College Admissions Essay: My Summer in Europe :: College Admissions Essays

My summer in Europe    I spent six weeks in Florence, studying renaissance art and art history. After this, I traveled across Europe for three weeks and experienced the many beautiful countries and cultures that exist on this continent.    Studying renaissance art in Florence, the place of it's birth, was literally a moving experience. To see works that I thought only existed in books and also to live in the same city that housed the masters, was amazing. I took a drawing class as well in Florence. This proved to be a challenging and beneficial class. Drawing street scenes, landscapes, figures, or anything for that matter, is always a challenge. However to do this in a city where there are masterpieces lining churches and museums all around you, made the action a bit more challenging. It was a wonderful and astounding resource to be able to refer to a Michelangelo sculpture or a Botticelli painting. The museums in Florence proved to be my most favorite pastime and the greatest tool for any artist. The Uffizi and Pitti Palace house some of the most famous and also not so famous (but just as wonderful) works.    Living in Florence for six weeks was such a wonderful learning experience. Each day was an adventure. By buying food and asking for directions, I slowly learned enough Italian to get by. Sadly, I found that like many places in Europe, Florence has also become Americanized. English was just as prevalent as Italian. Honestly, it was convenient to know that my waiter would be able to converse with me in English. Yet, at the same time, I felt a little guilty in knowing that through tourism, Italy has lost a small part of its culture and history.    After my stay in Florence, I had the chance to see more of Europe. I went to Salzburg, Prague, Lucerne, the Italian and French Riviera, and Paris. Three weeks of trains, hostels, new places and people proved to be an exciting and tiring time! I saw the Alps, the Mediterranean, the historic neighborhoods of Prague, and then Paris. Each day I woke up with excitement, ready to go and explore the new place we were in. And each night I fell asleep, and dreamt of what tomorrow would bring. It was a beautiful and simple three weeks. My only job was just to experience and see all that I could of a place.

Legalization of Marijuana Should Not Happen Essay -- cannabis should no

The legalization of marijuana is a very controversial issue that is being debated across the United States. In the article "Going to Pot?," by Damon Linker, Linker attempts to persuade readers that legalizing of marijuana can cause more harm than help. This publication was released in November of 2001. Although two other writers, Richard Lowry and Andrew Sullivan, try to change readers beliefs Linker maintains his stance against marijuana. Without discrediting their facts he explains and defends why he feels they are wrong. The article is formal and although religion is not talked about, morals and society standards are questioned. Throughout the argument, Linker proves that effects of marijuana are detrimental to our society and will hinder social relations if legalized by our government. Linker is trying to sway the 34% of Americans who believe marijuana should be legalize to realize that more future problems will come from legalization. The audience Linker is reaching is primarily readers of the Religion and Public Life Monthly Journal. He is also trying to reach the 34% of Americans that approve the legalization of marijuana and the conservatives that seem to be shifting from prohibition to legalization. Linker focuses on today’s generation of parents and young adults because the choice will be in their hands soon. Society, as a whole, does not want marijuana to be legalized but as Linker states the attitudes appear to be shifting. The act of smoking marijuana is still perceived as bad and something that is looked down upon in society. The beliefs of people today are not the same as it was thirty years ago, and will continue to shift for times to come. Linker’s claims are logical and have basis. He p... ... article. This argument is good for the average American who knows little of the effects of marijuana. According to Linkers facts 66% of America still believe marijuana should not be legalized. This article is good for them because even if they were thinking of shifting opinions he proves that it would be wrong to legalize marijuana. Those Americans are the people that would agree with this argument because they want to believe that marijuana is harmful and should not be legalized. Obviously the other two authors and the 34% of America that believe marijuana should be legalized would disagree with this article. They could disagree with this continuously but the fact is that marijuana, however pleasurable it may be and seemingly less harmful than cigarettes, is still harmful in the long-term. The consequences of using and legalizing marijuana far outweigh the benefits.

What is the narrators and others attitude to `jazz?` How is that attitude modified in the course of the study?

