Write a two to three (2-3) page paper in which you: Choose the type of organization for which you are designing the package. Develop an employee compensation and benefits package for this new position. Support your ideas for the compensation/benefits package.
Provide an overview of the employee compensation and benefits package that you developed in the narrative portion of this assignment. 5. Determine if the employee will be exempt or nonexempt and discuss how overtime will be handled. 6. Suggest other benefits that might be considered within the next few months to enhance employee performance and provide job motivation. 7. Provide information on how government regulations will influence the compensation. 8. Examine data from two (2) organizations listed in the BLS Website with packages similar to yours, focusing on salary, compensation, and benefits in order to convince upper management that your package should be accepted and implemented. 9. Describe how the competitive compensation and benefits package will align with the HRM strategy.
The Owl and the Pussy-Cat by Edward Lear | Analysis Distributed: 23rd March, 2015 Last Edited: fifteenth December, 2017 Disclaimer: This paper has been presented by an understudy. This isn't a case of the work composed by our expert exposition scholars. You can see tests of our expert work here. Any assessments, discoveries, conclusions or suggestions communicated in this material are those of the writers and don't really mirror the perspectives of UK Essays. The Owl and the Pussy-Cat In this exposition I will break down Edward Lear's lyric 'The Owl and the Pussy-Cat' (Appendix 1), first giving a specialized complex investigation focusing on sound designing, also finding its place in the historical backdrop of verse for kids, and thirdly how the sonnet conceives youth. Written in December 1867 for the little girl of a dear companion of Lear, it was first distributed in a treasury by Lear entitled Nonsense Songs, Stories, Botany, and Alphabets (1871). From that point forward it has been distributed, represented, made an interpretation of, and set to music commonly. In 2001 it was voted Britain's most loved ballad. Lear utilizes basic, however imaginative dialect to recount the captivating story of the voyaging sweethearts; the muddled winged creature and feline. Including three stanzas, every eleven lines in length, it comprises of twin song quatrains and a three-line abstain, formed in a particular versifying meter. The rhyme plot is 'abcbdefe' substituting in the vicinity of four and three focused on syllables for each line, trailed by the hold back 'eee' comprising of two lines with only one focused on syllable, and a last line with three. This uniform rhyme conspire gives the ballad melodic structure, as well as sticks the altogether different parts of the story. The cadenced parallelism of the abstains, in which each of the three lines end with the same focused on word, is a strict example in itself and closer views this piece of the sonnet as it goes up against an incantatory feel. In spite of the fact that the holds back are not the prevailing structure of the sonnet, they do include melodic fortification. The general metrical example is the thing that gives the ballad its rising cadence (anapests) and sing tune frame and there is little to disturb the stream of the mood, or the story. The point at that point is effortlessness and reiteration; to be sure the principal case of redundancy happens in the opening line, which includes the ballad's title words in this way reaffirming the focal point of the lyric. However, in the primary stanza, the most recognizable sound example is the convergence of/p/sounds; a phonological parallelism that stretches out over the content with the words 'Pussy', 'pea', 'bounty' and 'pound' and in addition happening in 'wrapped' and 'up'. The repeat of this plosive consonant imitates the culling of guitar strings, which upgrades the musicality as well as the visual impact of the serenading owl. While the plosive/p/in 'Pussy' matched with the/b/in 'excellent' isn't exactly alliterative, it is resonating and alluring of music, mirroring the profundity and enthusiasm of the owl's charms. Note that Lear additionally utilizes accentuation to underscore meaning; the shout marks toward the finish of lines ten and eleven indicate an outflow of the owl's emotions proposing that the relationship is for sure something beyond companionship. Notwithstanding redundancy and similar sounding word usage, Lear utilizes solid full rhymes to strengthen sound, which means and beat, and they have a dynamic impact in the temperament and reason for this ballad. Culminate end rhymes are the most discernible, yet there are likewise solid interior rhymes, specifically happening in each third line of every stanza, yet additionally in the fifth line in the second and third ones. This blend of one and two syllable rhymes go about as a sub-abstain bringing the melody sound 'all around' again to our ears while the content turns out to be increasingly capricious. Sound and musicality are additionally drawn out into the open by the tolling end rhyme amongst 'sing' and 'ring' in lines thirteen and fifteen. The words are brilliant and short, similar to the vowel sound, yet took after by the consonant/ng/the sound is expanded, and the reiteration of 'ring' in the hold back mimickes the ringing of a chime where we may hear the onomatopoeic reverberation of 'bong' (from 'bong-tree'). The third stanza finishes in a convergence of inside and harmonious rhymes which invoke a visual and aural devour to coordinate the wedding feast itself, with the last lines summoning the who-o-o, who-o-o of an owl through the long vowel/oo/in 'moon'. Every one of the characteristics of melody are available: delight, simplicity