Earned value management Essay Example for Free

Earned value management Essay What is meant by an integrative project management process and why is this so important? What are the pitfalls if such an approach is not taken? The main goal of the integrative project management process is to take a project and design it around the specific needs of a company. This process can sometimes force companies to change how they conduct business, who they advertise too and how they attract new customers. What makes the integrative project management so important to companies is success. When a company spends millions of dollars to implement a new strategy, they want to ensure things go smoothly, especially if they are changing the direction of their business. These projects can take a bit longer to complete because the project manager will have to take the time to get to know the company, and how the conduct business, but in the end a business is usually more successful if they use an integrative project management strategy. When companies don’t follow this stringy, and go with a generic project template it usually ends up wasting time, money and resources. The final project, even though it is complete won’t meet their needs and usually more money is spent on small adjustments to finalize the project. I see this at work all the time, now one ever looks at our computer system as a whole, and designs a plan around what we already have in place. This can become frustrating because we end up with three and four different networks, and none of them ever seem to work correctly. Why is the traditional project management approach less effective when project scope is not clearly understood? Provide examples to illustrate your points. Our text refers to the triple constraint of scope, schedule, and budget. It’s a triple constraint in the sense that variability on any one of the constraints affects the other two. Effective project management must maintain scope, schedule and budget in a relative equilibrium or balance. That is, scope change, either to expand or contract it, will by necessity affect schedule and budget. For example, if an organization wants to make more narrow the scope of a project that is underway, it should require fewer resources and/or less time to accomplish. On the other hand, if the organization wants to expand the scope, it will have a direct effect on resources and schedule in that it will require more resources to finish on schedule, or the schedule will have to slip to accommodate finite resources spread across more project tasks. If project scope is poorly or improperly defined at project initiation, the schedule and budget will also be less valid because of the triple constraint nature of scope, schedule, and budget. Later in the project management timeline when additional requirements may expand the scope, schedule and budget will be impacted. For example, when a former employer was planning a new downtown office building as a company headquarters, they expanded the scope of the project to include a retail shopping and restaurant area. This necessitated arrangements with the city government to expand an adjacent public parking structure and allow a below-street-level tunnel between the building and the parking structure. This scope change resulted in a six-month schedule slip and required additional resources. Wk1 summary (Monday) Typical first week; rather steep curve as the learning teams form, I get into a battle rhythm so I can meet my individual and team requirements, and I figure out what software/tools I need to get the work done. This is only my second online course, and I am reminded that one of the advantages of being a ground student in a particular cohort is that the learning teams stay more or less intact from one course to the next, and we can really hit the ground running. Online is a different dynamic. Reading load is okay so far; I have some familiarity with the material since I have been working in a project environment for some time now.

A critical analysis of Goodbye Lenin!

