Sunday, May 24, 2020
Wednesday, May 13, 2020
Where have you Been Smooth Talking? In the short story Where Are You Going, Where Have You Been? By Joyce Carol Oates, the lifestyle of protagonist Connie is described. Connie was a typical 15-year-old. She was outgoing, fun, and social. She had the worst relationship with her mother and her relationship with her father was not explained because he was not home much. ConnieÃ¢â¬â¢s main concern was boys; she would do anything to meet up with them. That is not always a good idea because you never know the kind of people you will run into. Because she was not very careful an older guy, Arnold Friend, the antagonist, came into her life. This story transformed into a visual in the movie Smooth Talk by Joyce Chopra. The story and movie differed aÃ¢â¬ ¦show more contentÃ¢â¬ ¦Connie was very rebellious and whenever her mom would get upset with her she would storm out of the house and go out with her friends as if to say her friends were a remedy against the annoyance of her mother. Since her dad was not very parental, Conn ie took that as a sign of not caring which also caused her to go out more. The biggest cause for ConnieÃ¢â¬â¢s outgoingness and rebellion is her motherÃ¢â¬â¢s attitude towards her. In the movie and short story ConnieÃ¢â¬â¢s mom was rude to her and constantly comparing her to June. ConnieÃ¢â¬â¢s motherÃ¢â¬â¢s tone was filled with annoyance and aggravation whenever she talked to Connie. There was nothing positive that came out of her momÃ¢â¬â¢s mouth. The first thing the mom said was Ã¢â¬Å"Stop gawking at yourself, who are you? You think youÃ¢â¬â¢re so pretty?Ã¢â¬ (Oates 693) Although both the movie and short story showed the harsh mother-daughter relationship Smooth Talk added a very small twist. The twist was that Connie and her mom got along and painted the house together and also hugged. The biggest family difference is that in Smooth Talk June and her dad were a part of ConnieÃ¢â¬â¢s life. A small connection formed between Connie and June. Especially in the en d when the sisters danced together. ConnieÃ¢â¬â¢s dad was in the house physically, but not mentally. He did not do a good job of being a father, which caused Connie to choose a path of exploration. To conclude, ConnieÃ¢â¬â¢s family madeShow MoreRelatedReva2908 Words Ã |Ã 12 PagesRoll no 27 TMIT Ã¢â¬âII SIMS THE REVA ELECTRIC CAR COMPANY Inception The Reva Electric Car Company, RECC, was incorporated in 1995 as a joint venture between the Bangalore based Maini Group and AEVT Inc of Irvindale, California, to manufacture environment-friendly, cost-effective electric vehicles for city mobility. Vision The RECC has been established with the vision of combining a tradition of excellence and leadership in environment friendly urban transportation, offering the best value andRead MoreEssay on Ducati8819 Words Ã |Ã 36 Pagesdiffered by age, income, education and gender. 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Leadership is EveryoneÃ¢â¬â¢s Business 2. Interaction between the Leader, the Followers the Situation Cohen Ã¢â¬ ¢ Effective Behavior in Organizations, Seventh Edition 11. Leadership: Exerting Influence and Power 94 94 Text PalmerÃ¢ËâDunfordÃ¢ËâAkin Ã¢â¬ ¢ Managing Organizational Change 2. Images of Managing Change Read MoreDamodaran Book on Investment Valuation, 2nd Edition398423 Words Ã |Ã 1594 Pagesedition online, while the book goes through the printing process - it will be available at the end of the year. This may seem like a bit of a free lunch, and I guess it is. I hope, though, that you can do me a favor as you go through the manuscript. If you find any mistakes - mathematical or grammatical - could you please let me know? It would help me ensure that the typos do not find their way into the final version. 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Wednesday, May 6, 2020
The postcolonial language debate about African culture has become a big issue in determining if the African culture is actually being taught to younger generations. Some African writers believe that the culture of the African people is disappearing because all of the history books and novels written about African history and culture are in the English language. Other African scholars believe that they can finally break free from the postcolonial era by using English as a weapon. We will write a custom essay sample on Postcolonial Language Debate or any similar topic only for you Order Now Chinue Achebe and Ngugi Wa Thiongo are great examples of African writers who take different sides about the English language and the postcolonial writings of African culture. Ngugi is a firm believer that the English language is not how African culture should be viewed by outside countries and that the only way to know about African culture is to have it in its native language. He refuses to write any of his books in English and wants people to learn the native language because that is the only way African culture can really be learned. Language is very powerful and Ngugi believes was a way the English got rid of African culture. Ã¢â¬Å"By removing their native language from their education they are separated from their history which is replaced by European history in European languages Ã¢â¬Å". Ngugi can recall growing up that he learned his culture and heritage through oral story telling by elders and the children would retell the stories to others. By being forced to learn English and being punished for acting or speaking in their native way, language was used as spiritual subjugation. Language carries culture and culture carries the entire body of values by which we perceive ourselves