Qualitative vs. Quantitative Research Essay -- Research Analysis

In this paper, the author will delineate the characteristics between qualitative and quantitative research, as well as their methodologies. The purpose of this paper is to give the reader a brief glimpse behind each research approach, by determining the strengths and weaknesses of both. The terms â€Å"subjective† and â€Å"objective† will be viewed in accordance with each research paradigm by considering the role of the observer and addressing how the researcher conducts his or her analysis using these approaches. The author will also describe the preferred approach given to each modality and how each model can be utilized in a study of aggression. Qualitative and Quantitative are two differentiated paradigms of research, which operate under the assumption that measured outcomes, must be proven valid and reliable. However, the distinguishing element between each paradigm resolves to the role of the researcher. Although they can be explicated by the source of the data collected, qualitative being a semantic text and quantitative being in numerical form, in the qualitative paradigm, the role of the researcher is to be an active participant within the study, lending the subjectivity of interpretation to the final measured outcome (Denzien & Lincoln, 2000). However, the quantitative approach finds the role of the researcher as an outside, objective observer, where the possibility for researcher bias is reduced, and the final measured outcome is not subject to researcher interpretations (Patton, 1996). Qualitative Research Qualitative research is a multi-dimensional method that utilizes an imperative and naturalistic approach. This design is associated with a phenomenological paradigm and is used by observing human behavior in... ...ht eliminate the need for research participation by sending out surveys in the mail randomly. The qualitative methodology might use an example a focus group. Where the researcher is an active participant in asking open-ended questions, specifically to engage the participants and prompt interpretive answers reflective of emotionality. When considering the manipulation of variables to alter conditions that are observable and measurable, quantitative analysis could include the manipulation of environmental factors, such as room temperature, lighting, etc, where the researcher is an outside, unattached observer. The qualitative paradigm would insist that the researcher be a participant of the factors of manipulation by using interruptive techniques, verbal commands, etc, and determine the measurable effects on the outcome through personal interpretation of data.

Respect, Coercion and Religious Belief :: Religion Argumentative Argument Papers

Respect, Coercion and Religious Belief In this paper, I articulate and evaluate an important argument in support of the claim that citizens of a liberal democracy should not support coercive policies on the basis of a rationale they know other citizens reasonably reject. I conclude that that argument is unsuccessful. In particular, I argue that religious believers who support coercive public policies on the basis of religious convictions do not disrespect citizens who reasonably regard such religious convictions as false. I Somewhere near the heart of much contemporary liberal political theory is the claim that if the state restricts an agent's liberty, its restrictions should have some rationale that is defensible to each of those whose liberty is constrained. Liberals are committed to the "requirement that all aspects of the social order should either be made acceptable or be capable of being made acceptable to every last individual." But there are many kinds of claim which are particularly controversial, many about which we expect reasonable disagreement. Coercive policies should not be justified on the basis of such controversial grounds; rather, they should enjoy public justification. That coercive policy should enjoy public justification implies that political actors are subject to various principles of restraint, that is, that they should restrain themselves from supporting policies solely on the basis of excessively controversial grounds. The point of advocating restraint is to achieve a minimal moral conception, a core morality, which is rationally acceptable to all and which provides the ground rules for political association. In what follows, I evaluate what I take to be the most compelling argument in support of restraint. For ease of exposition, I shall refer to this argument as the argument from respect. What is that argument? First an informal formulation. Suppose that John supports some policy which has important consequences for the welfare of a certain type of animal, say, the spotted owl. Since spotted owls can suffer, and since they are conscious of their suffering, John should take into consideration the interests of the spotted owl; when determining whether or not to support logging in old growth forests, John should include in his moral calculus the suffering generated by the devastation of the spotted owl's natural habitat. John's position regarding the propriety of logging in old growth forests doesn't just affect owls, of course; it also affects loggers like Mary. Mary, like John, must come to grips with the issues raised by the destruction of old growth forests.

The Lost Symbol Chapter 22-23

CHAPTER 22 Pacing the library, Katherine Solomon pulled back the sleeve of her lab coat and checked her watch. She was not a woman accustomed to waiting, but at the moment, she felt as if her whole world were on hold. She was waiting for Trish's search-spider results, she was waiting for word from her brother, and also, she was waiting for a callback from the man who was responsible for this entire troubling situation. I wish he hadn't told me, she thought. Normally, Katherine was extremely careful about making new acquaintances, and although she had met this man for the first time only this afternoon, he had earned her trust in a matter of minutes. Completely. His call had come this afternoon while Katherine was at home enjoying her usual Sunday- afternoon pleasure of catching up on the week's scientific journals. â€Å"Ms. Solomon?† an unusually airy voice had said. â€Å"My name is Dr. Christopher Abaddon. I was hoping I might speak to you for a moment about your brother?† â€Å"I'm sorry, who is this?† she had demanded. And how did you get my private cell-phone number? â€Å"Dr. Christopher Abaddon?† Katherine did not recognize the name. The man cleared his throat, as if the situation had just become awkward. â€Å"I apologize, Ms. Solomon. I was under the impression your brother had told you about me. I'm his doctor. Your cell number was listed as his emergency contact.† Katherine's heart skipped. Emergency contact? â€Å"Is something wrong?† â€Å"No . . . I don't think so,† the man said. â€Å"Your brother missed an appointment this morning, and I can't reach him on any of his numbers. He never misses appointments without calling, and I'm just a little worried. I hesitated to phone you, but–â€Å" â€Å"No, no, not at all, I appreciate the concern.