A critical analysis of Goodbye Lenin! The Relationship between History and Memory: The post-war period ends in Germany in 1989 by demolishing of the Berlin wall. The unification process brought a lot of problems in all sections of the society. It has also brought problems to Germany’s future role as economic and political powers and directs the attention again to the challenging bequests of the past and tries to change the meanings of the national culture as a united Europe to sharp and clear the economic, social and ethnical differences. After 17 year of CDU rule, in 1998, the new SPD was led by Chancellor Gerhard Schroder and it made its way into recruit social and economic reforms to make the country more flexible on immigration, employment problems and more competitive in the global market. However, this move made a lot of concerns about the pulling down of the social welfare state, the crosion of a German Leitkultur and the problems in the New States as there were still racial violence and employment issues. When the government moved into Berlin, the st ructures of Reichstag and Potsdamer Platz, made the public think about the changes in the nation and identity. All of these events had an impact on the German cinema but they were less traceable in the few feature films that had a direct theme about the unification than in the unpredicted revival of popular cinema, based on a critical examination by some film scholars (Rentschler 2000). Film-makers returned to the post-war period genre to address special unification problems as a method of retrieving the stabilising purpose of classical narrative and of applying these effects. This process found an expression in the new generation’s disagreement to film movement with the social and political including New German Cinema. The young film-makers from producers to directors did not accept its philosophy of the authorship and individualism for a more practical, cooperation and between creative and marketable interests. Considering entertainment as a primary essential in cinema and films, they organized themselves with international trends in film-financing and marketing that had made the 1990s an bland decade for films, conquered by the blockbuster films. However, replying to some domestic worries, film-makers registered the consistent effects of genre in the modifying of the German past and the remapping of the German present inside the cultural and geopolitical of post-wall Europe, and trying to approach themselves openly to German audiences, the films of the 1990s required to house the audience’s conflicting desire of both creating the narratives of the Germannerss less complex and give more room for optimistic images of a multi-ethnic, multi-cultural culture. It is also considered that the wider the effect of continuing reconsideration for modern filmic performs and the writing of film history. Film scholars have started to check the main serious models and give extra care to the connections between German popular cinema and its purpose. In Goodbye Lenin! (Dir.: Wolfgang Becker, 2003), it reveals the change of viewpoint on the sense of East-West unity in post-wall Germany. Becker approaches to unification in his film Goodbye Lenin! By exanimating the images of separation and connection that he created. He also approaches unification between the East and the West as something unwelcome. The conception of merging two parts together becomes the idea of one part is overwhelming the other and the other is fighting this engagement. The resistance rest on viewing the German Democratic Republic which is known as East Germany as a unified individual part. As the rest of the film focus on keeping the impression of GDR unity in the unification’s strength to erase that impression. The beginning scenes of Alex’s childhood express the separation of Germany in this film as a represented by the family. It seems to allow for more pleasant relationships for Alex’s disappointment to his father who travels to the we st and Alex’s mother and sister remains in the East. The separation is not about the division of the two parts but rather about the discharge of disruptive elements from the controlled unity of the GDR. The separation leads to more tightly enforced impression of the unity as a clue in the mother’s efforts to express any need for going back with the father. However, instead of trying to bring the father back to her world, she creates a new world where the father has no role in it. She merges the family without him in her alleged fight to assistance the GDR achieve its socialistic values. Therefore there is no desire to overcome the separation between the East and the West. The film represents the unity of the GDR through many home movies and flashbacks to Alex’s childhood which makes the family overcomes the difficulty of the fact that the father left the home and the mother’s breakdown to develop as loyal supporters of the GDR socialism. Later on, Alex jo ins in protests for freedom to travel out the GDR. At this moment, the mother sees Alex in the protest and she faint because of her son’s challenge for his dream, she represents diverts him from his hard work to rebel. Christiane goes into an eight months coma. As Christiane wakes from her coma, Alex fears that if she knew about