Economics - Various Essay Example | Topics and Well Written Essays - 750 words

Economics - Various - Essay Example In the case of negative externality, one of the best examples is the concern regarding pollution. Consider a manufacturing company operating of garments marketed to Europe based in Northern Thailand. The operation of the company releases contaminants in sewage which has been linked to the decline fisheries in the lower regions of the Mekong River. In this case, the operations of the company are not impacted directly or the buyers of the products affected by the issue. To illustrate a positive externality, consider the case of state or governments providing police to ensure and monitor public safety using tax revenues. Public safety is mainly in the interest of social or public welfare. This is provided by the government or the state to its citizens but also has the effect of increasing the competitiveness’ of markets and confidence of investors. Social stability encourages foreign direct investments and economic sustainability. Mergers are a means of corporate or operational expansion, generally mutually contracted, with the objective of increasing competencies, streamlining or to consolidate market interests or economies of scale for long term profitability. To contrast it from acquisition, acquisitions usually entail one company buying or gaining control of another company. Mergers are considered to be more â€Å"friendly† than acquisitions but are also considered to be more challenging since it requires compromising more parties or interests (Lien, 2005). Mergers are mainly classified as horizontal, vertical or conglomerate. Other classification of mergers include congeneric mergers, reverse mergers, accretive mergers and dilutive mergers but these have more limited use in research and are considered in general under the aforementioned main classifications. Horizontal mergers occur when the companies involved have similar products

Roles of a Manager within Functional Areas of Business Essay Example for Free

Roles of a Manager within Functional Areas of Business Essay Business and Government are just the same except in all the important aspects.(Joseph L. Bower, 1970, p.70). This quote makes sense, because both require a management level that must be versatile and play distinct roles in different business situations or organizations. These functions are important to any business and its success. Managers Role in a Business Businesss all have different functions, goals, and ratios to gauge, to be successful. A managers job has different levels, and some are from a great extent to a lower degree. But they all must have key attributes to be successful for their subordinates and peers. They must have authority so that those they look over respect them and follow through with a task they delegate. A manager also has to be efficient, with excellent problem-solving skills. Regardless of what business you are in, you will want efficiency, but you will always run into a problem, which will need to be resolved immediately. These problems can be internal with staff, or on a larger scale impacting the business for a sooner than later failure. You will want a manager who can fix the issues, find the issues and coordinate all of this by utilizing the business metric they are using. This metric of activity should be the guidelines in which the company wishes to follow and is a foundation that should make a business successful. Marketing Marketing is another functional area that businesses thrive on. Some in my opinion view this as just a tool that is used to bring in business on a particular product. But in reality utilizes trends, ideas, generations, and considers a lot more from the inside of the company, and allow the outside  world to notice it. The purpose of marketing is not to just find and increase new areas of business. They want to bring the business to the front door, but not let out the back. This is so there can be new business obtained, but it is also retained for an extended term relationship. The marketing manager must oversee all of their team and their ideas and move forward with what they think will help the business. Human Resources Human Resources is an area of business where the manager acts as a service provider, policy police, strategic partner, change agent, and welfare officer. (Welch and Welch 2012). These managers are the enforcers of the law at these businesses, as well as the legislation of the geographic territory they reside in. They need to ensure that they hire the right person for the right job and fire those who may be crippling the business and individuals. They must consistently enforce the rules for the employees at hand and ensure they keep accurate records for the company. Finance and Accounting Finance and accounting are what is looked at as the meat of the business and is necessary for a company to be successful. This can also tell a business where its weaknesss lie. A managers role in this position is to maintain positive numbers. But if this is done correctly it also has different areas of finance. What I mean by this is, there may be a business that thrives on more than one product. If one product is not selling, the correct action could be to remove that product, market it better, or improve the product. This will also let the business know if they can expand if they need more employees and dictate the future of the enterprise. Operations Operations are the creation, moving, or services that need to be put in place so they can reach the hands of the customers. This is one of the biggest factors that can make or break a business. There is a lot of unpredictability in operations, and there must always be a backup plan in place. If there is a breakdown in delivery of a product to a customer, to the business, or not pushing a product on the floor fast enough; this can  end a relationship with a client that depends on, operations to move smoothly. If management has a plan in place, there should be no repercussions from the unexpected. Or they should be able to find a resolution to the operations issue immediately. Operation is a factor that everyone relies on, and I feel that many consumers dont realize how much they rely on it until there is this breakdown in operations. Leadership and Strategic Planning Leadership and strategic planning is an aspect that always needs to be put into place from the very beginning by the management. These plans will help oversee all aspects of a business from the environment to the lower level of subordinates. It will point everyone in the right direction to achieve the goals of the company and even the goals of those in the company. If a particular plan is set forth by the leaders, it should be known to those involved so they could follow these guidelines to meet or exceed the goals. The leadership will ensure that these plans are followed to ensure the success of everyone. Conclusion Everything that is discussed in this essay was a brief description of necessary areas in business, and how management needs to be involved in these fields. All of them are needed for the success of enterprises, and the managers who overlook these different functions need to ensure their duties are carried out properly so the company will succeed. With these areas working appropriately with good leaders, there is a greater chance of success. These guidelines and structures are the foundations on which to build a business. Each aspect plays its role that must be led by people with these foundations as their law book to abide by. These leaders should also be able to pass this knowledge down to their successors so the business can thrive long after they are gone. References Welch and Welch (2012) Joseph L. Bower, Managing the resource allocation Process: A Study of Corporate Planning and Investment, Division of Research, Graduate School of Business Administration, Boston, Harvard University Press, 1970, p.70. Anne J. Broderick (1998) Role Theory, Role Management and Service Performance Kane- Urrabazo C. (2006) Managements role in shaping organizational culture