of redundancy, memorability, mood, rhyme and holds back. The obvious immediacy of these components rise up out of exceptionally customary standards and Lear's clever association. Other than musicality, the other fundamental component of the ballad is 'word-play' with Lear joining infrequent designed words: 'bong-tree', 'Piggy-wig' and the babble descriptive word 'runcible'. And additionally having a diverting impact, they present components of unconstrained dream that accentuate the strange excursion of the anthropomorphised creatures. Despite the fact that these words seem made-up regardless they stay, just, inside our typical desires for English. Notwithstanding, the way that they do go amiss from the ballad's encompassing basic dialect implies they are foregrounded, in this way, the peruser/audience gives careful consideration to them since they are fulfilling to state without essentially making sense. Despite the fact that 'runcible' has no real significance (in spite of the fact that it has since been famously characterized as a three-pronged fork bended like a spoon) it has a phonological fun loving nature with the moving of the 'r' in 'run' trailed by the two syllables in 'cible'. The hyphenation of 'Piggy-wig' really consolidates the phonemes and implications of two words, 'pig' and 'wig', managng to prevail as an inward rhyme. While the incorporation of these words doesn't generally add anything to the significance of the expression, they do in any event manage, and perhaps fortify the mood. It isn't until the last stanza that the cadence is disturbed somewhat by the 'running over' of line twenty-three into twenty-four immediately. The impact of this enjambment is that we are rushed on to a urgent stage in the story, the time when an exchange happens. The caesura at the word 'ring' makes an interruption, as well as a short strain as we anticipate the pig's answer. Note that the immediate discourse in these lines references conventional marriage promises fortified by the weight on the words 'willing' and 'will'. Moreover, this exchange additionally brings the 'genuine' world closer to the surface. Without a ring the marriage can't happen. Just when the 'arrangement' has been done can the story, and along these lines the ballad, proceed as previously. Once the standard beat resumes it drives the account ahead, finishing with cat and fowl moving 'as an inseparable unit, on the edge of the sand… by the light of the moon'. Symbolism made by the evening glow (customarily conjured as being sentimental) implies the charm of the scene moves on with the dream sweethearts and is the place the peruser/audience needs to abandon them. Regardless of the unusual account and word-play the sonnet is firmly secured by the solid rhyming 'stride' woven through the customary number type of tetrameter and trimeter. The rising rhythms move the sonnet along while being controlled by the full and stable rhymes, making it extremely fulfilling. Lear's ability first observed the light of day in A Book of Nonsense (1846) containing an accumulation of his limericks and diverting representations which demonstrated a prompt accomplishment with perusers and pundits. Lear's work, alongside that of Lewis Carroll, created and advanced gibberish writing, particularly as to their utilization of 'rubbish' words, subsequently, it is frequently observed as an unmistakably 'Victorian classification'. In any case, scholarly rubbish existed some time before this and, as Styles calls attention to in her paper about the historical backdrop of verse for youngsters, can be followed back to the 'ferocity of the nursery rhyme' (Styles, p. 211). These antiquated and customary rhymes from the oral convention, recognizably known as 'Mother Goose' rhymes, are a gathering of verses, bedtime songs, rhymes and tunes offering cleverness, reiteration and narrating, albeit few were initially made or expected for youngsters. Eighteenth century verse considered appropriate for youngsters was for the most part pedantic or moralistic, and regularly cowardly. Its central points were worried about sparing the spirit and making great character and, as other youngsters' writing, generally mirrored the thoughts that grown-ups held about what kids ought to be keen on. Be that as it may, as Puritanism disappeared and new thoughts regarding adolescence rose, idyllic accumulations composed particularly for youngsters started to show up. Tommy Thumb's Song Book (1744) was the principal endeavor to put nursery rhymes from the oral convention into print, and two accumulations from William Blake in 1789 and 1794, in spite of the fact that not particularly composed for youngsters, captured the substance of youth. Different volumes of kid focused verse showed up in the early piece of the nineteenth century, and despite the fact that artists as of now kept on following in the same moralistic custom there was a developing enthusiasm for youngsters' feelings and encounters. The mid and late nineteenth century delivered Stanzaan plenitude of verse for kids, including that of Lear, which corresponded with the changing perspectives on adolescence. In spite of the fact that the underlying foundations of jabber verse are sooner than the nineteenth century, this is the period the most celebrated and outstanding illustrations show up. Lear's limericks and babble rhymes were delighted in by kids, as well as by grown-ups, who discovered them an appreciated alleviation from the prohibitive lessons of the Church and Victorian culture when all is said in done. These clever and amusing rhymes were enjoyable to peruse so anyone might hear and simple to recall. Be that as it may, Lear's work isn't simply recognized by his etymological play; it additionally included whimsical and amusing illustrations. Alt>GET ANSWER