Ernest Hemingways Code Hero in For Who The Bell Tolls and A Farewell T

Ernest Hemingway's Code Hero in For Who The Bell Tolls and A Farewell To Arms They were American innocents negotiating the river of life wherever it took them: to Italy, to Spain, to Africa, to the Caribbean, wounded men laughing through the pain, sometimes risking their skins but never sacrificing their honor. It was a river into which countless writers would thrust their paddles.(Papa) Ernest Hemingway is arguably one of the most important writers in American history. Though this is disputed, Hemingway has undoubtedly had a major influence on contemporary American literature. One aspect of Hemingway's famous writing that shines in almost all of his works is the hero. Hemingway created the famous Hemingway code by which all of his heroes, often called code heroes, lived. One critic asserted that, 'Hemingway invented more than a style he invented the Hemingway hero.' (Papa) Hemingway attempted to live by this code but did not enjoy the success of his fictional characters. In fact, critic Joseph DeFalco states, 'The type of hero that can accomplish such a feat [living up to the Hemingway code] is rare in any area of life.' (195) The code hero was not rare, however, in Hemingway writing. Robert Jordan in For Whom The Bell Tolls and Frederic Henry in A Farewell To Arms are perfect examples of the Hemingway code hero. The Hemingway code is, ?a grace under pressure. It is made of the controls of honor and courage which in a life of tension and pain make a man a man and distinguish him from the people who follow random impulses.? (Young 63) Additionally, this ?grace under pressure? can be expressed as, ?an ability to be in difficult situations without succumbing to either panic, enthusiasm, or indifference, is the hall... ...back Fiction, 1929. Hemingway, Ernest. For Whom The Bell Tolls. New York: Scribner Paperback Fiction, 1940. Molesworth, Charles. ?Hemingway?s Code: The Spanish Civil War and World Power.? Blowing the Bridge. Ed. Rena Sanderson. Westport: Greenwood Press, 1992. 83-97. Norton, Charles A. ?The Alcoholic Content of A Farewell to Arms.? Hemingway in Italy and Other Essays. Ed. Robert W. Lewis. New York: Praeger Publishing, 1990. 309-313. ?Papa and All His Children,? U.S. News & World Report: 1 Jun. 1998, Vol. 124: Issue 2. Mas Full Text Premiere. Rehberger, Dean. ?I Don?t Know Buffalo Bill?s; or Hemingway and the Rhetoric of the Western .? Blowing the Bridge. Ed. Rena Sanderson. Westport: Greenwood Press, 1992. 159-184. Young, Phillip. Ernest Hemingway: A Reconsideration. University Park: The Pennsylvania State University Press, 1966.

Efficiency Ratios

Efficiency Ratios The efficiency ratio is an indicator of how well Johnson and Johnson (J&J) is run on an organizational wide basis. Efficiency ratios are also defined as asset turnover ratios (Finkler, Kovner & Jones, 2007). The asset turnover ratio measures how productive J&J is in managing all of its assets to generate Sales. This efficiency ratio is calculated by dividing sales by total assets by total revenue. For year 2010, J&J had an asset turnover of 0. 6. Comparing J&J’s asset ratio to the industry, it is the same (Key Financial Ratios: Financial Results – Johnson & Johnson,  2011). Thus J&J is as efficient in the use of its assets as its healthcare competitors in the industry. Revenue to assets = Total revenueTotal assets Total revenue $61,587. 0= 0. 598 or 0. 6 Asset turnover Total assets $102,908. 0| The days' receivables ratio is calculated by dividing the accounts receivable by the revenue per day. The days' receivables will indicate how long, on average, it takes for J&J to collect on its sales to customers on credit. This ratio is also known as the average collection period (ACP). The shorter the collection period, the sooner the organization can pay bills or invest to earn interest (Finkler, Kovner & Jones, 2007). A short ACP is more efficient for the organization. J&J had an ACP of 58 days in 2010. This is a slight increase from previous year’s ACP of 57 days. Revenue per day = Total revenue 365$61,857. 0 = $168. 731 365 days Day’s receivable = Accounts receivable Revenue per day AR $9774. 0 = 57. 92 days DR $168. 731/day| Reference Key financial ratios: financial results – johnson & johnson . (2011). Retrieved from http://moneycentral. msn. com/investor/invsub/results/compare. asp? Page=ManagementEfficiency&symbol=JNJ

`` Nosedive `` Themes And Serves As A Strong Critique Of...

â€Å"Nosedive† addresses a different set of existential themes and serves as a strong critique of the modern age and the nature of being the Other. Within â€Å"Nosedive,† there is a world in which everyone is involved in a social media application that completely runs everyone’s life. After every interaction, people will rate one another on a scale of one to five. Everything from social status to one’s ability to rent a car is based upon the score. There are organizations devoted entirely to consultations on how to become more popular, gain more followers, and move up in these superficial ranks. The episode follows a weekend in the life of Lacie: a girl with 4.2 stars and a chronic desire for acceptance. She experiences the same events we all do†¦show more content†¦In the case of Lacie, morality is not the thing they follow blindly but the ratings. They remain entrenched in their technology and follow along that system as though there were no o ther alternative. In the same way that Nietzsche saw the people of his modern era as herd animals moving toward democracy, the people of Lacie’s time blindly move toward ratings. If they cannot attain those ratings they are excluded from the herd. This episode also shows a clear distinction between those with high-ratings and those who do not. This dichotomy is similar to the nature of being the Other as discussed by Simone de Beauvoir and Frantz Fanon. Each of these existentialists focused on applied existentialism- feminist existentialism and Africana existentialism respectively. Yet they share a common concept, one’s place is society is not determined by one’s essence so much as external factors like gender or race. The same can be applied to the rating system that is a core element of Lacie’s lived experience. In The Second Sex, Simone remarks on the female lived experience stating â€Å"In actuality the relation of the two sexes is not quite like that of two electrical poles, for man represents both the positive and the neutral, as indicated by the common use of man to designate human beings in general; whereas woman only represents the negative† (Beauvoir, Page xxi). While in Lacie’s wo rld there is certainly more