the GDR after the fall of Berlin wall, the shock will give her another heart attack after the first heart attack in 1989 and it will result in her death as her doctor advised Alex. As he is faced with the loss of both of his mother and the state with which she recognized, the memory of his childhood and the vanishing GDR starts to take on parallel potentials to his imaginations of space. The historical distance of his East German childhood, offers Alex a wish of a resting place away from experience of time that would separate him quickly from his mother and his past. All of these losses to Alex share a desire for a division, a slow flow of time. As Svetlana Boym says of nostalgia: â€Å"At first glance, nostalgia is a longing for a place, but actually it is a yearning for a different time- the time of our childhood, the slower rhythm of our dreams. In a broader sense, nostalgia is a rebellion against the modern ide a of time, the time of history and progress.† [1] The film represents the adult’s relationship to the memory of childhood through Alex’s attempts to retain a link to his personal past with all of these changes that happens in his world that surround him, hoping that he can extend his mother’s life. Alex hides the breakdown of the East German state by recreating his mother’s bedroom with the outmoded GDR furnishings that he and his older sister threw after the breakdown. Alex also create the childhood â€Å"heaven† that he never had before and his dream of that perfect place battle both of communism and capitalism’s large-scale difficulties of endless progress, Alex turns his perfect place desire hidden, looking for asylum in the expectedness of everyday life and in the national spaces of personal childhood. Andreas Huyssen proposes that this â€Å"memory boom†¦ is a potentially healthy sign of contestation† in our fast-paced world, â€Å"recover[ing] a mode of contemplation outs ide the universe of simulation and fast-speed information and cable networks† as well as stating â€Å"the basic human need to live in extended structures of temporality.†[2] However, Alex’s preservation act carries a positive potential in the context of the unification and the resulting disagreements of both the social and political structures of East German. He risks delaying a method of observation that would result to his mother’s death, covering himself instead in the comfort of a timeless present. Christiane’s bedroom becomes a shelter, where the desperate hurry to unification and the similarly swift closure of the GDR have slowed down. In reconstructing the physical environment linked with his childhood, Alex offers himself a historical space to renegotiate his connection to his past in the way of the incoming loss. As modern institutions to everyday life in the GDR favour to concentrate on house entities rather than the political leftovers, Alex’s plan steps out of the current of historical disorder and harsh change, lasting in the slower pulses of his private life. The level of protection about the objects that relates to his mother’s extended survival, Alex’s museum space offers him time to imitate on the chance of his mother’s death, by the help of artefacts that created a memory aid link to the disappearing GDR. In a argument on the changing meanings of museums in the modern culture, Andreas Huyssen proposes that modern museums support us â€Å"to negotiate and to articulate a relationship to the past that is always also a relationship to the transitory and to death, our own included;† we may therefore see the museum as â€Å"a life-enhancing rather than mummifying institution in an age bent on the destructive denial of death†¦Ã¢â‚¬ . [3]Alex’s museum space offers him the chance to get to the loss on his own agenda, to show sorrow if his mother died without a limit, surrounded by entities that reminds him of the childhood in an atmosphere of quiet echo. Regardless of the positive Alex’s protection of culture entities to protect against the comprehensive removal of the East and to heal his approval of his personal loss, the trick is triggered in his rebuilding that will eventually prevents from a positive relationship to the past, present, or future. To defend his mother from the shock he worries that he will kill her, Alex must retain the impression that the radical changes of the Wende did not happen. Rather than easily simplifying things his mother, and himself, into the present, Alex works progressively to duplicate a frame in the past, pouring Western foods into East German jars and bottles collected from the trash, filming fake East German news and even forcing friends and guests to wear old East German clothes. Unlike a museum, where the physical and historical distance between viewer and entity inspires a serious echo, Alexâ€℠¢s complete rebuilding a time-sphere to put his mother in the impression of a timeless present, where artefacts of the past may not show any symbols of age. Boym distinguishes between two types of nostalgia: restorative nostalgia, which search for to reconstruct the missing home and reflective nostalgia, which lingers lovingly on ruins. As Boym express that, â€Å"Restoration signifies a return to the original stasis, to the prelapsarian moment. The past for the restorative nostalgic is a value for the present; the past is not a duration but a perfect snapshot. Moreover, the past is not supposed to reveal any signs of decay; it has to be freshly painted in its â€Å"original image† and remain eternally young. Reflective nostalgia is more concerned with historical and individual time, with the irrevocability of the past and human finitude. Reflection suggests new flexibility, not the reestablishment of stasis. The focus here is not on recovery of what is perceived to be an absolute truth but on the meditation on history and the passage of time†.