A secondary school is both an organization that provides secondary education and the building where this takes place. Some secondary schools can provide both lower secondary education and upper secondary education, but these can be provided in separate schools, as in the American middle and high school system. Secondary schools follow on from primary schools and lead into vocational and tertiary education. Attendance is compulsory in most countries for students between the ages of 11 and 16; the organisations and terminology are more or less unique in each country. Within the English speaking world, there are three used systems to describe the age of the child; the first is the'equivalent ages' countries that base their education systems on the'English model' use one of two methods to identify the year group, while countries that base their systems on the'American K-12 model' refer to their year groups as'grades'. This terminology extends into research literature. Below is a convenient comparison.
The building needs to accommodate: Curriculum content Teaching methods Costs Education within the political framework Use of school building Constraints imposed by the site Design philosophyEach country will have a different education system and priorities. Schools need to accommodate students, storage and electrical systems, support staff, ancillary staff and administration; the number of rooms required can be determined from the predicted roll of the school and the area needed. According to standards used in the United Kingdom, a general classroom for 30 students needs to be 55 m², or more generously 62 m². A general art room for 30 students needs to be 83 m ². A drama studio or a specialist science laboratory for 30 needs to be 90 m². Examples are given on, and 1,850 place secondary school. The building providing the education has to fulfil the needs of: The students, the teachers, the non-teaching support staff, the administrators and the community, it has to meet general government building guidelines, health requirements, minimal functional requirements for classrooms and showers, electricity and services and storage of textbooks and basic teaching aids.
An optimum secondary school will meet the minimum conditions and will have: adequately sized classrooms. Government accountants having read the advice publish minimum guidelines on schools; these enable environmental establishing building costs. Future design plans are audited to ensure. Government ministries continue to press for cost standards to be reduced; the UK government published this downwardly revised space formula in 2014. It said the floor area should be 1050m² + 6.3m²/pupil place for 11- to 16-year-olds + 7m²/pupil place for post-16s. The external finishes were to be downgraded to meet a build cost of £1113/m². A secondary school locally may be called high senior high school. In some countries there are two phases to secondary education and, here the junior high school, intermediate school, lower secondary school, or middle school occurs between the primary school and high school. Names for secondary schools by countryArgentina: secundaria or polimodal, escuela secundaria Australia: high school, secondary college Austria: Gymnasium, Hauptschule, Höhere Bundeslehranstalt, Höhere Technische Lehranstalt Azerbaijan: orta məktəb Bahamas, The: junior high, senior high Belgium: lagere school/école primaire, secundair onderwijs/école secondaire, humaniora/humanités Bolivia: educación primaria superior and educación secundaria and Herzegovina: srednja škola, gimnazija Brazil: ensino médio, segundo grau Brunei: sekolah menengah, a few maktab Bulgaria: cредно образование Canada: High school, junior high or middle school, secondary school, école secondaire, collegiate institute, polyvalente Chile: enseñanza media China: zhong xue, consisting of chu zhong from grades 7 to 9 and gao zhong from grades 10 to 12 Colombia: bachillerato, segunda enseñanza Croatia: srednja škola, gimnazija Cyprus: Γυμνάσιο, Ενιαίο Λύκειο Czech Republic: střední škola, gymnázium, střední odborné učiliště Denmark: gymnasium Dominican Republic: nivel medio, bachillerato Egypt: Thanawya Amma, Estonia: upper secondary school, Lyceum Finland: lukio gymnasium France: collège, lycée Germany: Gymnasium, Realschule, Fachoberschule Greece: Γυμνάσιο, Γενικό Λύκειο, Ενιαίο Λύκειο, Hong Kong: Secondary school Hungary: gimnázium, k
Kristofer "Kris" Straub is a webcartoonist and the creator of Checkerboard Nightmare, Chainsawsuit, F Chords. He is a co-founder of webcomics collectives Blank Label Comics and Halfpixel. Straub and Scott Kurtz have co-created the animated series Blamimation with Kris and Scott and the live-action comedy webseries Kris and Scott's Scott and Kris Show for Penny Arcade's PATV web video content imprint, he hosts the podcast 28 Plays Later alongside Paul Verhoeven. Straub manages and writes for the horror fiction site Ichor Falls, notable for the creepypasta Candle Cove. Straub grew up in Los Angeles, went on to attend and graduate from UCLA with a degree in Computer Science. Straub launched his first comic, Checkerboard Nightmare, online in 2000; the strip was self-aware, using metahumour extensively, the title character, Checkerboard Nightmare being obsessed with gaining fame as a webcomic character and willing to do anything necessary to achieve it. The setup of the strip does not change beyond'Chex wants new readers and concocts a hare-brained scheme to get them', satirising the strict adherence to format exhibited by, for example, sitcoms.