The Conveyance of Emotion in the Writing of Zora Neale Hurston Essay

The Conveyance of Emotion in the Writing of Zora Neale Hurston Sharpening Her Oyster Knife: I am not tragically colored. There is no great sorrow dammed up in my soul, nor lurking behind my eyes. I do not mind at all. I do not belong to the sobbing school of Negrohood who hold that nature somehow has given them a lowdown dirty deal and whose feelings are all hurt about it....No, I do not weep at the world -- I am too busy sharpening my oyster knife. ___Zora Neale Hurston Zora Neale Hurston kept busy sharpening her oyster knife not to prepare for any violent confrontations with white society but quite the opposite, to extract the raw materials from her own culture and cultivate them into priceless treasures. To Hurston the Negro was always in vogue (Hughes). She didn't wait for the white culture to place its stamp of approval on the subject matter she knew and loved so well. In her well-known essay, "How It Feels to Be Colored Me," Hurston makes reference to society's view of her a the granddaughter of slaves: "It is quite exciting to hold the center of the national stage, with the spectators not knowing whether to laugh or to weep." Hurston must have felt that way about her writing also; she threw it out there and let the audience do with it what they willed. Sometimes we laugh; sometimes we cry. But humor always hovers nearby in all of her writing and serves as the emotional salvation needed to compensate for the often heavy subject m atter (Fauset, 166). Throughout Their Eyes Were Watching God, Hurston indicates that to refuse one's heritage is cultural suicide, and the loss of laughter represents an early symptom. In the novel, throug... ...w York: HarperCollins, 1995. Hurston, Zora Neale. "The Gilded Six-Bits." ZNH: The Complete Stories. Hurston, Zora Neale. Their Eyes Were Watching God. New York: J. B. Lippincott Company, 1937. Jones, Gayl. "Breaking Out of the Conventions of Dialect." Zora Neale Hurston: Critical Perspectives Past and Present. Eds. Henry Louis Gates, Jr. and K. A. Appiah. New York: Amistad, 1993. Lowe, John. "'Cast in Yo' Nets Right Here': Finding a Comic Voice." Jump at the Sun. Urbana and Chicago: University of Illinois Press, 1994. Miller, Rachel. "Narrative Strategy in Hurston's 'Sweat'." http://www.as.wvu.edu/~ginsberg/sweat.htm Wall, Cheryl A. "Zora Neale Hurston: Changing Her Own Words." Zora Neale Hurston: Critical Perspectives Past and Present. Eds. Henry Louis Gates, Jr. and K. A. Appiah. New York: Amistad, 1993.