† Katherine was still trying to place the doctor's name. â€Å"I haven't spoken to my brother since yesterday morning, but he probably just forgot to turn on his cell.† Katherine had recently given him a new iPhone, and he still hadn't taken the time to figure out how to use it. â€Å"You say you're his doctor?† she asked. Does Peter have an illness he's keeping from me? There was a weighty pause on the line. â€Å"I'm terribly sorry, but I've obviously just made a rather serious professional error by calling you. Your brother told me you were aware of his visits to me, but now I see that's not the case.† My brother lied to his doctor? Katherine's concern was now growing steadily. â€Å"Is he sick?† â€Å"I'm sorry, Ms. Solomon, doctor-patient confidentiality precludes me from discussing your brother's condition, and I've already said too much by admitting he is my patient. I'm going to hang up now, but if you hear from him today, please ask him to call me so I know he's okay.† â€Å"Wait!† Katherine said. â€Å"Please tell me what's wrong with Peter!† Dr. Abaddon exhaled, sounding displeased with his mistake. â€Å"Ms. Solomon, I can hear you're upset, and I don't blame you. I'm sure your brother is fine. He was in my office just yesterday.† â€Å"Yesterday? And he's scheduled again today? This sounds urgent.† The man heaved a sigh. â€Å"I suggest we give him a little more time before we–â€Å" â€Å"I'm coming by your office right now,† Katherine said, heading for the door. â€Å"Where are you located?† Silence. â€Å"Dr. Christopher Abaddon?† Katherine said. â€Å"I can look up your address myself, or you can simply give it to me. Either way, I'm coming over.† The doctor paused. â€Å"If I meet with you, Ms. Solomon, would you please do me the courtesy of saying nothing to your brother until I've had a chance to explain my misstep?† â€Å"That's fine.† â€Å"Thank you. My office is in Kalorama Heights.† He gave her an address. Twenty minutes later, Katherine Solomon was navigating the stately streets of Kalorama Heights. She had phoned all of her brother's numbers with no reply. She did not feel overly concerned about her brother's whereabouts, and yet, the news that he was secretly seeing a doctor . . . was troubling. When Katherine finally located the address, she stared up at the building in confusion. This is a doctor's office? The opulent mansion before her had a wrought-iron security fence, electronic cameras, and lush grounds. As she slowed to double-check the address, one of the security cameras rotated toward her, and the gate swung open. Tentatively, Katherine drove up the driveway and parked next to a six-car garage and a stretch limo. What kind of doctor is this guy? As she got out of her car, the front door of the mansion opened, and an elegant figure drifted out onto the landing. He was handsome, exceptionally tall, and younger than she had imagined. Even so, he projected the sophistication and polish of an older man. He was impeccably dressed in a dark suit and tie, and his thick blond hair was immaculately coiffed. â€Å"Ms. Solomon, I'm Dr. Christopher Abaddon,† he said, his voice a breathy whisper. When they shook hands, his skin felt smooth and well tended. â€Å"Katherine Solomon,† she said, trying not to stare at his skin, which was unusually smooth and bronzed. Is he wearing makeup? Katherine felt a growing disquiet as she stepped into the home's beautifully appointed foyer. Classical music played softly in the background, and it smelled as if someone had burned incense. â€Å"This is lovely,† she said, â€Å"although I expected more of . . . an office.† â€Å"I'm fortunate to work out of my home.† The man led her into a living room, where there was a crackling fire. â€Å"Please make yourself comfortable. I'm just steeping some tea. I'll bring it out, and we can talk.† He strode toward the kitchen and disappeared. Katherine Solomon did not sit. Female intuition was a potent instinct that she had learned to trust, and something about this place was making her skin crawl. She saw nothing that looked anything like any doctor's office she had ever seen. The walls of this antique-adorned living room were covered with classical art, primarily paintings with strange mythical themes. She paused before a large canvas depicting the Three Graces, whose nude bodies were spectacularly rendered in vivid colors. â€Å"That's the original Michael Parkes oil.† Dr. Abaddon appeared without warning beside her, holding a tray of steaming tea. â€Å"I thought we'd sit by the fire?† He led her over to the living room and offered her a seat. â€Å"There's no reason to be nervous.† â€Å"I'm not nervous,† Katherine said entirely too quickly. He gave her a reassuring smile. â€Å"Actually, it is my business to know when people are nervous.† â€Å"I beg your pardon?† â€Å"I'm a practicing psychiatrist, Ms. Solomon. That is my profession. I've been seeing your brother for almost a year now. I'm his therapist.† Katherine could only stare. My brother is in therapy? â€Å"Patients often choose to keep their therapy to themselves,† the man said. â€Å"I made a mistake by calling you, although in my defense, your brother did mislead me.† â€Å"I . . . I had no idea.† â€Å"I apologize if I made you nervous,† he said, sounding embarrassed. â€Å"I noticed you studying my face when we met, and yes, I do wear makeup.† He touched his own cheek, looking self- conscious. â€Å"I have a dermatological condition, which I prefer to hide. My wife usually puts the makeup on for me, but when she's not here, I have to rely on my own heavy touch.† Katherine nodded, too embarrassed to speak. â€Å"And this lovely hair . . .† He touched his lush blond mane. â€Å"A wig. My skin condition affected my scalp follicles as well, and all my hair jumped ship.† He shrugged. â€Å"I'm afraid my one sin is vanity.† â€Å"Apparently mine is rudeness,† Katherine said. â€Å"Not at all.† Dr. Abaddon's smile was disarming. â€Å"Shall we start over? Perhaps with some tea?† They sat in front of the fire and Abaddon poured tea. â€Å"Your brother got me in the habit of serving tea during our sessions. He said the Solomons are tea drinkers.† â€Å"Family tradition,† Katherine said. â€Å"Black, please.† They sipped their tea and made small talk for a few minutes, but Katherine was eager for information about her brother. â€Å"Why was my brother coming to you?† she asked. And why didn't he tell me? Admittedly, Peter had endured more than his fair share of tragedy in his life–losing his father at a young age, and then, within a span of five years, burying his only son and then his mother. Even so, Peter had always found a way to cope. Dr. Abaddon took a sip of tea. â€Å"Your brother came to me because he trusts me. We have a bond beyond that of normal patient and doctor.† He motioned to a framed document near the fireplace. It looked like a diploma, until Katherine spied the double-headed phoenix. â€Å"You're a Mason?† The highest degree, no less. â€Å"Peter and I are brothers of sorts.† â€Å"You must have done something important to be invited into the thirty-third degree.† â€Å"Not really,† he said. â€Å"I have family money, and I give a lot of money to Masonic charities.