Its targets expanded as the strip progressed, shifted from satirising webcomics to the search for fame in general with the move to Keenspot. Checkerboard Nightmare was hosted independently, it moved to Keenspot for a time, before becoming one of the founding comics of Blank Label Comics. During 2006, it appeared monthly on the webcomic news site Comixpedia. In 2005 Straub began creating a daily science fiction/comedy webcomic. Starslip Crisis was first set in the 3440s, aboard the starship IDS Fuseli, named after painter Henry Fuseli; the Fuseli was a former luxury warship, converted into a starship museum. It is still capable of military activities; the Fuseli travelled from system to system with its exhibits, the comic chronicling the adventures of the crew. Much of the art featured upon the Fuseli dated from the 21st centuries. Starslip Crisis was part of the webcomics cooperation collective Blank Label Comics, until Straub split away from Blank Label to merge Starslip with his new collective, Halfpixel, in November 2007.
The comic ran under the name Starshift Crisis. The nearly identical Starslip Crisis appeared early in the strip's run, with its own website and associated content, differing only in that the term "starslip" replaced "starshift"; the two ran in parallel, until a strip in August 2005 which definitively ended the plot of Starshift Crisis, but which played out differently in Starslip Crisis. The name change was caused by a legal issue. On January 12, 2009, Straub rebooted the artwork and modified the name of the strip after a storyline where the Fuseli, the ship the comic is set on, escapes from a Universe destroyed by the Future; the series finished on June 15, 2012 chainsawsuit titled indie comic by kris straub, was launched in March 2008 as a parody of badly drawn gag-a-day strips. Straub soon renamed the comic after one of its recurring characters so that it could expand beyond mocking indie comics, it ran for a few months on a Monday-Wednesday-Friday schedule began to update every weekday starting in August 2008.
Its topics range from current events to pop culture. Recurring characters include Chainsawsuit, a man with a series of chainsaws strapped to his body for self-defense against zombies. 2008 saw the launch of F Chords which ran from July 29, 2008 to December 5 of the same year, ending along with its first story arc. Its main characters—Ash and Wade, two Austin-area studio musicians who play in an unknown local band named "Soft Operation"—have gone on to make cameo appearances in both Starslip and chainsawsuit. In May 2011, F Chords was relaunched as a daily comic, its setting has been relocated to Los Angeles, follows Ash and Wade's continued efforts to popularize their band. On September 26, 2012, Straub launched Broodhollow, a series set in a 1930s American town of the same name, it involves "all manner of ghost" and is somewhat based on Straub's own superstitions and fears of the paranormal. The series opens with Zane, a door-to-door salesperson for Encyclopedia Atlantica, traveling to Broodhollow after being notified that a distant relative had died months earlier.
