Great Gatsby Essays (693 words) - The Great Gatsby, Jay Gatsby

Great Gatsby The Great Gatsby by F. Scott Fitzgerald is set in the 1920's during the Jazz Age. Nick Carraway is a man in his late twenties residing on West Egg island in Long Island, New York living a "normal" life. That is, until he meets his mysterious neighbor, a wealthy man named Jay Gatsby. He is a man of mystery, living in a mansion that is constantly full of people, music, and fun. Nick's"normal" life gets thrown topsy-turvy when he gets involved in the life of this extraordinary millionaire. Marred by jealousy, cheating, and lying, Nick begins to feel the essence of living a glamorous life in the ?20's. He showed this when he said, "Everyone suspects himself of at least one of the cardinal virtues, and this is mine: I am one of the few honest people that I have ever known." All along, I felt sorry for Nick being dragged into more and more tragedy, but I especially felt bad for him during one instance. His friend Daisy was married to Tom, but Tom was having an affair with Mrs. Wilson and Daisy had a thing for Gatsby. Daisy and Gatsby were driving home from town after an argument amongst the group of friends when they passed the Wilson's gas station. Mrs. Wilson ran out to Gatsby's car, because they were driving Tom's car, and was hit. Mr. Wilson went positively crazy, and Nick felt torn by his mixed feelings towards his supposed friend Gatsby. "I disliked him so much by this time that I didn't find it necessary to tell him he was wrong." Gatsby's insensitivity brought on by his lifestyle made Nick despise him. This is the part where I think Nick really started opening his eyes to how Gatsby really was. This book really displays how the life of an important person is, especially in that time period. At first, Nick is awed and drawn in by the glamour and prestige, but he eventually figures out for himself how rough it really was. Although this book was set back in the ?20's, the lessons you learn from it still apply to society and life in general today. Anyone could read this book and draw a few lessons about life from it. Summary The Great Gatsby was set in the 1920's. It's about the lives of a group of people who all become entangled in a web of, lying, scandal, and cheating together. Nick Carraway lives a "normal" life on Long Island, until he meets his neighbor, Jay Gatsby. Parties went on every weekend, and Nick gets caught up in Gatsby's"glamorous" lifestyle. Soon, everyone is involved in scandal, Daisy's cheating on Tom with Gatsby, Tom's cheating on Daisy with Mrs. Wilson, and Nick's caught in the middle. Gatsby ends up convincing Nick to get Daisy to come to Gatsby's house, because they had a history together. Daisy comes, and both she and Gatsby find out that their love for each other never went away. The trouble really begins when Tom finds out that Daisy's love for Gatsby has rekindled. One day while in town, Tom and Daisy fight, so Gatsby drives Daisy home in Tom's car. On the way, they hit a woman who turns out to be Mrs. Wilson who was thought the person in the car was Tom, and was trying to talk to him. All the while, Nick starts realizing how terrible a life like Gatsby's is despite the outer glamour. He also becomes emotionally attached to golf player, Jordan Baker. After Mr. Wilson finds out who was in the car that killed his wife, he goes crazy and kills Gatsby. In the end, two people wind up dead, and everyone winds up hurt in one way or another. Daisy and Tom remain together, Mr. Wilson is crazy, and Nick is hurt by Jordan who never loved him back. After all of this emotional suffering, Nick realizes that he learned a valuable lesson about life: Some of the supposed happiest people with the best lives often are a lot worse off, or end up a lot worse off than people with "normal" lives. The only thing he can do is go on living his life the way it was meant to be lead: not as a millionaire, or a prestigious person in society, but as a normal guy-the only way he knows how.