and our place in the worldÃ¢â¬ . If this is true how can the African culture be expressed in a different language? Chinue Achebe took a different approach to the English language and the postcolonial language debate. He chose to learn the English language as a way to Ã¢â¬Å"infultrate the ranks of the enemy and destroying him fro m withinÃ¢â¬ . He feels there is no point in fighting a language but by using the language forced upon him he can show others how culture really is in different African cultures. Using abrogation, meant to change the English language to suit their needs, because people accept different forms of English. There are many different villages and languages in Africa, an example he gives is his people the Igbo who have many different dialects about different things. He states that the standardized Igbo is due to Christian missionaries desire to translate the bible into indigenous tongues. Therefore he does not believe there is one Igbo language that all Igbo can understand so he refuses to write translate his book about the Igbo culture and people in its native language, but has translated it to over thirty different languages. By having thirty different languages able to read about the Igbo Achebe believes the African culture can be spread and shared with the world around it. The language debate in Africa has become a problem because people do not know whether or not they are learning the African culture or reading the African experience. Both Ngugi and Achebe present different ways the African people can begin to identify themselves and regain their culture that was taken from them by the colonizing European nations. Both stand at different ends of the spectrum by either using the English language as a way to inform others of the real African culture, or refuse to write in English so the reader is forced to learn the native language, because that is the only way to really understand and see the way African culture is. How to cite Postcolonial Language Debate, Essays
Monday, May 4, 2020
Question: Discuss about theForgivenessfor Arabian Streets. Answer: Introduction Fatima had not been attending classes at her school for almost two weeks now. Her teachers wondered what could be the problem with her. She did not even bother to communicate with her teachers on her lateness in class. Her mother had forced her on several occasions to attend her classes irrespective of what had happened to her. However, she turned this down and told her mother that she had left attending that school for good. She did not explicitly mention to her mother what the problem was. At one point, she was heard speaking over the phone, if at all I have to go back to school, then it must be a non-Emirati school." Her mother was shocked to hear her mentioning these words and wanted to intervene as she was aware that her daughter might tell her what is disturbing her. Fatima's teachers kept on calling, but she did not pick her teachers' calls. One day, when Fatima and her mother were strolling down the Arabian streets, they met a boy, tall, dark and handsome. Fatima quickly turned and walked away in a different direction as if she never wanted to meet this handsome guy. Her mother was shocked as according to her, Fatima was always attracted to such kind of men. She was shocked as this man did not catch her daughters attention. Why did you turn and walk away from that man?" Mother asked, but she failed to respond. She kept quiet about it for a very extended period. They silently walked back home without uttering any words on their way. That evening, when Fatima was busy preparing supper, her mother did not give up on asking her questions. She now understood why Fatima insisted that she was never going back to Emirati schools. She tried to connect these two parts-the boy was an Emirati; she walked away from him, and Fatima did not want to attend Emirati schools. When her mother approached Fatima, she quickly uttered, "Mother please, not again. I am tired of all these questions. I beg to be left alone!" Her mother did not give up. She asked her for quite a long time until Fatima decided to open up for her mother. When Fatima opened up for her mother, her mother was shocked to hear the reason why Fatima had left school. The young man, named Khalifa, had threatened Fatima on several occasions to marry her. "My daughter, Emirati individuals are very generous. Just marry him if he is in love with you," her mother said. Fatima stood up from where she was sitting and threatened to walk away if her mother did not stop reasoning like an infant. Fatima quickly told her mother that she does not believe that money and love are related in one way or the other. Fatima later informed her mother that the young man is her classmate and he was the main reason as to why she had left attending her school. "Emirati men think that money is love. They also feel that they are quite superior and they believe that they can marry at their wish just because of money. Well, as for me, they have failed, and in this case, Khalifa has failed," Fatima argued, However, this was not the case with Khalifa. As the two talked, Fatima's mother saw Khalifa knocking at the door. Fatima left the kitchen, and Fatima's mom had to attend to Khalifa. He had come to apologize to Fatima. He mentioned that he was a changed man and only wanted to be close friends with Fatima. With a heavy heart, Fatima ignored these referring to them as a pretense. However, Khalifa went down on his knees and apologized. Fatima shed tears and said, "come on Khalifa, stand, your apologies have been accepted. Next time, be a good boy. I am your best friend now."