Broodhollow is a sister town of Ichor Falls. In December 2006, Straub was named co-writer and co-producer alongside Scott Kurtz on PvP: The Series, a series of animated shorts featuring the PvP characters. In 2007, to coincide with his move to Dallas, Straub repurposed the Halfpixel site to serve as a hub for his and Kurtz's joint creative projects. Halfpixel expanded to include webcartoonists Brad Guigar and Dave Kellett of the comics Evil Inc. and Sheldon, respectively. The four published How To Make Webcomics through Image Comics in the first quarter of 2008; the book covers a variety of topics of interest for beginning and intermediate webcartoonists. Straub went on to co-produced Blamimation and the Kris and Scott’s Scott and Kris Show for Penny Arcade TV. In 2012 ShiftyLook announced that Straub and Kurtz were co-producing a new animated web series, Mappy: The Beat, in which they voice all the characters; the series aired for 13 episodes. Straub manages and writes for his own horror fiction website Ichor Falls, which feature
An author is the creator or originator of any written work such as a book or play, is thus a writer. More broadly defined, an author is "the person who originated or gave existence to anything" and whose authorship determines responsibility for what was created; the first owner of a copyright is the person who created the work i.e. the author. If more than one person created the work a case of joint authorship can be made provided some criteria are met. In the copyright laws of various jurisdictions, there is a necessity for little flexibility regarding what constitutes authorship; the United States Copyright Office, for example, defines copyright as "a form of protection provided by the laws of the United States to authors of "original works of authorship". Holding the title of "author" over any "literary, musical, certain other intellectual works" gives rights to this person, the owner of the copyright the exclusive right to engage in or authorize any production or distribution of their work.
Any person or entity wishing to use intellectual property held under copyright must receive permission from the copyright holder to use this work, will be asked to pay for the use of copyrighted material. After a fixed amount of time, the copyright expires on intellectual work and it enters the public domain, where it can be used without limit. Copyright laws in many jurisdictions – following the lead of the United States, in which the entertainment and publishing industries have strong lobbying power – have been amended since their inception, to extend the length of this fixed period where the work is controlled by the copyright holder. However, copyright is the legal reassurance that one owns his/her work. Technically, someone owns their work from the time. An interesting aspect of authorship emerges with copyright in that, in many jurisdictions, it can be passed down to another upon one's death; the person who inherits the copyright enjoys the same legal benefits. Questions arise as to the application of copyright law.
How does it, for example, apply to the complex issue of fan fiction? If the media agency responsible for the authorized production allows material from fans, what is the limit before legal constraints from actors and other considerations, come into play? Additionally, how does copyright apply to fan-generated stories for books? What powers do the original authors, as well as the publishers, have in regulating or stopping the fan fiction? This particular sort of case illustrates how complex intellectual property law can be, since such fiction may involved trademark law, likeness rights, fair use rights held by the public, many other interacting complications. Authors may portion out different rights they hold to different parties, at different times, for different purposes or uses, such as the right to adapt a plot into a film, but only with different character names, because the characters have been optioned by another company for a television series or a video game. An author may not have rights when working under contract that they would otherwise have, such as when creating a work for hire, or when writing material using intellectual property owned by others.
In literary theory, critics find complications in the term author beyond what constitutes authorship in a legal setting. In the wake of postmodern literature, critics such as Roland Barthes and Michel Foucault have examined the role and relevance of authorship to the meaning or interpretation of a text. Barthes challenges the idea, he writes, in his essay "Death of the Author", that "it is language which speaks, not the author". The words and language of a text itself determine and expose meaning for Barthes, not someone possessing legal responsibility for the process of its production; every line of written text is a mere reflection of references from any of a multitude of traditions, or, as Barthes puts it, "the text is a tissue of quotations drawn from the innumerable centres of culture". With this, the perspective of the author is removed from the text, the limits imposed by the idea of one authorial voice, one ultimate and universal meaning, are destroyed; the explanation and meaning of a work does not have to be sought in the one who produced it, "as if it were always in the end, through the more or less transparent allegory of the fiction, the voice of a single person, the author'confiding' in us".
The psyche, fanaticism of an author can be disregarded when interpreting a text, because the words are rich enough themselves with all of the traditions of language. To expose meanings in a written work without appealing to the celebrity of an author, their tastes, vices, is, to Barthes, to allow language to speak, rather than author. Michel Foucault argues in his essay "What is an author?" that all authors are writers, but not all writers are authors. He states that "a private letter may have a signatory—it does not have an author". For a reader to assign the title of author upon any written work is to attribute certain standards upon the text which, for Foucault, are working in conjunction with the idea of "the author function". Foucault's author function is the idea that an author exists only as a fun
In philosophy, "the Absurd" refers to the conflict between the human tendency to seek inherent value and meaning in life and the human inability to find any in a purposeless, meaningless or chaotic and irrational universe. The universe and the human mind do not each separately cause the Absurd, but rather, the Absurd arises by the contradictory nature of the two existing simultaneously; as a philosophy, absurdism furthermore explores the fundamental nature of the Absurd and how individuals, once becoming conscious of the Absurd, should respond to it. The absurdist philosopher Albert Camus stated that individuals should embrace the absurd condition of human existence while defiantly continuing to explore and search for meaning. Absurdism shares some concepts, a common theoretical template, with existentialism and nihilism, it has its origins in the work of the 19th-century Danish philosopher Søren Kierkegaard, who chose to confront the crisis that humans face with the Absurd by developing his own existentialist philosophy.