† Katherine now realized why her brother trusted this young doctor. A Mason with family money, interested in philanthropy and ancient mythology? Dr. Abaddon had more in common with her brother than she had initially imagined. â€Å"When I asked why my brother came to you,† she said, â€Å"I didn't mean why did he choose you. I meant, why is he seeking the services of a psychiatrist?† Dr. Abaddon smiled. â€Å"Yes, I know. I was trying to sidestep the question politely. It's really not something I should be discussing.† He paused. â€Å"Although I must say I'm puzzled that your brother would keep our discussions from you, considering that they relate so directly to your research.† â€Å"My research?† Katherine said, taken totally off guard. My brother talks about my research? â€Å"Recently, your brother came to me looking for a professional opinion about the psychological impact of the breakthroughs you are making in your lab.† Katherine almost choked on the tea. â€Å"Really? I'm . . . surprised,† she managed. What is Peter thinking? He told his shrink about my work?! Their security protocol involved not discussing with anyone what Katherine was working on. Moreover, the confidentiality had been her brother's idea. â€Å"Certainly you are aware, Ms. Solomon, that your brother is deeply concerned about what will happen when your research goes public. He sees the potential for a significant philosophical shift in the world . . . and he came here to discuss the possible ramifications . . . from a psychological perspective.† â€Å"I see,† Katherine said, her teacup now shaking slightly. â€Å"The questions we discuss are challenging ones: What happens to the human condition if the great mysteries of life are finally revealed? What happens when those beliefs that we accept on faith . . . are suddenly categorically proven as fact? Or disproved as myth? One could argue that there exist certain questions that are best left unanswered.† Katherine could not believe what she was hearing, and yet she kept her emotions in check. â€Å"I hope you don't mind, Dr. Abaddon, but I'd prefer not to discuss the details of my work. I have no immediate plans to make anything public. For the time being, my discoveries will remain safely locked in my lab.† â€Å"Interesting.† Abaddon leaned back in his chair, lost in thought for a moment. â€Å"In any event, I asked your brother to come back today because yesterday he suffered a bit of a break. When that happens, I like to have clients–â€Å" â€Å"Break?† Katherine's heart was pounding. â€Å"As in breakdown?† She couldn't imagine her brother breaking down over anything. Abaddon reached out kindly. â€Å"Please, I can see I've upset you. I'm sorry. Considering these awkward circumstances, I can understand how you might feel entitled to answers.† â€Å"Whether I'm entitled or not,† Katherine said, â€Å"my brother is all I have left of my family. Nobody knows him better than I do, so if you tell me what the hell happened, maybe I can help you. We all want the same thing–what's best for Peter.† Dr. Abaddon fell silent for several long moments and then began slowly nodding as if Katherine might have a point. Finally, he spoke. â€Å"For the record, Ms. Solomon, if I decide to share this information with you, I would do so only because I think your insights might help me assist your brother.† â€Å"Of course.† Abaddon leaned forward, putting his elbows on his knees. â€Å"Ms. Solomon, as long as I've been seeing your brother, I've sensed in him a deep struggle with feelings of guilt. I've never pressed him on it because that's not why he comes to me. And yet yesterday, for a number of reasons, I finally asked him about it.† Abaddon locked eyes with her. â€Å"Your brother opened up, rather dramatically and unexpectedly. He told me things I had not expected to hear . . . including everything that happened the night your mother died.† Christmas Eve–almost exactly ten years ago. She died in my arms. â€Å"He told me your mother was murdered during a robbery attempt at your home? A man broke in looking for something he believed your brother was hiding?† â€Å"That's correct.† Abaddon's eyes were appraising her. â€Å"Your brother said he shot the man dead?† â€Å"Yes.† Abaddon stroked his chin. â€Å"Do you recall what the intruder was looking for when he broke into your home?† Katherine had tried in vain for ten years to block out the memory. â€Å"Yes, his demand was very specific. Unfortunately, none of us knew what he was talking about. His demand never made sense to any of us.† â€Å"Well, it made sense to your brother.† â€Å"What?† Katherine sat up. â€Å"At least according to the story he told me yesterday, Peter knew exactly what the intruder was looking for. And yet your brother did not want to hand it over, so he pretended not to understand.† â€Å"That's absurd. Peter couldn't possibly have known what the man wanted. His demands made no sense!† â€Å"Interesting.† Dr. Abaddon paused and took a few notes. â€Å"As I mentioned, however, Peter told me he did know. Your brother believes if he had only cooperated with the intruder, maybe your mother would be alive today. This decision is the source of all his guilt.† Katherine shook her head. â€Å"That's crazy . . .† Abaddon slumped, looking troubled. â€Å"Ms. Solomon, this has been useful feedback. As I feared, your brother seems to have had a little break with reality. I must admit, I was afraid this might be the case. That's why I asked him to come back today. These delusional episodes are not uncommon when they relate to traumatic memories.† Katherine shook her head again. â€Å"Peter is far from delusional, Dr. Abaddon.† â€Å"I would agree, except . . .† â€Å"Except what?† â€Å"Except that his recounting of the attack was just the beginning . . . a tiny fraction of the long and far-fetched tale he told me.† Katherine leaned forward in her seat. â€Å"What did Peter tell you?† Abaddon gave a sad smile. â€Å"Ms. Solomon, let me ask you this. Has your brother ever discussed with you what he believes is hidden here in Washington, D.C. . . . or the role he believes he plays in protecting a great treasure . . . of lost ancient wisdom?† Katherine's jaw fell open. â€Å"What in the world are you talking about?† Dr. Abaddon heaved a long sigh. â€Å"What I am about to tell you will be a bit shocking, Katherine.† He paused and locked eyes with her. â€Å"But it will be immeasurably helpful if you can tell me anything you may know about it.† He reached for her cup. â€Å"More tea?† CHAPTER 23 Another tattoo. Langdon crouched anxiously beside Peter's open palm and examined the seven tiny symbols that had been hidden beneath the lifeless clenched fingers. â€Å"They appear to be numbers,† Langdon said, surprised. â€Å"Although I don't recognize them.† â€Å"The first is a Roman numeral,† Anderson said. â€Å"Actually, I don't think so,† Langdon corrected. â€Å"The Roman numeral I-I-I-X doesn't exist. It would be written V-I-I.† â€Å"How about the rest of it?† Sato asked. â€Å"I'm not sure. It looks like eight-eight-five in Arabic numbers.† â€Å"Arabic?† Anderson asked. â€Å"They look like normal numbers.† â€Å"Our normal numbers are Arabic.