[4] Both the ordinary route of time and the historical disorders of 1989-1990 have distorted Alex’s childhood desire to travel and the physical distance to outer space into a desire for the historical distance of his East German childhood, by exaggeratedly breaking up the historical distance of his East German childhood. However, he fights his thinking on the route of time, and as a result, he fails to arise to a conclusion of loss. Though his mother’s bedroom protects him from the leap of life in the real world, Alex dodges fronting the option of death by constructing a zone where time is reach a stationary point. Also, since he cannot settle the joy of unification and trying to protect of the past at the same time, Alex’s inner and external worlds develop ever more separation. Throughout the film, the West German football team’s victory in the 1990 World Cup aids as an icon of internal unity in Germany, motivating the approaches of unity and shared celebrati on. Good Bye, Lenin! Ends with the collocation of the depressing, broken-down streets of the GDR and the bright colours of the Super-8 films that had represented happy moments in Alex’s childhood in the beginning of the film. Once the Berlin Wall falls, Alex’s desire for the slower pace of life was paid by the distance of space as well as his East German childhood is an answer to his requirement to sorrow the loss of his mother in a historical time-space isolated from that which so quickly and unsentimentally thrown out the GDR. Though he briefly falls as a victim to a returning nostalgia that would prevent him from carrying on into the future, Alex on the other hand reveals how the protection of East German popular and culture’s entities in unified Germany can aid the GDR citizens to keep a connection to the his past, simplifying the echo on the route of time and recognising the loss that relates to the unstable cultural significance of East German entities. Alex in the end sends his mother’s ashes into the air on a firecracker that had the same identity and was almost a replica to the tiny rocket of his childhood. As he is looking up at the fireworks in the sky, he imagines that his mother is looking down on them from space. The meaning of his relationship to space has now upturned from the diversion of his childhood to accept the death fact in adulthood. For Alex, GDR childhood breaks and fails as being a â€Å"haven† to him, where he can delay sadness forever, and he develops a collection of cultural markers and personal memories that open up a dialogue between the real and imagined spaces of past, present, and future. Alex’s desire for a different knowledge of time eventually will accomplishes its positive prospective to recuperate a missing connection to the slower rhythms of East German childhood, standing in front of fast and confusing historical disorder. In Pierre Nora article ‘Between Memory and History: Les Lieux de Memorie’, he claimed that many section of memory exists because people do not have impulsively arising memory, instead, the people depend on history to fill in the gaps of their memory. He also claims that the leftovers of an experience have been â€Å" ‘moved under the heaviness of a essentially historical sensibility’ with haunting images of the â€Å"push and pull† result of historical moments that are being separated from the movement of history and then re-joint, ‘like shells on the shore when the sea of living memory has receded.† [5]Nora proposes that the existing desire for archives files aids his philosophy in that nations are trying to record everything based on the philosophy â€Å"record as much as you can, something will remain.† Nora appears to understand the government’s history storing because the culture’s quantity has crushed the real m emory. Bibliography: Anton, Christine, Pilipp Frank, Beyond Political Correctness. Remapping German Sensibilities in the 21st Century (Germany: Rodopi, 2010), pp: 218-220 Clarke, David, German Cinema since Unification (London: Continuum, 2006), pp: Hake, Sabine, German National Cinema (London: Routledge, 2001), 179-180 Nora, Pierre, ‘Between Memory and History: Les Lieux de Mà ©moire’ in Representations, No. 26, Special Issue: Memory and Counter-Memory, (spring, 1989), pp. 7-24. [1] Clarke, David, German Cinema since Unification (London: Continuum, 2006), pp: 26 [2] Clarke, David, German Cinema since Unification (London: Continuum, 2006), pp: 27 [3] Clarke, David, German Cinema since Unification (London: Continuum, 2006), pp: 27 [4] Clarke, David, German Cinema since Unification (London: Continuum, 2006), pp: 32 [5] Nora, Pierre, ‘Between Memory and History: Les Lieux de Mà ©moire’ in Representations, No. 26, Special Issue: Memory and Counter-Memory, (spring, 1989), pp. 7-12.