American Square Dance

At one time, the square dance was omnipresent in rural America; but its golden age, if ever there was one, has passed. Today, it is noteworthy when a folklorist discovers a community with an unbroken tradition of square dancing, if only because it piques our interest as to why such practices endure in one place and not in another. Contemporary contexts for traditional square dance are, in fact, quite plentiful; but they persevere as isolated phenomena, largely hidden from the consciousness of the mainsream.The American square dance is the subject of a huge body of choreographic data, most of which was generated by dance educators and recreational specialists whose concerns lay apart from those of folklorists or ethnographers. Some of this descriptive material, especially some works published before World War II, are collections of regional repertoires and even, in a few cases, of localized traditions. Much of the dynamism of square dancing comes from turning motions, including rotati ons around a vertical axis and revolutions around the floor.In square dancing many rotations are energetic turns executed by two dancers together (not always opposite sex couples), but there are also more languid arcs circumscribed by enclosed circles of between three and eight dancers. In square dancing, women are often asked to make singular rotations or twirls, according to, on the one hand, traditional embellishments or, on the other hand, set variations taught by the local polka instructors. Most of the time, square dancers only step forward or stand in place.In a few instances, walking backward is called for, and a dancer will occasionally have to take a sideways step to the right or left. To accomplish this dizzying variety of spins and turns requires the manipulation of other parts of the body. The entire trunk is usually kept aligned with the line of gravity (and for all couple dances in general). It should also be noted that in the square dance walk, the dancer’s ce nter of gravity is moved slightly forward over the balls of the feet when compared to the ordinary walk.The kinesthetic sensation for the dancer is to feel as if his chest is leading the rest of his body. Arm movements in square dancing are important, but only in the context of reaching out to and grasping another dancer. The dancer reaches forward to join hands in one of three ways with another dancer, reaches to the side to hook elbows or put an arm around the waist of an adjacent dancer, or uses both hands or arms to grasp a dancer of the opposite sex in one of several stylized holds. These are known as the â€Å"swing† or â€Å"ballroom†, â€Å"courtesy turn† and â€Å"promenade† positions.Robert Bethke discusses square dancing in contemporary commercial or public settings in the Northeast, while offering very little movement data except to note the infrequency of square dances on the program in proportion to couple dances performed to popular or coun try music. What Bethke attends to is the dress and decorum of the dancers, their general age, the instrumental makeup of the band and the musical styles performed the participants’ levels of intoxication and the dancers’ incompetence relative to the past.Bethke goes into great detail on the repartee between the band leader and the audience, providing texts of some of the leader’s jokes. The inquiry on the history of square dance was first motivated in 1977 by the puzzle of why the German community around Hoagland took as its own an Anglo-American dance form. The cultural choices a folk group makes are historically conditioned. In the year previous to the first appearance of The English Dancing Master, the English and the Dutch had agreed on the borders of their North American colonies.Besides the Confederation of New England to the north and New Amsterdam in the Hudson Valley, the New World also had settlements of Swedes on the Delaware River and growing English colonies in Maryland and Virginia. In another thirty years, the first German immigrants would arrive, and, as the French consolidated their hold on the West, the first European settlement would be established at the headwaters of the Maumee River, near the Miami Indian village of Kekionga, the present site of Fort Wayne, Indiana.In the mid-eighteenth century, when the longways English country dance form was firmly established as the most popular form in European ballrooms, English emigration to the thirteen American colonies was in full sway. Along with the immigrants, and as a part of the continuing trade with the mother country, came terpsichorean skills, repertoire and paraphernalia. Not even the American Revolution disrupted these choreographic connections. Square dancing became a vital activity in nearly every rural nook and cranny through the first half of the twentieth century.In 1926, Henry Ford published â€Å"Good Morning†: After a Sleep of Twenty-five Years, Old-f ashioned is Being Revived, adding to a growing revival of interest in square dancing and other related forms of traditional American dance. In the twenties in New England, with an assist from the open air museum at Old Sturbridge, there was a growing awareness of that region’s vital and unique repertoire of country dances or contras (as cited by Tolman and Page).Indeed, Grace Ryan, a physical education instructor at Michigan’s Central State Teachers College, pioneered with an instructional manual on Dances of Our Pioneers, featuring the â€Å"quadrilles or square dances† which she collected at community dances and from local callers (Ryan). These efforts helped spark a square dance boom that was well underway in the late thirties when Lloyd Shaw, a Colorado high school principal, began to collect western figures that he taught to his students in place of the international folk dances promoted by other educators.Shaw’s performing square dancers from the Ch eyenne Mountain School garnered a great deal of renown for their exhibitions; and Shaw’s fame spread farther when he published these figures in 1939 in Cowboy Dances, an oft-reprinted volume. Besides the considerable impact wielded by his clear representation of seventy-plus