Absurdism as a belief system was born of the European existentialist movement that ensued when Camus rejected certain aspects of that philosophical line of thought and published his essay The Myth of Sisyphus. The aftermath of World War II provided the social environment that stimulated absurdist views and allowed for their popular development in the devastated country of France. In absurdist philosophy, the Absurd arises out of the fundamental disharmony between the individual's search for meaning and the meaninglessness of the universe; as beings looking for meaning in a meaningless world, humans have three ways of resolving the dilemma. Kierkegaard and Camus describe the solutions in their works, The Sickness Unto Death and The Myth of Sisyphus, respectively: Suicide: a solution in which a person ends one's own life. Both Kierkegaard and Camus dismiss the viability of this option. Camus states. Rather, in the act of ending one's existence, one's existence only becomes more absurd. Religious, spiritual, or abstract belief in a transcendent realm, being, or idea: a solution in which one believes in the existence of a reality, beyond the Absurd, and, as such, has meaning.
Kierkegaard stated that a belief in anything beyond the Absurd requires an irrational but necessary religious "leap" into the intangible and empirically unprovable. However, Camus regarded this solution, others, as "philosophical suicide". Acceptance of the Absurd: a solution in which one accepts the Absurd and continues to live in spite of it. Camus endorsed this solution, believing that by accepting the Absurd, one can achieve the greatest extent of one's freedom. By recognizing no religious or other moral constraints, by revolting against the Absurd while accepting it as unstoppable, one could find contentment through the transient personal meaning constructed in the process. Kierkegaard, on the other hand, regarded this solution as "demoniac madness": "He rages most of all at the thought that eternity might get it into its head to take his misery from him!" Absurdism originated from the 20th-century strains of nihilism. All three arose from the human experience of anguish and confusion stemming from the Absurd: the apparent meaninglessness in a world in which humans are compelled to find or create meaning.
The three schools of thought diverge from there. Existentialists have advocated the individual's construction of his or her own meaning in life as well as the free will of the individual. Nihilists, on the contrary, contend that "it is futile to seek or to affirm meaning where none can be found." Absurdists, following Camus's formulation, hesitantly allow the possibility for some meaning or value in life, but are neither as certain as existentialists are about the value of one's own constructed meaning nor as nihilists are about the total inability to create meaning. Absurdists following Camus devalue or outright reject free will, encouraging that the individual live defiantly and authentically in spite of the psychological tension of the Absurd. Camus himself passionately worked to counter nihilism, as he explained in his essay "The Rebel," while he categorically rejected the label of "existentialist" in his essay "Enigma" and in the compilation The Lyrical and Critical Essays of Albert Camus, though he was, still is broadly characterized by others as an existentialist.
Both existentialism and absurdism entail consideration of the practical applications of becoming conscious of the truth of existential nihilism: i.e. how a driven seeker of meaning should act when confronted with the seeming concealment, or downright absence, of meaning in the universe. Camus's own understanding of the world, every vision he had for its progress, sets him apart from the general existentialist trend; such a chart represents some of the overlap and tensions between existentialist and absurdist approaches to meaning. While absurdism can be seen as a kind of response to existentialism, it can be debated how substantively the two positions differ from each other; the existentialist, after all, doesn't deny the reality of death. But the absurdist seems to reaffirm the way in which death nullifies our meaning-making activities, a conclusion the existentialists seem to resist through various notions of posterity or, in Sartre's case, participation in a grand humanist proje
A beard is the collection of hair that grows on the chin, upper lip and neck of humans and some non-human animals. In humans only pubescent or adult males are able to grow beards. However, women with hirsutism, a hormonal condition of excessive hairiness, may develop a beard. Throughout the course of history, societal attitudes toward male beards have varied depending on factors such as prevailing cultural-religious traditions and the current era's fashion trends; some religions have considered a full beard to be essential for all males able to grow one, mandate it as part of their official dogma. Other cultures while not mandating it, view a beard as central to a man's virility, exemplifying such virtues as wisdom, sexual prowess and high social status. However, in cultures where facial hair is uncommon, beards may be associated with poor hygiene or a "savage," uncivilized, or dangerous demeanor; the beard develops during puberty. Beard growth is linked to stimulation of hair follicles in the area by dihydrotestosterone, which continues to affect beard growth after puberty.
