demonstrate its effectiveness. Keywords ââ¬â PSO Particle swarm optimization,basic gradient ,fuzzy filter,global best, local best. Introduction Ultrasound imaging has been considered as one of the most powerful techniques for imaging organs and soft tissue structures in the human body. However, the presence of random speckle noise makes human interpretation and computer-aided ultrasound image diagnosis a highly difficult task. Thus it is necessary that we remove speckle noise from the images before they are processed further.Show MoreRelatedAbstract : Ultrasound Imaging And Its Effect On The Quality Of Medical Image2461 Words à |à 10 PagesAbstract ââ¬â Ultrasound imaging is one of the popular, cheapest and noninvasive medical scans. At the time of image acquisition, there may be distortion of the quality of image in the form of speckle noise. Nowadays, many researches have made various experiments to enhance the quality of medical image. However, there is scope to further enhance the image. 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Developing Negotiation Case Studies Free Essays
While a great deal of excellent advice exists for producing case studies on managerially relevant topics in general, negotiation cases have distinctive aspects that merit explicit treatment. This article offers three types of tailored advice for producing cases on negotiation and related topics (such as mediation and diplomacy) that are primarily intended for classroom discussion: 1) how to decide whether a negotiationà related case lead is worth developing; 2) how to choose the perspective and case type most suited to oneââ¬â¢s objectives; and 3) in by far the longest part of the discussion, ten nuts and bolts suggestions for structuring and producing an excellent negotiation case study. Suppose you read about, participate in, or otherwise become aware of a negotiation that intrigues you as a possible candidate for a case study. We will write a custom essay sample on Developing Negotiation Case Studies or any similar topic only for you Order Now Perhaps a student, colleague, participant in an executive program, or private client suggests such an episode. You may consider researching and writing up the case yourself or you might supervise someone else for this purpose. Should you proceed with an investment of your scarce time and resources? If so, how? Whatââ¬â¢s the best casewriting advice you can give to a research assistant, a student (team) grappling with a course assignment to produce a case study, or someone else who is simply interested in writing up a negotiation for discussion purposes? ii Generations of experienced, even legendary, casewriters have codified guidelines for producing excellent case studies on virtually any subject. iii Yet negotiation cases often have distinctive aspects that merit explicit treatment. Over the years, Iââ¬â¢ve found myself in many conversations trying to crystallize and convey the elements that seem to contribute to crafting superior negotiation cases. I hope that pulling these insights together and developing them a bit more systematically will be useful for others undertaking casewriting projects. A quick caveat: though casewriting is often properly part of a larger research program, and synergistic with other methodologies, I focus here on case studies that are mainly intended as vehicles for classroom discussion and analysis. As such, I sidestep important issues associated with systematically selecting and developing cases for well- defined research projects. For example, in the field of international relations, which thrives on case studies, the ââ¬Å"method of structured, focused comparisonsâ⬠is a research staple. iv More generally, exacting criteria exist for identifying, developing, comparing, and Draft: Developing Negotiation Case Studies. Copyright à ©2010 by James K. Sebenius. 1 contrasting case studies in order to extract valid inductive social scientific knowledge. However, I leave that set of considerations for specialists with casewriting as a component of well-defined research agendas. vi The following sections offer three types of advice for producing cases that are primarily intended for classroom discussion: 1) how to decide whether a case lead is worth developing; 2) how to choose the perspective and case type most suited to your objectives; and, 3) in the by far the longest part o f the discussion, ten nuts and bolts suggestions for structuring and producing an excellent case study. One of the best ways to learn the casewriterââ¬â¢s craft is to study a number of truly excellent case studies, or better, to discuss such cases in a forum led by an experienced case method instructor. As such, in each of the three advice sections that follow, Iââ¬â¢m tempted to list a number of my favorite negotiation cases as models. Since, however, these choices may be unfamiliar to many readers, and may be set in times, places, or contexts of little interest to others, I will instead offer a set of model cases, plus commentary, in an online forum in the hope that others will consult, comment, and contribute. (See online url to be provided later. ). I. Advice on developing a prospective case: a case for what? A case of what? Start by seeking clarity on your overall purpose: ââ¬Å"a case for what? â⬠How to cite Developing Negotiation Case Studies, Papers
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