Philosophical Quotes on Violence

Philosophical Quotes on Violence What is violence? And, accordingly, how should non-violence be understood? While I have written a number of articles on these and related topics, it is useful to look at how philosophers have synthesized their views on violence. Here is a selection of quotes, sorted out into topics. Voices on Violence Frantz Fanon: Violence is man re-creating himself.George Orwell: We sleep safe in our beds because rough men stand ready in the night to visit violence on those who would do us harm.Thomas Hobbes: In the first place, I put for a general inclination of all mankind a perpetual and restless desire of power after power, that ceaseth only in death. And the cause of this is not always that a man hopes for a more intensive delight than he has already attained to, or that he cannot be content with a moderate power, but because he cannot assure the power and means to live well, which he hath present, without the acquisition of more.Niccolà ² Machiavelli: Upon this, one has to remark that men ought either to be well treated or crushed, because they can avenge themselves of lighter injuries, of more serious ones they cannot; therefore the injury that is to be done to a man ought to be of such a kind that one does not stand in fear of revenge.Niccolà ² Machiavelli: I say that every prince must desire to be considered merciful and not cruel. He must, however, take care not to misuse this mercifulness. [†¦] A prince, therefore, must not mind incurring the charge of cruelty for the purpose of keeping his subjects united and confident; for, with a very few examples, he will be more merciful than those who, from excess of tenderness, allow disorders to arise, from whence spring murders and rapine; for these as a rule injure the whole community, while the executions carried out by the prince injure only one individual [†¦] From this arises the question whether it is better to be loved more than feared, or feared more than loved. The reply is, that one ought to be both feared and loved, but as it is difficult for the two to go together, it is much safer to be feared than loved, if one of the two has to be wanting. Against Violence Martin Luther Kind Jr.: The ultimate weakness of violence is that it is a descending spiral, begetting the very thing it seeks to destroy. Instead of diminishing evil, it multiplies it. Through violence you may murder the liar, but you cannot murder the lie, nor establish the truth. Through violence you may murder the hater, but you do not murder hate. In fact, violence merely increases hate. So it goes. Returning violence for violence multiplies violence, adding deeper darkness to a night already devoid of stars. Darkness cannot drive out darkness: only light can do that. Hate cannot drive out hate: only love can do that.Albert Einstein: Heroism by order, senseless violence, and all the pestilent nonsense that goes by the name of patriotism- how I hate them! War seems to me a mean, contemptible thing: I would rather be hacked in pieces than take part in such an abominable business.Fenner Brockway: I had long put on one side the purist pacifist view that one should have nothing to do with a social revolution if any violence were involved... Nevertheless, the conviction remained in my mind that any revolution would fail to establish freedom and fraternity in proportion to its use of violence, that the use of violence inevitably brought in its train domination, repression, cruelty. Isaac Asimov: Violence is the last refuge of the incompetent.

The Patients with Stroke Assignment Example | Topics and Well Written Essays - 1250 words

The Patients with Stroke - Assignment Example It is a responsibility of a hard-headed nurse in assessing the religious and spiritual issues, family and social issues, and independence and activity issues in strict coherence with the physical symptoms and psychological distresses (Williams & Perry, 2010). Bearing it in mind, there comes a clear understanding of the link between the nursing interventions needful for stroke and Parkinson’s patients. ... To say more, it is a difficult process at a glance which needs a thorough look into blood tests, ECG, CT scans, and other medical interventions to be specifically assessed within a concrete time-limit. In this vein, a nurse should provide a set of practical treatments to make a patient go out of the depression caused by the neurological disorders discussed in the paper. One of the approaches is to pinpoint the exact source of anxiety among Parkinson’s multiple sclerosis patients (Lewis, Heitkemper, Dirksen, Goldsworthy, & Barry, 2006). It is a mandatory step for promoting efficacy through accuracy in nursing. On the other hand, what unites the three diseases in accordance with nursing intervention is the need for the â€Å"ask-tell-ask (also known as â€Å"Elicit-Provide-Elicit†) communication technique† (RNAO, 2010, p. 7). This is one of the general similarities in coping with the stroke, Parkinson’s, and multiple sclerosis patients. Needless to say, most clients with a chronic neurologic disorder will experience feelings of depression and hopelessness, and, therefore, a nurse’s care should be focused on this in the interpersonal dimension of care. Besides, to relieve the anxiety among Parkinson’s patients, a nurse is to have a set of procedures and implementations to be run during the whole process of intensive medical care.