Dihydrotestostorone promotes balding. Dihydrotestosterone is produced from the levels of which vary with season. Beard growth rate is genetic. Biologists characterize beards as a secondary sexual characteristic because they are unique to one sex, yet do not play a direct role in reproduction. Charles Darwin first suggested possible evolutionary explanation of beards in his work The Descent of Man, which hypothesized that the process of sexual selection may have led to beards. Modern biologists have reaffirmed the role of sexual selection in the evolution of beards, concluding that there is evidence that a majority of women find men with beards more attractive than men without beards. Evolutionary psychology explanations for the existence of beards include signalling sexual maturity and signalling dominance by increasing perceived size of jaws, clean-shaved faces are rated less dominant than bearded; some scholars assert that it is not yet established whether the sexual selection leading to beards is rooted in attractiveness or dominance.
A beard can be explained as an indicator of a male's overall condition. The rate of facial hairiness appears to influence male attractiveness; the presence of a beard makes the male vulnerable in hand to hand fights, costly, so biologists have speculated that there must be other evolutionary benefits that outweigh that drawback. Excess testosterone evidenced by the beard may indicate mild immunosuppression, which may support spermatogenesis; the ancient Semitic civilization situated on the western, coastal part of the Fertile Crescent and centered on the coastline of modern Lebanon gave great attention to the hair and beard. Where the beard has a strong resemblance to that affected by the Assyrians, familiar to us from their sculptures, it is arranged in three, four, or five rows of small tight curls, extends from ear to ear around the cheeks and chin. Sometimes, however, in lieu of the many rows, we find one row only, the beard falling in tresses, which are curled at the extremity. There is no indication of the Phoenicians having cultivated mustachios.
Mesopotamian civilizations devoted great care to oiling and dressing their beards, using tongs and curling irons to create elaborate ringlets and tiered patterns. The highest ranking Ancient Egyptians grew hair on their chins, dyed or hennaed and sometimes plaited with interwoven gold thread. A metal false beard, or postiche, a sign of sovereignty, was worn by queens and kings; this was held in place by a ribbon tied over the head and attached to a gold chin strap, a fashion existing from about 3000 to 1580 BC. In ancient India, the beard was allowed to grow a symbol of dignity and of wisdom; the nations in the east treated their beards with great care and veneration, the punishment for licentiousness and adultery was to have the beard of the offending parties publicly cut off. They had such a sacred regard for the preservation of their beards that a man might pledge it for the payment of a debt. Confucius held that the human body was a gift from one's parents to which no alterations should be made.