cold :: essays research papers

Kelley - guitar Scooter - vocals/guitar Jeremy - bass Sam - drums Terry - guitar After the dawn of Alternative Rock, dozens of bands began focusing their negative energy to create spiteful songs that resonated with crashing guitars and howling, pain-stricken vocals. Depression and frustration became the emotional conditions of the hour, and the music scene became glutted with groups that either feigned despair, or were so bleak they became inextricably tangled in their own gloom. Today, in an era where angst and volume have become passe, there are still a handful of bands that choose to internalize anguish and regurgitate it as a visceral, deeply moving melody. One of those is Jacksonville, Florida's Cold, but Cold aren't your average self-immolating neo-grunge outfit. While numerous heavy riffing alternative bands wallow in their pain, Cold revel in the dark, celebrating its tense, inviting grip and embracing its all-consuming energy. "I'm happy with the darkness," says frontman Scoot Ward. "I've had a negative outlook for so long. And the way I see stuff has always been bleak, so I've learned to make that good. I just like to write songs that express how I feel." Cold's self-titled album voices the band's nihilistic outlook with lumbering beats, twisting guitar lines, surging rhythms and rough, raspy vocals. But while the group is certainly in touch with its inner hostility, the members are also aware that beauty and ugliness need to co-exist in order to present a balanced equation. "We're influenced by lots of different stuff, not just heavy music," says Ward. "We like Tool and Black Sabbath, but we also love Radiohead and even Sarah McLachlan. I was really into the Cure and Depeche Mode when I was growing up, and Sam was really into Kiss and Sabbath. Our stuff is just a mixture of all the things we like. There's nothing wrong with melody as long as it's still got emotion in it." You can accuse Cold of being cynical or negative, but no one could possibly call them shallow or unfeeling. Their debut disc shudders with emotional revelations as cathartic as primal scream therapy. From the disoriented fury of Kelley Hayes' guitar lines to the heartfelt hopelessness of Ward's ravaged howls, Cold is a band that's not afraid to expose its true voice. The first single "Go Away," which builds from a deep, bopping groove to a churning wall of despondency, is a rant against the selfish and ungrateful.

Speaking From Within: A Discussion on Our Innate Ability to Learn Languages :: Biology Essays Research Papers

Speaking From Within: A Discussion on Our Innate Ability to Learn Languages For years since I moved to the United States after the age of nine, I've always been frustrated at the lack of improvement in my ability to speak English without a trace of foreign accent and my ability to write without any grammatical errors. It always seemed to me that learning languages is unlike learning anything else, I can logically understand the pronunciation of the a word or the rules of grammar, but for reasons unknown, I always found it hard to incorporate logical knowledge of language into the actual speaking and writing of English. I started to surf the web in attempt to find the reasons to why, even after spending more than half of my life in the U.S, I still cannot speak and write as well as people who were born or came here at a much younger age. At first I though the answer would be something to the extend of finding a region of the brain that is specialized for the learning of languages and that region is more developed in people other than I, who are good at linguistics. However, it turned out that the answer entails more than specialized regions in the brain, while there are regions in the brain that are specific for processing languages, what I found more interesting is that there is much evidence that supports the selectivist theory, found by Noam Chomsky that the ability to learn language is innate. Here innate means that  ¡Ã‚ °the language template is pre-organized in the neuronal structure of the brain, so that the fact of being an integral part of a given environment selects the borders of each individual neuronal structure without affecting its fine organization, which pre-exists. ¡Ã‚ ± (1) In this paper, I wish to point out evidence that supports this theory of the innateness of language, and to exam how the l anguage template develops. In conclusion, I wish to gain a better understand of my own language learning process in light of these new findings. One evidence that points to the innateness of language is the accuracy and speed at which humans process language and the accelerating rate at which children acquire language.  ¡Ã‚ °Ã‚ ¡Ã‚ ­ the average speaker produces approximately 150 words per minute, each word chosen from somewhere between 20000 and 40000 alternatives, at error rates below .1%. The average child is already well on her way toward that remarkable level of performance by 5 years of age, with a vocabulary of more than 6000 words and productive control over almost every aspect of sound and grammar in her language. Speaking From Within: A Discussion on Our Innate Ability to Learn Languages :: Biology Essays Research Papers Speaking From Within: A Discussion on Our Innate Ability to Learn Languages For years since I moved to the United States after the age of nine, I've always been frustrated at the lack of improvement in my ability to speak English without a trace of foreign accent and my ability to write without any grammatical errors. It always seemed to me that learning languages is unlike learning anything else, I can logically understand the pronunciation of the a word or the rules of grammar, but for reasons unknown, I always found it hard to incorporate logical knowledge of language into the actual speaking and writing of English. I started to surf the web in attempt to find the reasons to why, even after spending more than half of my life in the U.S, I still cannot speak and write as well as people who were born or came here at a much younger age. At first I though the answer would be something to the extend of finding a region of the brain that is specialized for the learning of languages and that region is more developed in people other than I, who are good at linguistics. However, it turned out that the answer entails more than specialized regions in the brain, while there are regions in the brain that are specific for processing languages, what I found more interesting is that there is much evidence that supports the selectivist theory, found by Noam Chomsky that the ability to learn language is innate. Here innate means that  ¡Ã‚ °the language template is pre-organized in the neuronal structure of the brain, so that the fact of being an integral part of a given environment selects the borders of each individual neuronal structure without affecting its fine organization, which pre-exists. ¡Ã‚ ± (1) In this paper, I wish to point out evidence that supports this theory of the innateness of language, and to exam how the l anguage template develops. In conclusion, I wish to gain a better understand of my own language learning process in light of these new findings. One evidence that points to the innateness of language is the accuracy and speed at which humans process language and the accelerating rate at which children acquire language.  ¡Ã‚ °Ã‚ ¡Ã‚ ­ the average speaker produces approximately 150 words per minute, each word chosen from somewhere between 20000 and 40000 alternatives, at error rates below .1%. The average child is already well on her way toward that remarkable level of performance by 5 years of age, with a vocabulary of more than 6000 words and productive control over almost every aspect of sound and grammar in her language.