The narrator's attitude toward jazz is one of ambivalence, but the attentive reader will understand that it is a form of wilful ambivalence in that the narrator has seemingly made a quiet but definite break with anything that might be considered â€Å"pop† culture and more specifically, black culture or African American culture. The theme of music is a very important theme in the story because it, loosely, represents the human soul.Sonny, the musician and drug-addict, eventually expresses a deep and personal odyssey through the idiom of jazz and the narrator, during the story's climax is able to embrace this â€Å"new† form of expression, and in doing so, embraces not only the aspects of suffering which his brother painfully reminded him of and from which he tried to hide, but to these same aspects of wounding and â€Å"blues† which exist in the narrator himself.The parallel between the story's theme and the central symbol of music that shapes the story is that t he narrator's awareness that the same racial and cultural aspects of American society that have contributed to Sonny's blues have also inspired, within himself, a blues. This realization becomes clear subtly over the course of the story the same way that a musical theme develops over the course of a song, especially an improvised (or partially improvised) song. The closing lines of the story state the story's theme in nearly explicit terms: Sonny's fingers filled the air with life, his life.But that life contained so many others[†¦ ] beautiful because it wasn't hurried and it was no longer a lament† (Sonny's Blues). By embracing jazz, the narrator embraces his brother's soul and his own heritage and finds not only a blues but a repressed joy as well. 2. What role do social mobility and class play in the struggle between the narrator and Sonny? A key role due primarily to the narrator, who teaches math, viewing himself as â€Å"normal† as well-adjusted while all the while experiencing and inner-turmoil of how to relate to his troublesome brother. Social mobility plays the central role of irony in the story.it is a relatively simple premise: that the character who has embraced â€Å"normal† society views the character who has not as â€Å"fringe† as â€Å"affected† and as a troublemaker, but in actuality, it is the â€Å"normal† character who has become troubled and affected. The entire ironic premise of the story is predicated on the idea that the narrator may be an â€Å"Uncle Tom† whereas his brother, Sonny, is an outsider, but it is actually the case that the narrator is not an Uncle Tom, but is simply pursuing his soul just as his brother is not an outsider, by design, but an outsider because he is a true artist.3. What in the family's history act as an ominous prophesy in the futures of the characters? The narrator's father failed to protect his own brother from dying. Because of this, the narrator's mot her instills within the narrator a deep sense of obligation to his younger brother. The idea is that the narrator, even at his most estranged from Sonny, still feels an obligation to him, and to his mother due to the events of his father's past.In this way, the story shows how family history adn oral history can play as large a role in the culturization of African Americans as the so-called establishment. In the long run, the narrator's ties to the establishment give out long before his sense of obligation to his family. 4. How does Harlem-its streets, its people-act as background for this story? Harlem is a microcosm of African American culture and it is portrayed positively in the story although this positivism may not be obvious to some readers on their first reading of the story.The use of the Harlem setting as a counterpoint â€Å"white† society is way of showing the reader that the same divisions between one type of culture and the other exist within the narrator himsel f; that is his crisis. By setting the story in Harlem, it is tantamount to setting the narrator in a direct confrontation with his own culture, a culture which he seemingly does not value or truly understand and one which is in many ways set against the culture he tries to be a part of on a daily basis. 5. The climax of this story involves music and listening to music.How well does Baldwin convey in words what is essentially an aural and non-intellectual experience? Baldwin succeeds with great ability because of his method of venturing into an internal monologue during the climax. By using this technique, he allows the reader to follow thought by thought with the narrator's developing understanding of his brother's â€Å"soul† as it speaks to him through the music. Consequently, the reader reaches the fruition of that understanding and that moment of connection at the same time as the narrator, so the harmony of realization is, in itself, like music.6. In the Bible, Cain asks the Lord, `Am I my brothers keeper? ` How does this story imply an answer? â€Å"Sonny's Blues† makes an ironic turn on this Biblical phrase. In other words, though the narrator believes that he must function as Sonny's â€Å"keeper† because Sonny is troubled and also because of his mother's geas, in actuality, the narrator is no less troubled than Sonny and, in fact, may be less gifted and therefore more prone to losing his own self-identity.Both Sonny's drug and legal problems and the narrator's identity crises present real-world and profound obstacles which have arisen at least partially due to cultural factors of race and social standing. In the final analysis, the story demonstrates that each person is each person's â€Å"keeper† on an equal footing although sometimes immediate circumstances and prejudices allow one person to put himself â€Å"above† another in relation to altruism or helping out one's â€Å"brother. â€Å"