Monday, March 30, 2020
The terms style originated from the Latin stylos, which meant a stick for writing on wax tablets. Later stylos came to denote metonymically also a manner of writing and speaking, in other words, the manner of using language. The subject of stylistics has not so far been definitely outlined. This is due to a number of reasons. First of all, there is confusion between the terms style and stylistics. The first concept is so broad that it is hardly possible to regard it as a term. We speak of style in architecture, literature, behaviour, linguistics, dress and other fields of human activity. Even in linguistics the word style is used so widely that it needs interpretation. The majority of linguists who deal with the subject of style agree that the term applies to the following fields of investigation: Ã · the interrelation between language and thought; Ã · the aesthetic function of language; Ã · expressive means in language; Ã · emotional colouring of language; Ã · a system of special devices called stylistic devices; Ã · the splitting of the literary language into separate subsystems (genres, registers, etc. We will write a custom essay sample on Literature and Emotive Prose or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page ); Ã · synonymous ways of rendering one and the same idea; the individual manner of an author in making use of language. The treatment of the selected elements brings up the problem of the norm. The notion of the norm mainly refers to the literary language and always presupposes a recognized or received s t a n d a r d. The norm, therefore, should be regarded as the invariant of the phonemic, morphological, lexical and syntactical patterns circulating in language-in-action at a given period of time. Variants of these patterns may sometimes diverge from the invariant but they never exceed the limits set by the invariant lest it should become unrecognizable or misleading. The development of any literary language shows that the variants will always center around the axis of the invariant forms. The variants, as the term itself suggests, will* never detach themselves from the invariant to such a degree as to claim entire independence. Yet, nevertheless, there is a tendency to estimate the value of individual style by the degree it violates the norms of the language. The problem of variants of the norm, or deviations from the norm of the literary language, has received widespread attention among linguists and is central to some of the major current controversies. It is the inadequacy of the concept norm that causes the controversy. At every period in the development of a literary language there must be a tangible norm which first of all marks the difference between literary and non-literary language. Then there must be a clear-cut distinction between the invariant of the norm (as an abstraction) and its variants (in concrete texts). 2. Functional S. Definition/ different approaches to classification. . A functional style of language is a system of interrelated language means which serves a definite aim in communication. A functional style is thus to be regarded as the product of a certain concrete task set by the sender of the message. Functional styles appear mainly in the literary standard of a language. Functional Styles of the English Language Functional stylistics, which has become and remains an international, very important trend in style study, deals with sets, paradigms of language units of all levels of language hierarchy serving to accommodate the needs of certain typified communicative situations. This theory of style study involves consideration of such notions as NORM and FUNCTION in their relation to STYLE. There are a great many classifications of language varieties that are called sublanguages, sub-styles, registers and functional styles that use various criteria for their definition and categorization. The term generally accepted by most Russian scholars is functional styles. According to I. R. Galperin functional style is defined as a system of coordinated, interrelated and interconditioned language means intended to fulfill a specific function of communication and aiming at a definite effect. The classifications of functional styles The problem of functional styles classification is also very complicated. It is due to several reasons: 1) functional styles intertwine, 2) functional styles are historically inconstant, 3) functional styles are connected with genres. A functional style may comprise several genres, e. g. the belles-lettres is manifested in a novel, short story, poem, etc. Styles are not isolated, but what should be kept in mind is that they have there own peculiarities. The two main subdivisions of functional styles recognized by the majority of linguists are 1) literary (bookish) styles, characterized by preliminary reflection and analysis, deliberate selection of language means, ) colloquial (free) styles characterized by spontaneity and dialogues. I. R. Galperin distinguishes 5 functional styles: 1) scientific, 2) official, 3) publicist, 4) newspaper, 5) belles-lettres. Yuri Skrebnev distinguishes the following styles and their varieties: 1) Literary or Bookish Style a) publicist style b) scientific (technological) style c) official documents style 2) Free or Colloquial Style a) literary colloquial style b) familiar colloquial style It is obvious from the classification that poetry and imaginative prose are not included as they are not homogeneous in their structure. Prof. Skrebnev uses the term sublanguages in the meaning that is usually attributed to functional styles. The major difference in his use of this term is that he considers innumerable situational communicative products as sublanguages, including each speakers idiolect. Each act of speech is a sublanguage. Thus, it is quite difficult to define the notion of the functional style. At the same time he recognizes the major opposition of formal and informal sphere of language use. 3. The S of emotive prose (imaginative prose writing) Belles-lettres style, or the style of imaginative literature, may be called the richest register of communication: besides its own language means which are