† Langdon had become so accustomed to clarifying this point for his students that he'd actually prepared a lecture about the scientific advances made by early Middle Eastern cultures, one of them being our modern numbering system, whose advantages over Roman numerals included `positional notation' and the invention of the number zero. Of course, Langdon always ended this lecture with a reminder that Arab culture had also given mankind the word al-kuhl–the favorite beverage of Harvard freshmen–known as alcohol. Langdon scrutinized the tattoo, feeling puzzled. â€Å"And I'm not even sure about the eight-eight- five. The rectilinear writing looks unusual. Those may not be numbers.† â€Å"Then what are they? Sato asked. â€Å"I'm not sure. The whole tattoo looks almost . . . runic.† â€Å"Meaning?† Sato asked. â€Å"Runic alphabets are composed solely of straight lines. Their letters are called runes and were often used for carving in stone because curves were too difficult to chisel.† â€Å"If these are runes,† Sato said, â€Å"what is their meaning?† Langdon shook his head. His expertise extended only to the most rudimentary runic alphabet– Futhark–a third-century Teutonic system, and this was not Futhark. â€Å"To be honest, I'm not even sure these are runes. You'd need to ask a specialist. There are dozens of different forms– Hlsinge, Manx, the `dotted' Stungnar–â€Å" â€Å"Peter Solomon is a Mason, is he not?† Langdon did a double take. â€Å"Yes, but what does that have to do with this?† He stood up now, towering over the tiny woman. â€Å"You tell me. You just said that runic alphabets are used for stone carvings, and it is my understanding that the original Freemasons were stone craftsmen. I mention this only because when I asked my office to search for a connection between the Hand of the Mysteries and Peter Solomon, their search returned one link in particular.† She paused, as if to emphasize the importance of her finding. â€Å"The Masons.† Langdon exhaled, fighting the impulse to tell Sato the same thing he constantly told his students: â€Å"Google† is not a synonym for â€Å"research.† In these days of massive, worldwide keyword searches, it seemed everything was linked to everything. The world was becoming one big entangled web of information that was getting denser every day. Langdon maintained a patient tone. â€Å"I'm not surprised the Masons appeared in your staff's search. Masons are a very obvious link between Peter Solomon and any number of esoteric topics.† â€Å"Yes,† Sato said, â€Å"which is another reason I have been surprised this evening that you have not yet mentioned the Masons. After all, you've been talking about secret wisdom protected by an enlightened few. That sounds very Masonic, does it not?† â€Å"It does . . . and it also sounds very Rosicrucian, Kabbalistic, Alumbradian, and any number of other esoteric groups.† â€Å"But Peter Solomon is a Mason–a very powerful Mason, at that. It seems the Masons would come to mind if we were talking about secrets. Heaven knows the Masons love their secrets.† Langdon could hear the distrust in her voice, and he wanted no part of it. â€Å"If you want to know anything about the Masons, you would be far better served to ask a Mason.† â€Å"Actually,† Sato said, â€Å"I'd prefer to ask someone I can trust.† Langdon found the comment both ignorant and offensive. â€Å"For the record, ma'am, the entire Masonic philosophy is built on honesty and integrity. Masons are among the most trustworthy men you could ever hope to meet.† â€Å"I have seen persuasive evidence to the contrary.† Langdon was liking Director Sato less and less with each passing moment. He had spent years writing about the Masons' rich tradition of metaphorical iconography and symbols, and knew that Masons had always been one of the most unfairly maligned and misunderstood organizations in the world. Regularly accused of everything from devil worship to plotting a one- world government, the Masons also had a policy of never responding to their critics, which made them an easy target. â€Å"Regardless,† Sato said, her tone biting, â€Å"we are again at an impasse, Mr. Langdon. It seems to me there is either something you are missing . . . or something you are not telling me. The man we're dealing with said that Peter Solomon chose you specifically.† She leveled a cold stare at Langdon. â€Å"I think it's time we move this conversation to CIA headquarters. Maybe we'll have more luck there.† Sato's threat barely registered with Langdon. She had just said something that had lodged in his mind. Peter Solomon chose you. The comment, combined with the mention of Masons, had hit Langdon strangely. He looked down at the Masonic ring on Peter's finger. The ring was one of Peter's most prized possessions–a Solomon family heirloom that bore the symbol of the double- headed phoenix–the ultimate mystical icon of Masonic wisdom. The gold glinted in the light, sparking an unexpected memory. Langdon gasped, recalling the eerie whisper of Peter's captor: It really hasn't dawned on you yet, has it? Why you were chosen? Now, in one terrifying moment, Langdon's thoughts snapped into focus and the fog lifted. All at once, Langdon's purpose here was crystal clear. Ten miles away, driving south on Suitland Parkway, Mal'akh heard a distinctive vibration on the seat beside him. It was Peter Solomon's iPhone, which had proven a powerful tool today. The visual caller ID now displayed the image of an attractive middle-aged woman with long black hair. INCOMING CALL–KATHERINE SOLOMON Mal'akh smiled, ignoring the call. Destiny pulls me closer. He had lured Katherine Solomon to his home this afternoon for one reason only–to determine if she had information that could assist him . . . perhaps a family secret that might help Mal'akh locate what he sought. Clearly, however, Katherine's brother had told her nothing of what he had been guarding all these years. Even so, Mal'akh had learned something else from Katherine. Something that has earned her a few extra hours of life today. Katherine had confirmed for him that all of her research was in one location, safely locked inside her lab. I must destroy it. Katherine's research was poised to open a new door of understanding, and once the door was opened even a crack, others would follow. It would just be a matter of time before everything changed. I cannot let that happen. The world must stay as it is . . . adrift in ignorant darkness. The iPhone beeped, indicating Katherine had left a voice mail. Mal'akh retrieved it. â€Å"Peter, it's me again.† Katherine's voice sounded concerned. â€Å"Where are you? I'm still thinking about my conversation with Dr. Abaddon . . . and I'm worried. Is everything okay? Please call me. I'm at the lab.† The voice mail ended. Mal'akh smiled. Katherine should worry less about her brother, and more about herself. He turned off Suitland Parkway onto Silver Hill Road. Less than a mile later, in the darkness, he spotted the faint outline of the SMSC nestled in the trees off the highway to his right. The entire complex was surrounded by a high razor-wire fence. A secure building? Mal'akh chuckled to himself. I know someone who will open the door for me.