Commercial Essay Example | Topics and Well Written Essays - 500 words

Commercial - Essay Example Just when the camera is panned on the windscreen, there is a work-in-progress shown being carried out at the middle of the road and just when there is about to be a collision, the driver steps on the brakes and the car halts before it could collide and kill him. The driver then turns to the grim reaper and says sorry with a smirk for spoiling the plan. In the end, the ad copy says: â€Å"Senses danger and increases braking power† (Youtube.com, 2010). The message in the advertisement is clear and concise which is clearly promoting the technology of the sensor which would increase the braking capability of the car when it senses an object or any obstruction nearby at a certain distance. The ad depicts that just because the driver owns Mercedes with the mentioned sensing technology, he could avoid the accident. Secondly, as the brand of Mercedes is already established, the advertisement contains minimal branding rather, the idea of sensor brakes has been shown. The logo appears at the end of the ad when the message is being shown (Youtube.com, 2010). From the visuals of the ad, the target audience is most likely to be men, aged between 35 and 45, who live in the sub-urban areas or have travelling routes similar to that which has been shown in the advertisement. As Mercedes is a luxury brand, the people who can afford the amenity would be the most accurate target audience as they would be the target market as well (Youtube.com, 2010; Farbey, 2002). Besides this, the advertisement also carries a personality which suits the corporate sector or in other words, the target audience of this ad, judging from the imagery which has been used, is people who are employed (Youtube.com, 2010; Farbey, 2002). Secondly, the ad shows how Mercedes could avoid a serious accident therefore the target audience of this ad would also be those people who value security and safety more than they value other attributes in a car (Youtube.com, 2010; Farbey, 2002). Not only

Cemex Case Study Coursework Example | Topics and Well Written Essays - 1000 words

Cemex Case Study - Coursework Example In terms of markets, the developing countries of China and India may be seen as some of most important due to large scale cement consumption and production fuelled by large scale economic growth (OECD 2010, 2009). It may be expected that in future years as wealth becomes higher per capita in these markets, that demand begins to fall to levels seen in the developed world. In addition, the nature of products consumed in developing markets also varies from those of the developed world. Here there is a preference for pre-bagged building materials as opposed to bulk delivery, a trend which is reversed in developed markets. 2. In terms of global capacity, Cemex ranks as third with a capacity of 64.7 million tons, this compares to market leader Lafarge’s capacity of 108 million tons and Taiheiyo in sixth place at 37.9 million tons. Despite the capacity of the company, Cemex ranks as number one by market share in 9 of its key 13 markets and second in anther three. As such, Cemexâ€⠄¢s overall capacity lags behind the total demand for the company’s products making the company a global sourcer. ... This however, may be seen as linked to the unique characteristics of such markets which have a propensity to favour local or national producers over the large international players such as Cemex. As such, despite being a global player, Cemex may still be seen as lacking a substantial presence in key regional markets in both Asia and Africa. 3. Overall, it would appear that Cemex after the current round of acquisitions is now a â€Å"broad† player within the market for building products, while the firm had previously focused on cement (Jobber, 2007). Recent acquisitions has seen the company moving into both the aggregates and ready mixed concrete market. With regards to Cemex’s generic strategy, it would appear that the company follows a cost leadership model (Porter, 2004). This can be seen in the so called â€Å"Cemex way† in which on making an acquisition the company attempts to implement a two way process of rationalisation taking the best and most cost effect ive practises from both the parent company and the acquisitioned company and then implementing the most cost effective. There is however, one area in which Cemex may be seen as developing a differentiated strategy. In the market for bagged cements, Cemex was the first producer to developed a â€Å"branded† option, thus making the product more attractive in the lucrative home build market segment. In addition, the company also makes small local changes to the produce based upon customer perceptions of quality. For instance while the Egyptian market shows a preference for darker colours cements, Cemex’s home markets in South America require a lighter coloured product. Despite this attempt to differentiate the product, it would appear that the market as a whole is