not used in any other sphere of communication, belles-lettres style makes ample use of other styles too, for in numerous works of literary art we find elements of scientific, official and other functional types of speech. We maycall this style eclectic. Besides informative and persuasive functions, also found in other functional styles, the belles-lettres style has a unique task to impress the reader aesthetically. So the main function of belles-lettres style is cognitive-aesthetic. The Sub-styles of Belles-lettres Functional Style 1. Poetry 2. Emotive Prose 3. The Drama Emotive Prose Emotive prose has the same features as have been pointed out for the belles-lettres style in general; but all these features are correlated differentlyin emotive prose. The imagery is not so rich as it is in poetry, the percentage of words with contextual meaning is not so high as in poetry, the idiosyncrasy of the author is not so clearly discernible. Apart from metre and rhyme, what most of all distinguishes emotive prose from the poetic style is the combination of the literary variant of the language, both in words and syntax, with the colloquial variant. It would perhaps be more exact to define this as a combination of the spoken and written varieties of the language. Present-day emotive prose is to a large extent characterized by the breaking-up of traditional syntactical designs of the preceding periods. Not only detached constructions, but also fragmentations of syntactical models, peculiar, unexpected ways of combining Emotive prose came into being rather late in the history of the English literary language. It is well known that in early Anglo-Saxon literature there was no emotive prose. Middle English prose literature was also educational, represented mostly by translations of religious works from Latin. Emotive prose actually began to assume a life of its own in the second half of the 15th century when romances and chronicles describing the life and adventures of semi-legendary kings and knights began to appear. With the coming of the 16th century English emotive prose progressed rapidly. Numerous translations from Latin and Greek played a great role in helping to work out stylistic norms for the emotive prose of that period. On the whole the emotive prose of the 16th century had not yet shaped itself as a separate style. The 17th century saw a considerable development in emotive prose. Another peculiarity of the prose of this period is a rather poorly developed system of connectives. Imagery, so characteristic of the belles-lettres language style in general, begins to colour emotive prose differently from the way it is used in poetry and plays of the non-puritan trend. The puritan influence on the language of emotive prose at this time displays what may be called an anti-renaissance spirit. This is shown in the disparagement of mythological imagery. The writers of the 18th century did much to establish emotive prose as an independent form of literary art. They considered that, being educated representatives of their society, it was their dity to safeguard the purity of the English language. Another stylistic feature of the emotive prose of the 18th century is a peculiar manner of conveying the impression that the event narrated actually occurred, that the narrative possessed authenticity. The 18th century is justly regarded as the century which formed: emotive prose as a self-sufficient branch of the belles-lettres style. Nineteenth century emotive prose can already be regarded as a substyle of the belles-lettres language style complete in its most fundamental properties. The general tendency in English literature to depict the life of all strata of English society called forth changes in regard to the language used for this purpose. Standard English begins to actively absorb elements of the English vocabulary which were banned in earlier periods from the language of emotive prose, that is, jargonisms, professional words, slang, dialectal words and even vulgarisms. Present-day emotive prose is to a large extent characterized by the breaking-up of traditional syntactical designs of the preceding periods. Not only detached construction, but also unexpected ways of combining sentences, especially the gap-sentence link and other modern syntactical patterns, are freely introduced into present-day emotive prose. 4. The language of poetry: meter, rhyme, alliteration. A poem by heart (Cummings) Poetry Poetry is a form of literary art which uses the aesthetic qualities of language to evoke meanings in addition to, or in place of, the prosaic ostensible meaning. Poetry uses forms and conventions to suggest differential interpretation to words, or to evoke emotive responses. Devices such as assonance, alliteration, onomatopoeia and rhythm are sometimes used to achieve musical or incantatory effects. The use of ambiguity, symbolism, irony and other stylistic elements of poetic diction often leaves a poem open to multiple interpretations. Similarly, metaphor, simile and metonymy create a resonance between otherwise disparate imagesÃ¢â¬âa layering of meanings, forming connections previously not perceived. Kindred forms of resonance may exist, between individual verses, in their patterns of rhyme or rhythm. Rhyme, alliteration, assonance and consonance are ways of creating repetitive patterns of sound. They may be used as an independent structural element in a poem, to reinforce rhythmic patterns, or as an ornamental element.  They can also carry a meaning separate from the repetitive sound patterns created. Alliteration is a phonetic stylistic device which aims at imparting a melodic effect to the utterance. The essence of this device lies in the repetition of similar sounds, in particular consonant sounds, in close succession, particularly at the beginning of successive words: The possessive instinct never stands still. Through florescence and feud, frosts and fires it follows the laws of progression. (Galsworthy) Rhyme is the repetition of identical or similar terminal sound combinations of words. Rhyming words are generally placed at a regular distance from each other. In verse they are usually placed at the end of the corresponding lines.