Nature of Morality Essay

Moral Issues in Business Chapter One The Nature of Morality Terminology †¢ What is ethics? †¢ The study of right and wrong †¢ Distinguish between ethics and morality? †¢ Some people distinguish between the two. We will use them interchangeably. †¢ What is business ethics? †¢ The study of what constitutes right and wrong, or good and bad, human conduct in a business context. Non-Moral Standards †¢ Characteristics of moral standards †¢ Concern behavior that is of serious consequence to human welfare †¢ Take priority over other standards, including self-interest †¢ Their soundness depends on the adequacy of the reasons that support or justify them. †¢ Moral Standards vs. Etiquette Rules for socially acceptable behavior are not moral standards Don’t eat with your mouth full. Say please and thank you. †¢ Moral Standards vs. Law An action can be moral but not legal. An action can be legal but not moral. †¢ Moral Standards vs. Professional Codes of Ethics Rules that govern the conduct of members of a given profession. Sources Of Moral Standards †¢ Societal norms-Ethical Relativism The right thing to do is what one’s culture says is right. This keeps culture stagnant – no moral growth It leaves no basis for one culture to pass judgment on another’s actions One’s culture is hard to identify in the modern world. †¢ Role of religion—positive and negative Nearly every religion has a version of the â€Å"Golden Rule† Most theologians disagree with divine command theory. That theory says that something is right or wrong because God says so. Instead, God commands what is right and forbids what is wrong. Saying that something is right because God says so is not persuasive to the atheist. There are differences of opinion about what God commands. The Context of Business Ethics †¢ Business as a game Soccer and pizza party example †¢ Business values in tension with personal values What is my responsibility as an employee? As a person? Social pressures can make it hard to stick with our moral rules. Corporations can bring pressure to bear against our personal values. †¢ Organizational conformity—herd instinct—group norms Being a member of a team can require that people relinquish some of their personal freedom in order to further organization goals. Psychological studies show that people will change their answers to questions to agree with the majority. Groupthink – group members may have the illusion that the group is invulnerable or that because the group is good or right, whatever it does is permissible. Diffusion of Responsibility â€Å"I’m just doing my job†. â€Å"If I don’t do it, someone else will. † â€Å"It’s someone else’s responsibility. † (The Kitty Genovese story) How do Moral Principles Help Us? †¢ The Limits of Conscience Conscience often reflects principles that have not been critically examined. Terrible crimes have occasionally been committed in the name of conscience. †¢ Moral Principles and Self-interest Morality serves to restrain our purely self-interested desires so we can all live together in society Having a moral principle involves having a desire to follow the principle for its own sake Paradox of Selfishness – People who are exclusively concerned with their own interests tend to have less happy and less satisfying lives than those whose desires extend beyond themselves. †¢

Beauty is not so easily measured

It is a story about beauty and this man’s relationship to beauty, and the psychological relationship he has to the idea of beauty and what is behind the idea of beauty. Yasunari wrote â€Å"The Man Who Did Not Smile† as a first-person account from the film writer’s standpoint.   The man is on location for a film he has written about patients in a mental hospital, and is in the process of discovering a final scene for his film.   He finds it one morning while â€Å"gazing out on the Kamo River,† (Yasunari, 1929/1990, p. 128) upon waking, finding himself amid the memories of a previous day and recalling a mask that he had seen in a display window.   It is that image that gives him the idea for his final scene of the movie, â€Å"a daydream† (p. 129) filled with masks of smiling faces. The search for the masks to be used in the film becomes the central drama of the story—and the protagonist’s relationship to those masks once he takes them to his wife and children after the filming of the movie is complete.   The masks are delicate and the actors must handle them carefully.   Yet, there is some power within those masks.   The film writer decides to buy them so they can be handled without fear of them being destroyed, and it is in the power of those masks that the protagonist realizes his own relationship with beauty. â€Å"Well then, I’ll buy them.   I did actually want them.   I daydreamed as if awaiting the future when the world would be in harmony and people would all wear the same gentle face as these masks.   (p. 131) His children love the masks, but he refuses to wear them.   His wife agrees to put one on, and it is in that moment that he discovers his true relationship to his wife’s beauty.   â€Å"The moment she removed the mask, my wife’s face somehow appeared ugly† (p. 131).   It is as though he is seeing her face for the first time—and his own idea of her beauty, or, in this case, the â€Å"ugliness of her own countenance† (p. 131).   As his wife lay in the hospital bed, he is faced not only with a new idea of beauty, but his own sense of self—one that might appear as â€Å"an ugly demon† (p. 132) to his wife.   He would be exposed to his real self, his true nature. Psychologist C. G. Jung writes that the mask can be seen as the outer persona we show to the world, the way we want to be seen (Jung, 1929/1983, p. 96).   â€Å"The mask is the ad hoc adopted attitude, I have called the persona, which was the name for the masks worn by actors in antiquity† (Jung, 1921/1983, p. 98).   The narrator is forced to confront not only what lies behind his wife’s beauty/ugliness, but also his idea of his own beauty/ugliness.   The â€Å"beautiful mask† (p. 132) reveals another question, too:   whether or not the face he sees on his wife could be artificial, too, â€Å"just like the mask† (p. 132).   It’s a perplexing question, but one that reveals, like the mask, much about the filmmaker’s relationship to himself and his world. While the idea of beauty colors Yasunari’s 1963 â€Å"palm-of-the-hand† story â€Å"Immortality,† the concept of eternal love is the central theme.   In this short story, two lovers have reunited after being apart for at least five decades—but their reunion comes in the afterlife, as they are now each dead.   Yasunari presents a portrait of an eighteen-year-old girl and a man sixty years her senior walking through some woods in a land they’d both known together while alive.   The scene is haunting as the girl is not aware the man has passed on into the afterlife until the end, when, upon that realization, the two â€Å"go into the tree and stay† (Yasunari, 1963/2005, p. 326). The love between the two has been eternal, in a sense—the girl killed herself because of her love for the man when they had to separate, and he wound up spending much of his life on the land overlooking that spot in the ocean where she died. The man has returned to the land where she died to reclaim her.   He wants to be with her forever.   However, he doesn’t know he is dead, and neither does she. Once she realizes he, too, is dead, they are able to reunite into eternity in nature, merging themselves into an old tree where they will live forever. Like â€Å"The Man Who Did Not Smile,† Yasunari uses the idea of beauty and the mask that we wear—Jung’s â€Å"persona†Ã¢â‚¬â€as an aspect of â€Å"Immortality.