Developments in the West End Musical Scene

Developments in the West End Musical Scene DISCUSS THE RECENT DEVELOPMENTS IN THE WEST END MUSICAL SCENE; THIS SHOULD INCLUDE AN ANALYSIS OF THE MEGA-MUSICAL MANIA, THE TREND TO CREATE NEW MUSICALS BASED ON EXISTING SONGS (SONG MIGRATION) AND STAGE TRANSFERS OF SUCCESSFUL FILMS. From Sophocles through William Shakespeare to Eminem, writers have sought to use the rhythms of language to accentuate the story they are seeking to share. The pre-Caxton[1] society relied on an oral tradition to deliver stories of fact and fiction. Cultures spanning the entire globe and all ages of civilization have instinctively adopted musical storytelling; it is prominent in various forms even now – be it around a camp fire, at a tribal ceremony, an inner city playground or on a West End stage. In todays world, language and music are at our fingertips. They are both instantaneous. And they can be married in a second. Technically, music is intricate. Most writers will say the same about language. But in an inspired moment they can conjoin and express something wonderful both sonically and linguistically. The act of constructing such a moment can be the end result of many less fruitful moments – but there is always the chance that it could just happen instantaneously. Our logistical minds tell us that it just is not possible; that we would never be able to express ourselves beautifully and eloquently in musical form. And yet the compulsion to try and do so has arrested most people, even if only for a quickly aborted solitary moment. So perhaps here lies the fascination with musicals. They show life as we know it happily residing in an alternate reality – where music and language are easy bed partners and everything goes to extremes. Or does it? The West End is one of Londons most popular tourist attractions. It has built its reputation, in tandem with New Yorks Broadway, as the commercial mecca of musical theatre. Las Vegas has the showgirls but Broadway and the West End share the showtunes. Indeed, while their identities are undeniably distinct, the relationship between them is close; same sex twins rather than identical ones. Each has their own nuances of behaviour – the younger twin Broadway hunts that bit more keenly for the next off-beat musical whirlwind; the older West End plays percentages but plays them with palpable success. The term West End was originally coined as a geographical short cut – a way of describing a part of London synonymous with theatre. Since its inception into London vernacular the phrase West End has mutated to describe something meta-geographical. While once upon a time it merely represented an actual place, now it also describes the gateway to an invented world of glitz, glamour and show. The West End may still be the home of theatre, but the kind of theatre that it houses has become very easily classifiable. The listings do not lie. And neither do they try to. The West End is a haven for small ideas done big; big names, big shows, big spectacles, big budgets, big risks. The social and artistic significance of theatre as an art form has not suffered in the time since the West End theatres were constructed. But the immediacy of rival entertainments, chiefly television and film, has undoubtedly provided so comfortable an alternative for the borderline theatregoing public that its popularity has. Ultimately, the publics relationship with theatre has somewhat inverted itself; once the entertainment of the people, theatre has become high-brow, elitist, exclusive even. Or so we are led to believe. Every year the people entrusted with running the countrys theatres are ensconced in attempts to make theatre more accessible. Nicholas Hytner at the National Theatre has incorporated a sponsorship deal with Travelex with the express purpose of enabling its shows to be available to people for as little as  £10 a ticket. Theatrical output is continuing to diversify in new directions. The National Theatre still produces the time-honoured classics that will appease their traditional supporters. But they also invited outside companies including Theatre de Complicite, Improbable, Shunt and Kneehigh to co-develop their new work. Arts Council funding dictates a certain amount of programming for in-house producing theatres throughout the country. It is impossible to equate the artistic worth of a proposed project while it exists solely as an outline on a piece of paper. But it is easier to quantify the greater social import of the same project. Therefore the involvement in various local outreach initiatives including young peoples theatre and new writing programmes serves duplicate purposes. But in doing so it runs the risk of wrestling a certain amount of control from the artistic directors, or at least diluting the intent of their work. But the West End is not really concerned with any of this. The theatres are privately owned and have little social obligation. West End theatre is a notoriously unpredictable money market. Make a big success of yourself and you can eventually buy it up – which is exactly what Andrew Lloyd Webber and Cameron Mackintosh have ended up doing. Lloyd Webbers Really Useful Group are the proprietors of twelve of the capitals larger theatres. By January 2006 Delfont Mackintosh will control another seven, and will have begun constructing the Sondheim Theatre – the first theatre to