My Last Duchess and Othello, IV, iii

In the dramatic form, be it monologue, dialogue or full theatrical scene, the author cannot step into the action to comment or interpret for us, as he can in a novel.   We must draw our own conclusions from what we see and hear, and this makes for powerful effects, as a character reveals him- or herself to us by what he or she says or does.   In the monologue My Last Duchess Browning misleads us with great skill before we realize that we are listening to a criminal lunatic. The dramatic force lies in the surprise we feel as the truth finally emerges.   In Act IV, scene iii of Othello there is again an agonizing irony for the viewer, who knows more than Desdemona and is of course impotent to help her.   Shakespeare works like a dentist without an anaesthetic, and the pain for the audience derives from the unbearable innocence of the doomed Desdemona, who is surely something like the Duchess in Browning’s poem, helpless and bewildered in the face of a murderous insanity in her husband. Browning’s Duke sounds so sane!   He is wonderfully gracious and articulate – â€Å"Will’t please you sit and look at her?† (5).   As he tells his story he seems to weigh his words with great caution, as if he is quite free of the distorting power of anger or any other passion, and is keen to avoid any unfairness in his judgment: â€Å"She had / A heart – how shall I say? – too soon made glad† (21-2), â€Å"†¦but thanked / Somehow – I know not how – as if she ranked†¦Ã¢â‚¬  (31-2). He never raises his voice, and speaks with a measured confidence that quite takes us in. At first we might be tempted to believe that his attitudes are reasonable: â€Å"Sir, ‘twas not / her husband’s presence only, called that spot / Of joy into the Duchess’ cheek† (13-15).   His manner is restrained even as he hints at her infidelity.   The painter flattered her about her appearance, as of course he would, being a Renaissance artist totally dependent on patronage, but she was charmed by it – foolishly, the Duke suggests. â€Å"She liked whate’er / She looked on† (23-24).   She was delighted by the beauty of the sunset, and the little tribute from the man who gave her the cherries, just as much as â€Å"My favour at her breast† (25).   What he seems to be objecting to is her failure to be properly selective and aristocratic in her tastes.   This is a rather extreme sort of snobbery, but perhaps not unprecedented; we may not find it attractive, but we may accept it as a feature of a proud man with a â€Å"nine-hundred-years-old name† (33). All the time, Browning is luring us up the garden path.   We begin to detect the problem.   The Duke is immensely proud, a man of great heritage, while she is free of snobbery, charmed by the delights of the world and human kindness, and genuinely innocent. (Infidelity does not now seem to be the Duke’s concern.)   Then we begin to see how his pride is really pathological arrogance. â€Å"Even had you skill / In speech – (which I have not)† (35-36), (he lies, of course) to explain your objection to her behavior – which is clearly quite â€Å"normal† – it would involve â€Å"stooping, and I choose / Never to stoop† (42-3).   So, rather than speak to her about his dissatisfaction, which would involve impossible condescension by him, he chose to solve the problem rather more radically: â€Å"This grew; I gave commands; / Then all smiles stopped together† (45-6). It takes a moment for us to register what he did, so unbelievable is it and so evasively phrased.   Then, having confessed to murder, or, rather, boasted of it, he continues his negotiations for his next Duchess, celebrating, incidentally, one of his favorite art works, â€Å"Neptune†¦ Taming a sea-horse† (54-5), the very image of the brutal control that he has himself exerted over his innocent last Duchess. The willow scene from Othello works differently, of course, because it is a dialogue, though it is the inner workings of Desdemona’s mind that the dramatic form reveals here, just as much as is the case in Browning’s poem There is an almost intolerable pathos about this scene because Desdemona is so helpless.   She has a good idea of what is going to happen – â€Å"If I do die before thee, prithee shroud me /   In one of those same sheets† (24-5) and is impotent in the face of her fate. There seems to be no defence against the ruthless execution of Othello’s enraged will. She is in a sort of trance, a hypnosis of shock.   All she can do is wait for the end, and the pathetic simplicity of her reflections here is the sign of a wounded spirit in retreat from reality.   The tragic atmosphere is given additional poignancy by the occasional interruption of the everyday details of â€Å"undressing for bed†, the habitual continuing because there is nothing else to do in the face of the worst – â€Å"Prithee unpin me† (21). She continues at moments to pretend that this is just an ordinary night: â€Å"This Lodovico is a proper man† (35), not a comparison of Othello with her country forms, but a pathetic attempt at gossip. But her real thoughts emerge in the obsession with the willow song, which she cannot resist. It is the perfect mirror of her own fortune: â€Å"And she died singing it; that song tonight / Will not go from my mind† (30-1). Like a detail from a psychoanalyst’s casebook comes the unprompted line in the song that gives away the deepest thoughts of the willing victim. –Let nobody blame him, his scorn I approve, — Nay, that’s not next.   Hark!   Who’s that knocks? –It is the wind.† (51-3) She corrects herself, but the absolute terror of realisation goes through her. The heroic innocence of Desdemona is highlighted by her conversation with Emilia. While Desdemona genuinely believes that no woman could in fact commit adultery â€Å"for all the world† (63), and swears that she herself would not do it â€Å"by this heavenly light† (64), Emilia responds, â€Å"Nor I neither, by this heavenly light, / I might do it as well in the dark† (65-6), and goes on to consider just what â€Å"all the world† might mean as a reward for the sin. Emilia is not immoral. It is just that Desdemona is on a superhuman and heroic level of behavior, and Emilia is on the normal level.   Compared with Desdemona’s helplessness in the face of the corruption of Othello, Emilia’s jokes have an immensely remedial health.   It is not a criticism of Desdemona, but it is a firm placing of trust in the human by Shakespeare. We can imagine that what Desdemona feels and says is very close to the response of Browning’s Duchess.   Both of them are innocent and benevolent women faced by deranged men.   The creation of character and the realization of human dilemma in the dramatic form are forceful and, in these two cases, immensely painful for the audience or reader.   The form makes the reader peculiarly impotent in the face of disaster. We would like to stand up in the theatre and shout at the stage, like the lady in the famous story, â€Å"You great black fool, can’t you see she’s innocent?†      