†Ã‚   The girl tells the old man, Shintaro, that she has lived in the afterlife with the image of him as a young man.   â€Å"You are eternally young to me,† (p. 325) she says, even though the man is now old. If I hadn’t drowned myself and you came to the village now to see me, I’d be an old woman. How disgusting.   I wouldn’t want you to see me like that.   (p. 325) For the girl, memories are important.   Her spirit carries them as she lives in the afterlife.   Scholar James Hillman says that memories are important for the soul, carrying with them energy that thrives for the departed person.   The girl realizes this, too, in a way:   â€Å"If you were to die, there wouldn’t be anyone on earth who would remember me,† she says (p. 325). The soul, they say, needs models for its mimesis in order to recollect eternal verities and primordial images.   If in its life on earth it does not meet these as mirrors of the soul’s core, mirrors in which the soul can recognize its truths, then its flame will die and its genius wither.   (p. 159) The girl imagines ugliness representing old age—that ancient mask we all wear once we have passed from the prime years of our life.   Even though the old man is wearing that mask, she doesn’t see it:   she has only her memories carried with her at the time of her death, so she sees him as an eighteen-year-old, also.   For the man, he never experienced his lover as an old woman; thus, her youth is indeed eternal for him. Yasunari uses few characters in both stories, keeping each â€Å"palm-of-the-hand† short and simple.   The narrator in â€Å"The Man Who Did Not Smile† is joined by the mask buyer, his wife, and his children in the tale, while it is only Shintaro and his young lover in â€Å"Immortality.†Ã‚   We do not see deeply driven characterization in either story, as Yasunari essentially paints portraits of each actor through their thoughts and actions.   Like a beautiful painting of a sunset or sunrise, we must use our imagination amidst the texture and colors of the painting to grasp its deeper meaning. Indeed, Yasunari’s beautiful use of words shines in both stories in his colorful imagery.   It is simple:   â€Å"An old man and a young girl were walking together,† he writes to begin â€Å"Immortality.†Ã‚   He ends that story almost the same way he begins â€Å"The Man Who Did Not Smile†Ã¢â‚¬â€with the picture of the sky. The color at evening began to drift onto the small saplings behind the great trees.   The sky beyond turned a faint red where the ocean sounded.   (p. 326). â€Å"The Man Who Did Not Smile,† on the other hand, begins with the image of the sky as well.   â€Å"The sky had turned a deep shade; it looked like the surface of a beautiful celadon porcelain piece† (p. 128).   It is a daydream of sorts, a beautiful portrait into which Yasunari takes the reader as he moves through the inner world of the film writer. Both stories are magical.   It is the â€Å"magic of those trees† (p. 325) that captures the imagination of Shintaro and his young lover.   Those trees are part of land his family owned, and he later sold to the men who turned the land into a golfer’s driving range.   The trees are on land overseeing the ocean where the girl jumped to her death.   Trees are sacred and magical in many mythologies.   Buddha gained enlightenment under the Bodhi Tree, and many myths use trees as the focus for rebirth (Anderson, 1990, p. 25).   In the same regard, the ocean, too, is a mythical place:   from where gods and goddess reside and in the Greek legend Odysseus sailed before being reuniting with his lover (Anderson, p. 25). The magic of â€Å"The Man Who Did Not Smile† comes in the healing properties of the masks.   It is through the image of the mask that the film writer is able to create an ending for his story—a â€Å"beautiful daydream† (p. 128) to conclude the â€Å"dark story† (p. 129).   The masks represent his own distrust of himself and the world around him, covering with an artificial beauty the truth that lies behind them.   The masks magically hide what is true and meant to be revealed—whether it is an â€Å"ugly demon† (p. 132) or an â€Å"ever-smiling gentle face† (p. 132). What is also interesting about â€Å"The Man Who Did Not Smile† is in how the film writer’s screenplay is based on a scene inside a mental hospital.   We learn later that his wife is in a hospital of sorts—and we never learn the exact nature of her illness.   Could it be a mental hospital?   And might her hospitalization also be a reflection of his â€Å"gloomy† personality (p. 129)?   He’s afraid of what is hiding behind the masks—so much that his initial reaction to putting on the mask himself is fear.   â€Å"The mask is no good.   Art is no good† (p. 132).   Masks and art each reveal the hidden dimensions.   The film writer himself uses his films to balance his own â€Å"gloomy† personality.   Yet the shadows of life are revealed through film and art, and are experienced in hospitals.   Each is an aspect of â€Å"The Man Who Did Not Smile.† Yasunari gives much to think about regarding our relationship to each other and ourselves in â€Å"The Man Who Did Not Smile,† and to our relationship with the magic of eternal love in â€Å"Immortality.†Ã‚   Both reveal the hidden aspects of our existence on earth, offering us a short look at the feeling of living in a world of melancholy and loneliness amid what we call beauty.   Our own mortality rises from the depths of eternity through these stories, and it is in the hidden beauty of our daily lives that Yasunari’s works can be realized. Bibliography Anderson, William.   (1990).   Green man:   The archetype of our oneness with the earth. London:   HarperCollins. Hillman, James.   (1996).   The soul’s code.   New York:   Warner Books. Jung, C. G.   (1983). Definitions.   (R. F. C. Hull,Trans.). In   A. Storr (Ed.). The essential Jung:   Selected writings.   (V. S. de Laszlo, Ed.) (Pp. 97-105).   Princeton:   Princeton University Press.   (Original work published 1921). Jung, C. G.   (1983). The relations between the ego and the unconscious.   (R. F. C. Hull, Trans.). In   A. Storr (Ed.). The essential Jung:   Selected writings.   (V. S. de Laszlo, Ed.) (Pp. 94-97).   Princeton:   Princeton University Press.   (Original work published 1929). Ljukkonen, Petri.   (2005).   Yasunari Yasunari.   Retrieved November 19, 2005 from http://www.kirjasto.sci.fi/Yasunari.htm. Yasunari, Yasunari.   (1990).   The man who did not smile.   (L. Dunlop, Trans.).   In Palm-of-the-hand Stories.   (J. Martin Holman, Trans.).   (Pp. 128-132).   San Francisco:   North Point Press.   (Original work published 1929). Yasunari, Yasunari.   (2005).   Immortality.   In (G. Dasgupta, J. Mei, Ed).   Stories about us.   (Pp. 323-325).   Nashville:   Thomas Nelson Publishers.   (Original work published 1963). Beauty is not so easily measured It is a story about beauty and this man’s relationship to beauty, and the psychological relationship he has to the idea of beauty and what is behind the idea of beauty. Yasunari wrote â€Å"The Man Who Did Not Smile† as a first-person account from the film writer’s standpoint.   The man is on location for a film he has written about patients in a mental hospital, and is in the process of discovering a final scene for his film.   He finds it one morning while â€Å"gazing out on the Kamo River,† (Yasunari, 1929/1990, p. 128) upon waking, finding himself amid the memories of a previous day and recalling a mask that he had seen in a display window.   