be built on Shaftesbury Avenue since 1931. The long-term plan of Delfont Mackintosh is to refurbish and modernise theatreland. But one cannot help but think that their extreme makeover will be restricted to the facilities and layout – and that the entertainment will remain as traditional as ever. The musical-as-we-know-it grew out of the 19th Century tradition of music hall, which itself was the bastard son of drink and rowdiness. After removing the alcohol from drunken singalongs, and relocating from the pub to theatres, the 1860s saw the popularity of the newly-arrived music hall go from good idea to massively popular entertainment. The humbling beginnings of the musical cannot help but reveal the nucleus of the idea; it was born of accident – of people seeking to have pure, unadulterated entertainment. In that respect, it has no one form; no one philosophy; indeed no real sense of philosophy; no real sense of purpose other than fun, fun, fun! As the musical was developing it was the bastion of popular music of the time. Through Gilbert and Sullivan, Irving Berlin, Bertolt Brecht and Kurt Weill and Cole Porter, the men and women behind musical were the most revered song writers at work in the Western world. Ten years into the post-war era there was a marked shift. The musical standards that made dry, wry and witty observations about upper middle class were about to be trumped by rock and roll. And John Osbournes 1956 kitchen-sink-drama Look Back In Anger was going to have repercussions outside the world of the well-made play[2]. The birth of transmittable media was only going to swell the amount of music being produced. In the early days of the wireless radio, families gathered to listen to the songs of Ivor Novello or Noel Coward. By the mid-1960s many families had television sets in their front rooms; radio broadcasts were a competitive business; and air transport links had made the world traversable for all those who could afford it. Music was a commodity that could be sent from one side of the world to the other. And in the slipstream of the music were the musicians themselves. Through television and radio, songwriters and musicians had an identity. They became icons – the most celebrated people on the planet. And their music was nowhere near the West End stage. For the first time since their inception musicals were not using the popular music of the time. Rocknroll was being held in musical purgatory by traditionalists unhappy at its low-brow ideals. While cinema was running as fast and far as it could with the concept of the film musical, the stage was seeking to deliver variations on earlier themes. Elvis Presley made numerous musical films – as did The Beatles. In the 1960s the West End was awash with Broadway imports – the influence of Leonard Bernstein, Rodgers and Hammerstein, Lerner and Loewe and other transatlantic success stories was diluting the integrity of the West End as the older brother of the musical. But the psychedelic overtones of that time were to create musical anomalies; while some composers flirted with the conce pt of rock, others werent afraid to dive headlong into its bottomless pit. After its anti-Vietnam stance and inclusion of group nudity caused outrage on Broadway, Hair opened in the West End in 1968. From being the chosen playground of mild-mannered conservatives, the musical was being politicised – and modernised. Within five years, the Age of Aquarius[3] had been further capitalized upon by Godspell, Oh Calcutta and even Jesus Christ Superstar – which proved to be the foundation on which the new dawn of the musical would be built. Todays twin Godfathers of musical composition for Broadway and the West End carry the bright torch of yesteryear; Stephen Sondheim represents his forefathers fascination with the off-beat, with Andrew Lloyd Webber never straying from the musically conservative beat. There are various factors that dictate the recent successes and failures in West End theatre. But the starting point for every West End production is money – a fact beautifully demonstrated by the plot of one of the West Ends most popular current productions The Producers. Essentially, the capitalist dawn that swallowed up free love has made currency the new leading man in musical theatre. Producers need big ideas and big songs to legislate for big budgets. So instead of trying to predict what people may like and creating a musical story around it, the West End decided to reduce the risk and simply take the music that people already like and create a story around that. In some ways the origin of song migration is old revue style shows – popular hits belted out with no real desire to create an accompanying piece of drama or comedy. Coupled with the screen to stage success of musical films like The Lion King, a producer was now able to weigh up potential West End shows safe in the knowledge that a stable of worldwide smash hits could enable a musical to run for years, even with a bad review. Suddenly the sheer bankability of Lloyd Webber was looking like an outlandish risk alongside the music of Abba[4], Queen[5] or even (the critically lauded but never supergroup status) of Madness[6]. Negotiations are in process for the trend to continue, with Bob Marley, The Beatles and Elton John just some of the musical legends in line to have their songs shoe-horned into some money-spinning stage extravaganza that makes