A Contrast Between the Reapers Are the Angels by Alden Bell and Salems Lot by Stephen King

A Contrast Between the Reapers Are the Angels by Alden Bell and 'Salem's Lot by Stephen King Rationalizing the Supernatural in Horror Novels Stephen King, often declared the greatest and most successful contemporary horror novelist wrote that, â€Å"the great literature of the supernatural often contains the same ‘let’s slow down and look at the accident’ syndrome.† (King, Nightshift xv). This refers to the guilty fascination readers feel as they are captivated by the gruesome details of horror literature. Both Alden Bells’ The Reapers are the Angels and Stephen King’s own ‘salem’s Lot rely on the phenomenon to create an enthralling story. Most people cannot deny that they feel compelled to admire a tragic wreck that is completely out of the ordinary, and this same instinct makes horror literature, like those mentioned, so successful. When in a car wreck, survivors are concerned with their safety and survival and can’t fully take in the details of the situation. Others who drive by, however, tend to slow down and look at the wreck, because they aren’t in danger and have the mental capacity to look at the details of the wreck. They can consider and comprehend the terrifying accident that happened. Similarly, horror novels allow readers to experience the supernatural and the morbid without being overwhelmed by their own fear, but rather they can inspect and approach the supernatural and morbid rationally. Alden Bell’s novel, The Reapers are the Angels takes place in a world of morbidity. Temple fights for survival in a world that has been mostly taken over by the undead, where â€Å"slugs† or â€Å"meatskins† are hungry for human flesh. She encounters fellow humans, some who help her and some who are enemies, as she moves nomadically throughout the United States. She is distant from characters and rejects living in one home, after the death of her younger brother, Malcolm, who she felt she was solely responsible for. Her world involves constant running and fighting, displaying constant fearlessness as most readers would not survive a day among the undead. Morbid images, involving human flesh, blood and carcasses are a reality for Temple. There are many parts of the horror novel that go into great detail of how a human body is torn apart, something that an ordinary person would never see or experience. One example of this is when part of Temple’s pinky finge r is chopped off, and she is fixing it up again. â€Å"It’s gone just above the first knuckle, a clean cut through the bone that shows as a yellow twig poking through at the end. She uses her other hand to draw the skin up over the end of the bone and pinch it shut like a foreskin†¦ now just run a thread through there a few times and tie it off. It’ll be okay.† (Bell, The Reapers are the Angels Ch. 4) This is situation is really out of the ordinary for most readers, who most likely wouldn’t be able to thread half their finger closed without getting sick. However, Temple’s tone makes this seem like a very normal occurrence. This tone is also expressed when she kills Abraham Todd, thinking, â€Å"Why do the livin and dyin always have to be just half an inch apart? She goes to the desk and takes a ballpoint pen from the drawer and puts the tip of it in his nostril and drives it upward sharp and hard with the heel of her hand to keep him from com ing back.† (Bell, The Reapers are the Angels Ch. 3) Most people aren’t murderers and would be extremely shocked in such a situation; probably too shocked to recount memories or make snarky remarks. Throughout the book, Temple is constantly facing dead bodies and other extremely morbid things, which she describes in great detail to readers. Her responses and feelings during these situations are rational and calm, or at least calmer that any regular person would react. She describes horrifying situations with great detail so that readers can understand and experience the situation; neither Temple nor the reader is too overwhelmed by fear to comprehend the situation of fear. Rather, readers are fascinated by the situation, as Stephen King suggests we do in his forward to Nightshift. ‘salem’s Lot exemplifies the author’s own claim about horror novels. Ben Mears, the main character of the horror novel, is an author staying in his childhood town to research for his new novel. During his stay he makes some friends and attempts to protect the people of the town as they transform into vampires. Without success, he leaves with the one other survivor, leaving the town empty of living humans. The detailed explanations that King uses to describe the morbid occurrences of the story create a novel that captivates readers. One of these occurrences was when Ben staked the vampire of Susan, his girlfriend. â€Å"Death had not put its mark on her. Her face was blushed with color, and her lips, innocent of make-up, were a deep and glowing read. Her forehead was pale but flawless, the skin like cream. Her eyes were closed, and the dark lashes lay snootily against her cheeks†¦ Yet the total impression was not of angelic loveliness but a cold, disconnected beauty.