It is that image that gives him the idea for his final scene of the movie, â€Å"a daydream† (p. 129) filled with masks of smiling faces. The search for the masks to be used in the film becomes the central drama of the story—and the protagonist’s relationship to those masks once he takes them to his wife and children after the filming of the movie is complete.   The masks are delicate and the actors must handle them carefully.   Yet, there is some power within those masks.   The film writer decides to buy them so they can be handled without fear of them being destroyed, and it is in the power of those masks that the protagonist realizes his own relationship with beauty. â€Å"Well then, I’ll buy them.   I did actually want them.   I daydreamed as if awaiting the future when the world would be in harmony and people would all wear the same gentle face as these masks.   (p. 131) His children love the masks, but he refuses to wear them.   His wife agrees to put one on, and it is in that moment that he discovers his true relationship to his wife’s beauty.   â€Å"The moment she removed the mask, my wife’s face somehow appeared ugly† (p. 131).   It is as though he is seeing her face for the first time—and his own idea of her beauty, or, in this case, the â€Å"ugliness of her own countenance† (p. 131).   As his wife lay in the hospital bed, he is faced not only with a new idea of beauty, but his own sense of self—one that might appear as â€Å"an ugly demon† (p. 132) to his wife.   He would be exposed to his real self, his true nature. Psychologist C. G. Jung writes that the mask can be seen as the outer persona we show to the world, the way we want to be seen (Jung, 1929/1983, p. 96).   â€Å"The mask is the ad hoc adopted attitude, I have called the persona, which was the name for the masks worn by actors in antiquity† (Jung, 1921/1983, p. 98).   The narrator is forced to confront not only what lies behind his wife’s beauty/ugliness, but also his idea of his own beauty/ugliness.   The â€Å"beautiful mask† (p. 132) reveals another question, too:   whether or not the face he sees on his wife could be artificial, too, â€Å"just like the mask† (p. 132).   It’s a perplexing question, but one that reveals, like the mask, much about the filmmaker’s relationship to himself and his world. While the idea of beauty colors Yasunari’s 1963 â€Å"palm-of-the-hand† story â€Å"Immortality,† the concept of eternal love is the central theme.   In this short story, two lovers have reunited after being apart for at least five decades—but their reunion comes in the afterlife, as they are now each dead.   Yasunari presents a portrait of an eighteen-year-old girl and a man sixty years her senior walking through some woods in a land they’d both known together while alive.   The scene is haunting as the girl is not aware the man has passed on into the afterlife until the end, when, upon that realization, the two â€Å"go into the tree and stay† (Yasunari, 1963/2005, p. 326). The love between the two has been eternal, in a sense—the girl killed herself because of her love for the man when they had to separate, and he wound up spending much of his life on the land overlooking that spot in the ocean where she died. The man has returned to the land where she died to reclaim her.   He wants to be with her forever.   However, he doesn’t know he is dead, and neither does she. Once she realizes he, too, is dead, they are able to reunite into eternity in nature, merging themselves into an old tree where they will live forever. Like â€Å"The Man Who Did Not Smile,† Yasunari uses the idea of beauty and the mask that we wear—Jung’s â€Å"persona†Ã¢â‚¬â€as an aspect of â€Å"Immortality.†Ã‚   The girl tells the old man, Shintaro, that she has lived in the afterlife with the image of him as a young man.   â€Å"You are eternally young to me,† (p. 325) she says, even though the man is now old. If I hadn’t drowned myself and you came to the village now to see me, I’d be an old woman. How disgusting.   I wouldn’t want you to see me like that.   (p. 325) For the girl, memories are important.   Her spirit carries them as she lives in the afterlife.   Scholar James Hillman says that memories are important for the soul, carrying with them energy that thrives for the departed person.   The girl realizes this, too, in a way:   â€Å"If you were to die, there wouldn’t be anyone on earth who would remember me,† she says (p. 325). The soul, they say, needs models for its mimesis in order to recollect eternal verities and primordial images.   If in its life on earth it does not meet these as mirrors of the soul’s core, mirrors in which the soul can recognize its truths, then its flame will die and its genius wither.   (p. 159) The girl imagines ugliness representing old age—that ancient mask we all wear once we have passed from the prime years of our life.   Even though the old man is wearing that mask, she doesn’t see it:   she has only her memories carried with her at the time of her death, so she sees him as an eighteen-year-old, also.   For the man, he never experienced his lover as an old woman; thus, her youth is indeed eternal for him. Yasunari uses few characters in both stories, keeping each â€Å"palm-of-the-hand† short and simple.   The narrator in â€Å"The Man Who Did Not Smile† is joined by the mask buyer, his wife, and his children in the tale, while it is only Shintaro and his young lover in â€Å"Immortality.†Ã‚   We do not see deeply driven characterization in either story, as Yasunari essentially paints portraits of each actor through their thoughts and actions.   Like a beautiful painting of a sunset or sunrise, we must use our imagination amidst the texture and colors of the painting to grasp its deeper meaning. Indeed, Yasunari’s beautiful use of words shines in both stories in his colorful imagery.   It is simple:   â€Å"An old man and a young girl were walking together,† he writes to begin â€Å"Immortality.†Ã‚   He ends that story almost the same way he begins â€Å"The Man Who Did Not Smile†Ã¢â‚¬â€with the picture of the sky. The color at evening began to drift onto the small saplings behind the great trees.   The sky beyond turned a faint red where the ocean sounded.   (p. 326). â€Å"The Man Who Did Not Smile,† on the other hand, begins with the image of the sky as well.   â€Å"The sky had turned a deep shade; it looked like the surface of a beautiful celadon porcelain piece† (p. 128).   It is a daydream of sorts, a beautiful portrait into which Yasunari takes the reader as he moves through the inner world of the film writer. Both stories are magical.   It is the â€Å"magic of those trees† (p. 325) that captures the imagination of Shintaro and his young lover.   Those trees are part of land his family owned, and he later sold to the men who turned the land into a golfer’s driving range.   The trees are on land overseeing the ocean where the girl jumped to her death.   Trees are sacred and magical in many mythologies.   Buddha gained enlightenment under the Bodhi Tree, and many myths use trees as the focus for rebirth (Anderson, 1990, p. 25).   In the same regard, the ocean, too, is a mythical place:   from where gods and goddess reside and in the Greek legend Odysseus sailed before being reuniting with his lover (Anderson, p. 25). The magic of â€Å"The Man Who Did Not Smile† comes in the healing properties of the masks.   It is through the image of the mask that the film writer is able to create an ending for his story—a â€Å"beautiful daydream† (p. 128) to conclude the â€Å"dark story† (p. 129).   The masks represent his own distrust of himself and the world around him, covering with an artificial beauty the truth that lies behind them.   