almost no sense at all. Not that the public really care. They want to go and sing-a-long like the pub dwellers of the 1840s that unknowi ngly helped begin the process of musical theatre. And who shall we choose to lead the sing-song? Well, preferably someone famous off the telly, of course. The West End is a remarkably lucrative place. For his unscheduled stint in the opening cast run of The Producers at the end of 2004, Nathan Lane was being paid  £42,000 a week for the lead role as Max Bialystock. It is a clear indication of the simple transaction between moneymen and talent; the star name guarantees the box office receipts. The West End has been flooded with stars – some of whom have no musical pedigree – because celebrity is deemed to have finally overridden talent. The good, bad and ugly (in no particular order) of recent years include David Hasselhoff[7], Martine McCutcheon[8] and Denise Van Outen[9]. And if you dont want to spend money on star names, then youd better be sure to have some seriously impressive stage gimmicks; Miss Saigon famously had a helicopter, Chitty Chitty Bang Bang got in to hot water when the eponymous flying car failed to take off in previews, and Phantom of the Opera has a plunging chandelier moment that will wake up anyone snoozing in the stalls. So with standard tickets averaging out at around  £40, the theatregoer demands a truly amazing experience. But amazing and original are poles apart – and thats why when the formula is right, all you need to do is repeat it. There are exceptions. The Bombitty of Errors was a rap interpretation of Shakespeares Comedy of Errors, and was a small but perfectly-formed global success. Stomp became a phenomenon through gradual word of mouth and because it is a different kind of spectacle. Jerry Springer: The Opera began life as an idea at a scratch night at the Battersea Arts Centre and grabbed the attention of every newspaper and fundamentalist Christian in the Western World. But such shows grow from humble beginnings and are swept away on public curiosity. As in any art form, there are people willing to take risks because they believe their work has a market. Bombay Dreams and The Far Pavilions identify a recently developed appreciation of Asian music and culture. The off-Broadway hit Batboy continues in the tradition of earlier pacesetters The Rocky Horror Picture Show and Hedwig and the Angry Inch for kitsch rock operas. But some of these are accidental intruders in the world of the West End. They werent sure if they were really invited but came anyway. One group that certainly were invited are blockbuster films; whether they have songs in them or not. Seemingly the films dont even have to have been that successful. The Witches of Eastwick had a successful run in the West End. But more than likely, the film will have a readymade audience. The Full Monty was relocated to middle America from Sheffield to make it a Broadway success. Billy Elliott is well into previews, but the advance word is that it will be a significant hit. Or better still, just take a film with songs already in them – you dont stand to make as much money, but the guarantee of an audience is that much stronger. Mary Poppins has been well-received by most, and Chitty Chitty Bang Bang is in its third year. There are currently 36 theatres in the West End of Londons theatreland[10]. As of Monday 2 May 2005, 27 are currently housing a production. 17 of those are musicals. This ratio is fairly consistent – and shows no signs of relenting. Essentially a hit West End musical needs a hook; star name, hit songs, hit movie, famous composer, popular revival. Something that can be reduced to a two-word phrase. If you havent got any of those, then heaven help you. Because the West End public certainly wont. BIBLIOGRAPHY In-yer-face Theatre: British Drama TodayAleks Sierz Faber Faber2001 Scene Unseen: Londons West End TheatresBarson, Kendall, Longman, SmithEnglish Heritage Publications 2003 Brewers Theatre: Phrase Fable DictionaryCassell Market House Books1994 MusicalsKurt Ganzl Carlton Books2004 Time Out (London) Issue No. 1810 April 27-May 4 2005 Musicals 101.com 1 Footnotes [1] William Caxton, inventor of the printing press (1474), which enabled literature to be mass-produced and readily available to the public. [2] A term coined by Terrence Rattigan for the four-act structure of a play that had been the norm for successful playwrights in the first half of the Twentieth Century. [3] A term synonymous with late 60s flower power and liberal ideologies – derived from a song from the musical Hair. [4] Mamma Mia. [5] We Will Rock You. [6] Our House. [7] Chicago, Adelphi Theatre, 2004 [8] My Fair Lady, Theatre Royal Drury Lane, 2001 [9] Chicago, Adelphi, 2001, Tell Me On A Sunday, Gielgud, 2003 [10] They are the Adelphi, Albery, Aldwych, Apollo, Arts, Cambridge, Comedy, Criterion, Dominion, Theatre Royal Drury Lane, Duchess, Duke of Yorks, Fortune, Garrick, Gielgud, Haymarket, Her Majestys, London Palladium, Lyceum, Lyric, New Ambassadors, New London, Palace, Phoenix, Piccadilly, Playhouse, Prince Edward, Prince of Wales, Queens, Savoy, Shaftesbury, St Martins, Strand, Trafalgar Studios, Vaudeville, Wyndhams. Other central theatres not classified as West End include the Donmar Warehouse, National Theatre, Old Vic, Victoria Palace, Apollo Victoria, Lilian Baylis Saddlers Wells, Peacock, Almeida and the Royal Court.