Criminal Justice Essay -- Crime Criminal Justice Police Essays

Criminal Justice This paper will describe my understanding of the text and of the lectures provided in the class. Unlike most classes, where I understood only my view of the text, this class was geared so each student would understand each other’s view. 3 An organization is a collective that has some boundary and internal structure that engages in activities related to some complex set of goals. Members of organizations attempt to meet their psychological, ego and emotional needs within the organization. Criminal justice organizations are particularly unique compared to other public or private sector organizations because of the governmental granted authority. Management within these organizations can be defined as the process by which the elements of a group are integrated, coordinated and/or utilized so as to efficiently achieve the organization’s objectives. In Law enforcement and correctional organizations, the front line officers manage people. This is especially true in the contro l of inmates. In these organizations, we must consider the hierarchy to be inverted. The front line officers, not limited to sergeants and lieutenants, influence the direction of the organization. Leaders in criminal justice establish direction by developing a vision of the future, align people through shared values and vision, and motivate and inspire people to move them toward the shared vision. Leaders will challenge existing processes and systems, focus on the future of the basic assumptions, values, and beliefs and create the basis for structural or programmatic change. 4 Conversely, leadership in corrections is often more complex. Prison and jail overcrowding, along with the increasing number of geriatric, mentally ill and an influx of younger and more violent inmates requires the managers of the organization to increase the training and motivation of line officers in order to deal with problems. In law enforcement agencies, leaderships must recognize the need for more communi ty policing programs. These criminal justice organizations must look inside themselves and adapt change in order to meet their goals and objectives. The goals of organizations not only provide direction but also serve as constraints or limits. An example in the criminal justice model would be for an agency to make more arrests to meet the public outcry, but also to insure the judicial and corr... ...ders within the organization must utilize all their skills to ensure agency goals and objectives are met, especially in the criminal justice system. The organization culture is very complex in nature within the criminal justice system. The law enforcement, judicial and correctional systems, even though essentially in the same business, are different. Each level of the justice system belongs to it’s own subculture. Each also, has subcultures within it. They act on individual socialization within themselves. A great example would be life within a prison institution. The warden, of course, is in charge of the institution but when off, the ranking correctional officer is in charge when he/she is with the inmates. The individual group leader of the inmates (according to the â€Å"pecking order†) is in charge when the correctional officer is not around. The examples given are of formal and informal socialization. Before taking this course and thoroughly reading the text, I was only exposed to law enforcement organizations. Most of the professors were either lawyers or law professionals. It was enlightening to read the text and to hear a different perspective from a corrections professional.