The masks magically hide what is true and meant to be revealed—whether it is an â€Å"ugly demon† (p. 132) or an â€Å"ever-smiling gentle face† (p. 132). What is also interesting about â€Å"The Man Who Did Not Smile† is in how the film writer’s screenplay is based on a scene inside a mental hospital.   We learn later that his wife is in a hospital of sorts—and we never learn the exact nature of her illness.   Could it be a mental hospital?   And might her hospitalization also be a reflection of his â€Å"gloomy† personality (p. 129)?   He’s afraid of what is hiding behind the masks—so much that his initial reaction to putting on the mask himself is fear.   â€Å"The mask is no good.   Art is no good† (p. 132).   Masks and art each reveal the hidden dimensions.   The film writer himself uses his films to balance his own â€Å"gloomy† personality.   Yet the shadows of life are revealed through film and art, and are experienced in hospitals.   Each is an aspect of â€Å"The Man Who Did Not Smile.† Yasunari gives much to think about regarding our relationship to each other and ourselves in â€Å"The Man Who Did Not Smile,† and to our relationship with the magic of eternal love in â€Å"Immortality.†Ã‚   Both reveal the hidden aspects of our existence on earth, offering us a short look at the feeling of living in a world of melancholy and loneliness amid what we call beauty.   Our own mortality rises from the depths of eternity through these stories, and it is in the hidden beauty of our daily lives that Yasunari’s works can be realized. Bibliography Anderson, William.   (1990).   Green man:   The archetype of our oneness with the earth. London:   HarperCollins. Hillman, James.   (1996).   The soul’s code.   New York:   Warner Books. Jung, C. G.   (1983). Definitions.   (R. F. C. Hull,Trans.). In   A. Storr (Ed.). The essential Jung:   Selected writings.   (V. S. de Laszlo, Ed.) (Pp. 97-105).   Princeton:   Princeton University Press.   (Original work published 1921). Jung, C. G.   (1983). The relations between the ego and the unconscious.   (R. F. C. Hull, Trans.). In   A. Storr (Ed.). The essential Jung:   Selected writings.   (V. S. de Laszlo, Ed.) (Pp. 94-97).   Princeton:   Princeton University Press.   (Original work published 1929). Ljukkonen, Petri.   (2005).   Yasunari Yasunari.   Retrieved November 19, 2005 from http://www.kirjasto.sci.fi/Yasunari.htm. Yasunari, Yasunari.   (1990).   The man who did not smile.   (L. Dunlop, Trans.).   In Palm-of-the-hand Stories.   (J. Martin Holman, Trans.).   (Pp. 128-132).   San Francisco:   North Point Press.   (Original work published 1929). Yasunari, Yasunari.   (2005).   Immortality.   In (G. Dasgupta, J. Mei, Ed).   Stories about us.   (Pp. 323-325).   Nashville:   Thomas Nelson Publishers.   (Original work published 1963).

Of Pandas, People, and Propaganda Essay Example | Topics and Well Written Essays - 1500 words

Of Pandas, People, and Propaganda - Essay Example This holds that the acquisition of knowledge can be explained by justified true belief. Justified true belief was defined by Plato in his work Theatetus. This says that in order for anyone to truly know a thing, that thing: must be true; we must believe it; and there must be sufficient evidence for it (i.e., it must be justified). "If a belief is justified, there is something which justifies it. The thing which justifies a belief can be called its justifier. If a belief is justified, then it has at least one justifier What sort of thing can be a justifier Three things that have been suggested are: beliefs only; beliefs together with other conscious mental states; and beliefs, conscious mental states, and other facts about us and our environment (which we may not have access to)" (Answers.com, 2005). Gettier posed the question: "Is justified true belief knowledge" In his paper, Gettier set forth conundrums which he believed demonstrated a fallacy with justification of belief into know ledge. d. Jones is the man who will get the job, and Jones has ten coins in his pocket. Smith's evidence for (d) might be that the president of the company assured him that Jones would in the end be selected, and that he, Smith, had counted the coins in Jones's pocket ten minutes ago. Proposition (d) entails: Let us e. The man who will get the job has ten coins in his pocket. Let us suppose that Smith sees the entailment from (d) to (e), and accepts (e) on the grounds of (d), for which he has strong evidence. In this case, Smith is clearly justified in believing that (e) is true. But imagine, further, that unknown to Smith, he himself, not Jones, will get the job. And, also, unknown to Smith, he himself has ten coins in his pocket. Proposition (e) is then true, though proposition (d), from which Smith inferred (e), is false. In our example, then, all of the following are true: (i) (e) is true, (ii) Smith believes that (e) is true, and (iii) Smith is justified in believing that (e) is true. But it is equally clear that Smith does not know that (e) is true; for (e) is true in virtue of the number of coins in Smith's pocket, while Smith does not know how many coins are in Smith's pocket, and bases his belief in (e) on a count of the coins in Jones's pocket, whom he falsely believes to be the man who will get the job" (Gettier, 1963). Gettier demonstrated that knowledge is not acquired as simply or straight-forwardly as philosophers had assumed for over 2000 years. Factual knowledge is not as simple or self-evident as it so often seems to be. Thus, the process of learning cannot be taken for granted. Questions about learning and the acquisition of knowledge need to be posed that can apply to all disciplines, including the natural and social sciences, history, the arts, mathematics, and language. Definitive answers are hard to come by. "'What is Truth' said jesting Pilate, and would not stay for an answer," wrote Francis Bacon in his Of Truth, Essays or Counsels Civil and Moral (Theory of Knowledge, 2005). Philosophers have studied the topic of epistemology ever since the time of Plato. Several different theories of the learning process have gained hold in Western

Liquidity Risk Essay Example | Topics and Well Written Essays - 4000 words

Liquidity Risk - Essay Example On the other side, the market liquidity depends on the calculation of value risk and the length of holding period. So, the risk liability is attached with the issue of funding liquidity which may vary in the case of vast range of transaction (Fight, 421). The risk of liquidity tends to be managed, when market, credit and other risks are considered to be additional. There are several types of risk resolving techniques. These all are incorporated with the life of initial bank risk. The Federal Reserve System provided a banking risk framework designed by six factors. These include, reputational and liquidity risk, legal risks, market risks, credit risks. The structures of risk management are thus reviewed, making use of these risk categories. The supervision group is concerned with the liquidity risk fund, continue the preventive action against the other emerging risk and follow the current risk. All this preventive actions are fixed on revelation by majority of Federal Reserve banks. T his process tends to figure on a continuous basis, and as a result, measures to counter the existence of so many opportunities may result to risk (Morrison, 245). The financial risk is related with the possibilities of losing money of shareholder. On the other word, the investors did not have enough return on their investment in the company. This type of situation arises when the cash flow of the company proves inadequate to meet all the financial obligation of the company. At the time of insolvency, the creditors.