Saturday, March 7, 2020
According to Freud, sexual desire is the drive behind everything. Death in Venice by Thomas Mann and The Moon and Sixpence by W. Somerset Maugham are no exceptions; both stories are fueled with it.
According to Freud, sexual desire is the drive behind everything. Death in Venice by Thomas Mann and The Moon and Sixpence by W. Somerset Maugham are no exceptions; both stories are fueled with it. Depression in Sexual RepressionAccording to Freud, sexual desire is the drive behind everything. "Death in Venice" by Thomas Mann and The Moon and Sixpence by W. Somerset Maugham are no exceptions; both stories are fueled with it. Aschenbach and Strickland spend the majority of their lives repressed. Aschenbach's life is based on strict schedules and discipline. Strickland lives a life in a society he doesn't enjoy. When they go against society and dip into their desires, they both become consumed by them. Restrained passion can lead to discord, as is the case in both of these protagonists.From childhood, Aschenbach in "Death in Venice" bases every action and thought on self-discipline and reason. Aschenbach bases his artistic talent on perfectionism and self-discipline. The first page of the novella describes him at work: "He was overwrought by a morning of hard, nerve-taxing work, which had not ceased to exact his uttermost in the way of sustained concentration, conscientiousness, and tact" (Mann 3) In Aschenbach's mind, excessive passion would impede his pursuit of excellence.The Moon and SixpenceA sex life would interfere with his art, so he is without one. He attributes every part of his success to his discipline and lack of sexuality: "Yes, one might put it that his whole career had been one conscious and overweening ascent to honor, which left in the rear all the misgivings or self-derogation which might have hampered him" (Mann 12). Aschenbach throws his discipline as well as his pursuit of excellence out the window on his trip to Venice. The man who begins with faultless discipline and restraint joins a class of people that he was previously disgusted by.Strickland in The Moon and Sixpence has a beginning that mirrors that of Aschenbach. He leads a normal life with a wife that is respected by...
Thursday, February 20, 2020
Employment law Uk - Essay Example Under that subsection once the employer has shown that the reason for dismissal was redundancy the determination of the question whether the dismissal is fair or unfair is determined by the Tribunal and takes into account whether in the circumstances (including the size and administrative resources of the employer's undertaking) the employer acted reasonably or unreasonably in treating it as a sufficient reason for dismissing the employee in accordance with equity and the substantial merits of the case. Following the business reorganisation in March 2005 L claimed it genuinely needed to make 3 members of staff redundant. The employer merely has to show that there is a good business reason for the reorganisation and that it will result in a strengthening of the business: Hollister v National Farmers' Union . Although this case falls under the 'other substantial reason' head the fact that the National Farmers' Union (NFU) reorganised its insurance business to benefit the running of the business was held to be a 'good business reason' to dismiss an employee who would not accept the variation in his contract terms. "it is possible for an employer to use such a situation as a pretext for getting rid of an employee he wishes to dismiss. It is for the tribunal in each case to see whether on all the evidence, the employer has shown them what was the reason for dismissal." L has admitted that M was dismissed due to her sickness record, and not simply because of the need to reorganise the business. Where an employee has a long-term health issue which effectively frustrates the contract, it is possible to legitimately dismiss him/her provided there has been a fair review of attendance record and appropriate warnings have been given: International Sports Co Ltd v Thomson . Whether the dismissal is 'fair' turns on the interpretation of s98(4) of the ERA 1996. In Iceland Frozen Foods v Jones  Browne-Wilkinson J said: "there is a band of reasonable responses to the employee's conduct within which one employer might reasonably take one view.If the dismissal falls within the band the dismissal is fair." On the facts L has made no attempt to address M's sick