Beauty and Goodness

We have discussed before a question whether art necessarily has to improve us morally and concluded that not all art has moral impact, or is morally relevant. But think about the following questions, please explain each in detail: 1) Is a work with a moral message a better work because of this, than the work without any moral relevance?I believe that on general terms a work is better with a moral message than without one, meaning that its having a moral message is not the only measure of a work of art but that it is better because it reflects a consciousness, a responsibility on the part of the artist, of trying to make a statement, of sharing his stand to all the eyes that will look at the art work. An artist will eventually die, a work of art has more chances of surviving through the years, and it will be his testament.If it will survive then it would be better if it can show the coming generations a grain of truth on the human condition. 2) Could an immoral work be praised as arti stically successful? Personally I do not believe that an immoral work could be praised as artistically successful. Should art have no meaning but simply satisfy aesthetic taste? Could we look past the effect of a work of art and just choose to look at aspects of it and not its wholeness including the statement it makes?An immoral work goes against the goodness that we recognize as beautiful – and in this it seems that human nature is innately good, as we associate what is good with what is beautiful. It is only when we disassociate with what our emotions and our instinct tells us that we take a calculating look and examine a work based on rigid standards. 3) Are goodness and beauty in any way related in real life? I believe that in goodness we see beauty, but not all things beautiful truly have goodness.We know of beautiful faces but have evil hearts, but we also know of good hearts but may not come in what society brands as beautiful. However, when there is goodness in heart and spirit, we feel safe and good about ourselves and others as well, and we see the beauty in things. After all, all things have beauty and goodness in the – as long as we look for it – and what is good is the beautiful in them.

Sandy and Her Beautiful Sisters

In this story we'll meet Sandy, who Is the â€Å"Cinderella† of this modern fairytale. She Is goodhearted, motherly, caring, modest and helpful. Sandy good looking thing' Is her long, thick, curly hair, which she has been complimented on a few times. She Is an Independent and modern woman, but one day she decides to make a plan for her future. First of all she wants to shut her ears to the sisters' compliments, secondly she wants to lose weight and thirdly she will let Danny. One of the sisters' old boyfriends, sleep with her. Just for practice so she would be ready hen the prince of her life shows up.Even though Sandy's plan seems attainable it is not as effective as Sandy wished. Sandy becomes pregnant after sleeping with Danny, and the Cinderella dream crumbles. Suddenly Sandy is both single and pregnant. The sisters try to convince Sandy that she is beautiful and there is a man, somewhere out there, waiting for her and wants her. But Sandy doesn't believe them at all. The sisters are taking Sandy for granted, might because they don't has a clue about that Sandy, a later time in the story, gets her own life and her own things to do than to do everything for them.The sisters are might Jealous of the skills Sandy got, she is a good cooker and to keep the house clean. The most supportive and helpful person in the story is Mrs.. Fairy, Sandy fairy godmother. She helps Sandy to take a chance and do something about her life. Mrs.. Fairy is what Sandy needs in her life, a person who can speak clearly and precisely to her. Sandy takes her first ‘step' on her way, after she has spoken with Mrs.. Fairy. So actually, it's because of Mrs.. Fairy that Sandy finds her happiness. In all fairytale there is a prince in this one is It Sam Prince,Sandy's Prince Charming. Even though the three sisters all wanted him, and the fact of the two eldest being beautiful it was still Sandy and her cooking who won the prince. With help from Mrs.. Fairy. Sandy sister's lives In the two large Intercommunicating rooms at the front of the Pelham flat, which they all shared, Sandy lives In the smallest room, with a good view over the garden. This Is a kind of symbol of their familiarity and much stronger bonds with each other, Harriet and Helena, compared to their younger sister Sandy.It was Sandy own choice to live In the smallest room. The story Is based on the moral, It doesn't matter If you are beautiful or not, you can still have anything you want, If you fight for It. The writer proves his/her point by showing Sandy that she can get the man of her dreams. That they all three had wanted, as a reader, you see that beauty isn't the most important thing, as it sometimes may appear, but that Sandy cooking skills brought her further, than the sisters astonishing looks, and will last forever, in contrast to beauty, w c w I leaser Walt