† (King, ‘Salem’s Lot Ch. 14 Pt. 15) The undead are monsters that we expect to appear frightening, but we don’t understand why we would feel frightened by them, until an author like King describes the beauty of a vampire like Susan and we understand why we feel uneasy. Further in the chapter, as Ben is staking her body, â€Å"blood gushed upward from the stake’s point of entry in a bright and astonishing flood, splashing his hands, his shirt, his cheeks. In an instant the cellar was filled with its hot, coppery odor.† This description is fascinating to readers, because in the situation we would not be able to comprehend what was happening, as we would be overwhelmed by fear. When we read about this shocking scene of the story, we experience it without fear distracting us from the details. Readers can slow down the situation and inspect the details of it, similar to how one would slow down to stare at a car wreck. The style and structure of the book itself is filled with extraordinary detail, even though the conclusion of the story is an empty town void of humans. The novel cycles through several different characters’ viewpoints and storylines. When looking at the storyline, many of the details and additional characters would not have actually been necessary in reaching the same conclusion. For example, the story of Dud Rogers, who lived by and maintained the Jerusalem’s Lot’s Town Dump, was described in painful detail. It described his introverted personality, his appreciation of setting the dump on fire, his angry thoughts and his habit of shooting rats (King, ‘Salem’s Lot Ch. 3 Pt. 10). References and connections between Dud and other community members were very rare and insignificant, and his fate was death and rising as a vampire like all the other people of the town, posing the question of whether his role in the book was important. Although it seems rea lly distracting when following the story line, especially because he is only one of many minor characters that each carry their own complicated story and personality, he played a role in the overall effect of the story, along with all of these minor characters. ‘Salem’s Lot is not a story of some individual vampires or even the horrific death of a group of innocent people, but rather how an entire town died. The detail given to characters like Dud contribute to formation of the town. They are important in making readers realize that this is not Ben Mears and his friends’ story, but the story of ‘Salem’s Lot. The detail also contributes to King’s â€Å"slow down and look at the accident† syndrome. With this full understanding of the community, readers can also better comprehend the death of the town. Something so morbid and horrific as the fall of a town to vampires is really irrational and incomprehensible to people, because it is extre mely out of the ordinary and in this case isn’t truly possible. The detail that King’s novel features creates an understandable explanation for this town’s unexplainable and terrifying status, and this is what captures readers. In his forward, King explains why appealing to this obsession with morbidity is effective in attracting readers. Most of our fears are irrational, or the way we approach them is irrational. We know that vampires, zombies and the supernatural do not exist, but we are afraid of them nonetheless. The forward uses an example that most people can relate to; we make sure our entire body is under the covers when we are in bed, in fear of a cold hand reaching out from under the bed, and where this hand may drag us. We can’t comprehend this fear because we feel it despite knowing it is irrational. However, horror novels, like those mentioned, approach these fears in a very rational way, as exemplified by both The Reapers are the Angels and ‘salem’s Lot. The rational descriptions and approaches to supernatural horrors in some horror literature interest readers, because they can finally achieve comprehension of their irrationality. This is fascinating to readers not because they are fascinated by morbidity, death and the supernatural, but because they can understand fears that were previously beyond their understanding. These horror novels are an opportunity for readers to slow down and think about supernatural horrors rationally without being under the influence of their own fear.