Aside from abstaining from body modifications such as tattoos, Confucians were discouraged from cutting their hair, finger nails or beards. To what extent people could comply with this ideal depended on their profession. Most of the clay soldiers in the Terracotta Army have mustasches or goatees but shaved cheeks, indicating that this was the fashion of the Qin dynasty; the Iranians were fond of long beards, all the Iranian kings had a beard. In Travels by Adam Olearius, a King of Iran commands his steward's head to be cut off, on its being brought to him, remarks, "what a pity it was, that a man possessing such fine mustachios, should have been executed." Men in the Achaemenid era wore long beards, with warriors adorning theirs with jewelry. Men commonly wore beards during the Safavid and Qajar eras; the ancient Greeks regarded the beard as a sign of virility. It was only shaven as a sign of mourning, though in this case it was instead left untrimmed. A smooth face was regarded as a sign of effem
Schlock Mercenary is a comedic webcomic written and drawn by Howard Tayler. It follows the tribulations of a star-travelling mercenary company in a satiric, mildly dystopian 31st-century space opera setting. Since its debut on June 12, 2000 the comic has updated daily, begun to support its author, been nominated for five Hugo Awards. Over time, Tayler's art improved, in his words, from bad to "marginally less bad." Jean Elmore served as colorist for the strip from February 9, 2003 to the spring of 2004 when she developed a repetitive strain injury from her work. On March 3, 2003, the comic reached its 1001st strip. Tayler marked the milestone by "re-launching" the comic. With the relaunch, the strip was reoriented for publication, organizing the comic's ongoing story into "books"; each book has a self-contained story, although they are still chronological and connected. On December 2, 2005, Tayler published the comic's 2000th daily strip since the series' debut. On June 12, 2010, Schlock Mercenary marked ten years of uninterrupted daily run, a feat matched by few other webcomics.
In March 2006, Tayler published Schlock Mercenary: Under New Management, the first book-based collection of Schlock Mercenary comics. This collection features stories printed from March 9, 2003 through August 23, 2003, plus five pages of new material including a foreword by John Ringo, a feature explaining how Sgt. Schlock "got turned on to plasma cannons", bonus art, the author's biography, architectural deck plans to Tagon's third ship Serial Peacemaker. In December 2007, Tayler published Schlock Mercenary: The Tub of Happiness, it features stories from the beginning of the webcomic to October 2001, as well as the bonus story "Baggage Claim," explaining the circumstances around Schlock joining the Toughs. There are numerous pieces of fan art throughout the book, as well as early concept art drawn by Tayler and notes to the reader from both Tayler and his wife, talking about the characters and Tayler's early cartooning efforts. On Monday, February 17, 2014, Tayler announced in the commentary that the strip had reached 5,000 comics.
The story centers on Captain Kaff Tagon and his mercenary crew, Tagon's Toughs. Notable members of the crew include resident mad scientist Kevyn Andreyasn. Many plotlines revolve around the jobs Kaff Tagon and his mercenary crew have accepted, preferably involving as much brawn as necessary and as little brain as possible. Other times, the crew is swept up in a galaxy-spanning or intergalactic conflict. In the distant future of Schlock Mercenary's setting, many changes have faced Terran society. Faster-than-light travel has been attained, alien races have been contacted, technology has undergone radical improvements. Alien species have varied from humanoid to unrecognizable. There have been carbosilicate amorphs with no definable limbs or organs, eight-limbed Gatekeepers, two-bodied Uklakk, the unknowable Pa'anuri, beings made of dark matter; the number of sapient species descended from terran stock has increased as Earth's genetic engineers refined their craft. Enhanced chimpanzees, orangutans, dolphins and two species of sentient elephant now have citizenship.
Genetic enhancement of the human population has resulted in the purple-skinned photosynthetic "Purps", along with more general improvements to the population. As in many science fiction stories, technology forms a large part of Schlock Mercenary's storytelling framework. Several story arcs revolve around the political conflict surrounding rapid technological change; when a complex or interesting new system is introduced to the comic, its in-comic explanation is supplemented with a footnote. Travel between the stars is accomplished through the use of "wormgates", large wormhole generators controlled by the enigmatic F'sherl-Ganni Gatekeepers. Within the storyline of the comic, wormgates are supplanted by the "teraport", a device that allows for near-instant travel between any two points—usually as long as neither point is within range of an interdicting device. In that case, the teraporting object may be destroyed; the F'sherl-Ganni constructed several buuthandi, Schlock Mercenary's take on a Dyson sphere.