Interviews Guidelines :: Interviewing

Interviews Guidelines Hi friendz today I am gonna tell you some of the questions the interviewers’ will ask you generally. Please note that these questions are for general purpose only and meant for mainly those interviews which judge the overall personality of man/woman. 1.  Ã‚  Ã‚  Ã‚  Ã‚  OK Mr./Ms. XYZ tell me something about yourself? Hint: the interviewer is going through u’r c.v. and wants some time. He may not be looking at u’r face. Just speak on continuously and don hesitate. The most important things which should be included are: Salutation; Your name; schooling; college; work experience; why u wanna join and how u’r qualification and experience would relate to the post vacant. 2.  Ã‚  Ã‚  Ã‚  Ã‚  What are your hobbies? Hint: Don’t write those hobbies in which u don’t know in detail. Suppose u tell u’r hobby as cricket but u may not show him any award won in that! 3.  Ã‚  Ã‚  Ã‚  Ã‚  Why Do you want to join this organization? How can u help us? 4.  Ã‚  Ã‚  Ã‚  Ã‚  What is u’r ambition in life? Hint: this is a remarkable question; If u r going for a marketing kind of job and tell that u r not after money but recognition first; u may not be selected; as marketing can be done only by those who r after money only as their priority as their main source of income is their commissions. 5.  Ã‚  Ã‚  Ã‚  Ã‚  What is u’r expected salary? Hint: Don’t under – estimate u’r self. U would be surprised to know that some applications are rejected only because they are ready to work for a very lesser amount ! They argue that we don take the cheap variety. Get Branded; see what is the salary generally accepted in u’r field and demand in proportion to that. 6.  Ã‚  Ã‚  Ã‚  Ã‚  Well Mr./Ms. XYZ Tell me where do u see u’r self after 2 years from now? Hint: Be Specific, Don tell u r going 2 be the BILL GATES. In 2 years. They’ll tell u that they cant’ hire a bill gates and cant’ promote u at that level within 2 years. 7.  Ã‚  Ã‚  Ã‚  Ã‚  You told that u wanna be†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. ,; what are u doing to achieve that? 8.  Ã‚  Ã‚  Ã‚  Ã‚  What are u’r strengths? 9.  Ã‚  Ã‚  Ã‚  Ã‚  What are u’r weaknesses? Hint: Be sure u r not caught; You can tell that I am emotional; etc. 10.  Ã‚  Ã‚  Ã‚  Ã‚  When did u see u’r strength as u described above helped u overcome a situation? And the weakness u had suffer from? 11.  Ã‚  Ã‚  Ã‚  Ã‚  Tell me which are u’r favourite subjects? Hint: Hey don study only one subject. Sometimes it has happened that they ask another question; And the second favorite?