Women of Color at the Workplace Essay Example | Topics and Well Written Essays - 750 words

Women of Color at the Workplace - Essay Example Today, the community comprises almost one-fifth of the workforce in the United States. Research indicates that major developments have happened regarding the recruitment of women of color in the recent past. The enlisting of each segment of women looked into such as Black American, Latino, Asian and Aboriginals, increased in the recent past (Amott and Matthaei 157). More females from all the categories are absorbed as officials and key members of the executive teams in the industrial sector. This paper examines how women of color used feminism to increase their power in the workplace. Statistics According to Amott and Matthaei (53) â€Å"Native Americans struggling for tribal autonomy and for the recognition of broken treaties have also had to confront corporate greed †¦Ã¢â‚¬  This implies that women of color have achieved tremendous gains, in terms of population at the workplace and the statuses of workplace environments, though not easily. Despite the progress made, there ar e still a number of stubborn occurrences which require more concern. Quite a large number of women of color tend to prefer particular industrial sectors and seem to have concentrated in insignificant occupational positions. Statistics indicate that â€Å"Native American women’s labor force participation rates rose sharply between 1970 and 1990, from 35 percent to 55 percent† (Amott and Matthaei 59). Nevertheless, in the recent past, they have achieved the smallest returns regarding total absorption into jobs and positions of significance, far smaller than the level of growth of Latinos and Asians. In the meantime, black women surpass their work force percentage as sales employees, clerical officers and those in the service sector. Notably, the Nursing and Residential Care Facilities sector absorbs the largest proportion of Black American women vis-a-vis the greatest proportion of women in general. Replacing men during World War I Whereas the chance for the women to ext end their careers came into fore during the First World War, there were several grounds why women of color transformed their principles to occupy the new job opportunities left by men. The main reason behind more women power at the workplace was inspired by patriotism factor. The then message from the government summoned women to support the country. Equally linked to this patriotic call was the need to engage in something more fascinating and different, and an issue which would enhance the combat effort. Higher remuneration, also partly contributed, as did the prevailing shore up in social status, though a number of women of color took up the opportunities in the workplace out of absolute need, because of the government program, which differed by country and eventually rooted for only the families of absent military officers did not meet the shortage. Unions and strikes Although, the war resulted in many new options for the women and job opportunities, it did not normally impact an increase in the earnings of the women, which were traditionally much poorer than men’s. In the United States, for instance, rather than offer a woman what a man would have pocketed, according to government policies on equal regulations, recruiters divided responsibilities down into less significant tasks, employing more women of color for each task and offering them peanuts for carrying out the responsibility. This increased the bureaucracy of the women, but shrunk their earnings. During the World War I, women organized strikes citing meager pay, developments that lasted days or several weeks as the war transpired. Amott and Matthaei (56) indicate that in 1980s, â€Å"American Indian women continued to form pan-Indian women’s organizations for self-determination and against sexism.†

Strategic Planning Report of Health Care Organization in the United Term Paper

Strategic Planning Report of Health Care Organization in the United States - Term Paper Example Strategic planning, therefore, has to be effective in an institution in order to deliver positive changes. The first component of strategic management is Situational Analysis. This is the initial point of designing a mission statement of an organization and how the mission will be achieved. Situational Analysis is vital in that it creates a leeway in aligning an organization in relation to its environment. Situational Analysis consists of a number of activities. First, the management has to consider the organizational context. This is the internal environment of the organization and how effective it will be. Secondly, Situational Analysis is directed towards evaluation of the external environment. This considers the neighboring people, organizations and other factors that are not controlled by the organization. Situational Analysis is critical to an organization as it is the basis of establishing an organization that is likely to record desirable performance. The second component in strategic management is Strategy Formulation. This involves designing and structuring a number of ways of running the organization (Sanderson and Stirk, 2012). This involves developing the company’s strategies and how they will function. This is done by determining the strength of the company and how the strengths will help in ensuring growth. In most cases, Strategic Formulation is split into three parts. This includes operational strategies which will be based on the operation and execution of the various organizational tasks. The second part is the competitive level. In this level, the organization looks for better ways of developing a competitive advantage over its rivals. Thirdly, there is the corporate level where the organization deems to please its corporate associates. This is essential as it is directed towards creating an appealing approach towards customers, employees and the corporate associates. The third component in strategic management is Strategy