A buuthandi is a balloon of solar-sail material around a star. Light pressure and solar wind offset the star's gravitation to keep the balloon inflated, while habitats and maintenance facilities dangling from the inner side act as ballast to keep the sails in check. Despite their tremendous surface area, a buuthandi provides a disproportionally small amount of livable habitat. "Control cables, millions of square kilometers of slack sail material, some clever engineering allow the'balloon' to compensate for the mood swings of the contained star." In the Schlock Mercenary universe, a buuthandi is about 300 million kilometers in diameter. Medical technology is based on nanotechnology or artificial replacements for damaged body parts. One important item, featured in the comic is the "magic cryo-kit", an illegally modified device that has the capability to rebuild an entire body as long as the brain is intact. In the strip this has always been shown as "from the head down" but nothing more than the brain is necessary
Work ethic is a belief that hard work and diligence have a moral benefit and an inherent ability, virtue or value to strengthen character and individual abilities. It is a set of values centered on importance of work and manifested by determination or desire to work hard. Social ingrainment of this value is considered to enhance character through hard work, respective to an individual's field of work. Proponents of a strong work ethic consider it to be vital for achieving goals, that it gives strength to their orientation and the right mindset. A work ethic is a set of moral principles. People who possess a strong work ethic embody certain principles that guide their work behavior, leading them to produce high-quality work and the output motivates them to stay on track. A good work ethic fuels an individual's needs and goals, it is related to the initiative by a person for the objectives, it is considered as a source of self respect and fulfillment. Factors are: Goal-oriented actions: it is not about making the next logical steps.
Prioritized focus: focusing on qualitative activities that a person is capable of and in areas where they can make a difference or a high impact based on objectives. Being available and reliable: spending time on the work and building oneself up for the task. Conscientiousness: a desire to do a task well, being vigilant and organized. Creating a rewarding routine/system: Engaging in tasks that provide strength and energy which can be transferred to your ultimate goals, creating a habit and a habitat for success. Embracing positivism: shape a problem with the statement "good, ", e.g. "I'm tired and it is time for a workout" leads to "Good. Workout tired". A negative work ethic is a behavior of a single individual or a group that has led to a systematic lack of productivity, accountability and a growing sphere of unprofessional/unhealthy relationships. Assumptions about good work ethic is drawn out in philosophical writings of Goldman, they are: The path to what you want is to take action; the success of action plans depend upon.
Many problems faced are only a temporary breakdown of self management. Setting time limits for achieving goals helps to overcome the edge of discomforts that time can have on subjective needs. A positive problem-solving or goal attainment experience improves one's ability to cope with the next difficulty. Hardships in life is a normality, they become a problem when they are the same over. A person is what s/he does, feelings flow from behavior. Feelings can be viewed. In the 1970s a good work ethic was considered as a lifestyle to meet unmet or unsatisfied wants by people. Steven Malanga refers to "what was once understood as the work ethic—not just hard work but a set of accompanying virtues, whose crucial role in the development and sustaining of free markets too few now recall". Max Weber quotes the ethical writings of Benjamin Franklin: Remember, that time is money, he that can earn ten shillings a day by his labor, goes abroad, or sits idle, one half of that day, though he spends but sixpence during his diversion or idleness, ought not to reckon that the only expense.
Remember, that money is the generating nature. Money can beget money, its offspring can beget more, so on. Five shillings turned is six, turned again is seven and threepence, so on, till it becomes a hundred pounds; the more there is of it, the more it produces every turning, so that the profits rise quicker and quicker. He that kills, destroys all her offspring to the thousandth generation, he that murders a crown, destroys all that it might have produced scores of pounds. Weber notes that this is not a philosophy of mere greed, it is in effect an ethical response to the natural desire for hedonic reward, a statement of the value of delayed gratification to achieve self-actualization. Franklin claims. Indeed, this reflects the christian search for ethic for living and the struggle to make a living. Experimental studies have shown that people with fair work ethic are able to tolerate tedious jobs with equitable monetary rewards and benefits, they are critical, have a tendency for workaholism and a negative relation with leisure activity concepts.
They valued egalitarianism. In the 1940s work ethic was considered important, nonconformist ideals were dealt autocratically. Suppression of humor in the workplace was one of them, it is recorded that at the Ford Company a worker John Gallo was fired for being "caught in the act of smiling". Countercultural groups and communities have challenged these values in recent decades; the French Leftist philosopher André Gorz wrote: "The work ethic has become obsolete. It is no longer true that producing more means working more, or that producing more will lead to a better way of life; the connection between more and better has been broken. This is true as regards our needs for air, space, beauty and human contact. Neither is it true any longer. In a post-industrial society, not everyone has to