figures, Shaw also sketched for Americans his view of the path traveled by this widespread variegated dance form: that the western square dance, one of three regional types, derived from an intermingling of the New England Quadrille and the running set from the southern highlands.Due to the prevalence of visiting couple figures in both the southeastern and western traditions, Shaw asserted that â€Å"the mainstream, I believe, heads in the Kentucky Mountains† (Shaw 27-31). This became the standard account of square dance history that would preface a multitude of instruction manuals published in the forties and fifties. Shaw was not alone, in those early days of the revival, in granting special stat us to the Southeastern square dance. J. Olcutt Sanders prepared a â€Å"Finding List of Southeastern Square Dance Figures† in 1942.He regarded the Southeastern square dance as a separate genre, referring to it variously as â€Å"the running set† and â€Å"the big set†, which could be characterized on the basis of internal evidence (Sanders 266). A decade later Elizabeth Burchenal extended this interpretation by crediting the supposed isolation of the southern highlands for the development of â€Å"our most indigenous dances,† including figures which â€Å"cannot be identified as transplantations† (Burchenal 20). By contrast, the Northeastern square dance, also called the New England quadrille, smacked of Gesunkenes Kulturgut.This was a cultural form that had trickled down to the folk from the cotillions and quadrilles of polite society in Europe and America in the eighteenth and nineteenth centuries. Then, as the twentieth century dawned, the Weste rn square dance emerged as a composite of movements and calls from both the Southeastern and Northeastern traditions blended with newly invented figures. Springing from America’s pervasive frontier experience, the Western idiom embodied the traits of practicality and inventiveness that historian Turner offered as keys to the American character (Turner 61).Thus the Western square dance was too new and too recreational to be regarded by folklorists as a survival of the archaic rituals hypothesized as the ultimate source of folk dance. The social symbolism school of interpretation takes in a much narrower scope, focusing on the local community rather than on national culture. David Winslow (1972) argued that the square dance is a set of â€Å"highly ritualized behavior patterns and mental processes† that help maintain social solidarity.Drawing heavily on sociologist Emile Durkheim, Winslow showed that the square dance served three social functions: (1) a cohesive function that imparts a group consciousness or sense of community, (2) a revitalizing function that â€Å"helps the group to renew the sentiment it has of itself and of its unity,† and (3) a euphoric function that provides â€Å"a pleasant feeling of social well-being† (Winslow 252-261). Not only the social interaction that takes place at a dance event, but also the square dance itself helps maintain and revitalize the interpersonal networks that constitute a rural community.For each category of the social structure represented at an event-couples, genders and the entire assembly, the â€Å"dancing behavior can be seen as expressive of the solidarity of that social unity. † The pervasive circle motif found at all structural levels of the square dance is a choreographic expression of the basic principles of equality of participation and social unity that are cultural ideals for this dancing. The basic square dance form found in New York, Pennsylvania and Hoagland, Indian a alike requires four couples for each square set. With each couple forming one side of the square.Each dance comprises two alternating parts: the break and a distinctive figure. In the break, a formulaic combination repeated from dance to dance, all eight dancers in the set participate simultaneously in equivalent and complementary roles: â€Å"circle left all eight,† â€Å"allemande left your corner,† â€Å"grand right and left around the ring,† and â€Å"meet your partner and promenade home. † The distinctive figure, unique to each discrete dance, is led by every couple in turn as they visit around the set and dance a series of formulaic moves with each of the other couples.At the end of each couple’s performance of the figure, and at the end of each repeat of the break, couples end up in their â€Å"home† or starting position. This structure, as it is danced in Pennsylvania, encapsulates well the comfortable fit between cultural form and social organization. Bert Feintuch discovered that the same basic form was used in domestic square dance events in south central Kentucky before the 1930s. According to his interpretative model, the stylized movements in the four-couple square dance affirmed both the pragmatic primacy of the couple in the dance and the symbolic primacy of the couple in the community.Thus he concluded that neighbors â€Å"symbolically acted out their norms of community† through dances â€Å"in which couples were the basic unit and their social networks – their neighborhoods – were represented as a bound unit, the square† (Feintuch 65). Square dancing, which emphasizes equality and reciprocity, is a local tradition actively treasured by many. The square dance has a long history as the symbolic action of choice (a sign) strategically called on to encompass (an interpretant) the emergent community (an object). Works Cited: Bethke, Robert D. â€Å"Old-Time Fiddling and Socia l Dance in Central St. Lawrence County.† New York Folklore Quarterly 30 (1974): 163-83. Burchenal, Elizabeth. â€Å"Folk Dances of the United States: Regional Types and Origins. † International Folk Music Journal 3 (1951): 18-21. Damon, Stephen Foster. The History of Square Dancing. Barre, MA: American Antiquarian Society, 1955. Feintuch, Burt. â€Å"Dancing to the Music: Domestic Square Dances and Community in Southcentral Kentucky (1880-1940). † Journal of the Folklore Institute 18 (1981): 49-68. Jackson, Frederick. â€Å"The Significance of the Frontier in American History. † Frontier and Sectino: Selected Essays of Frederick Jackson Turner. Ed. Ray Allen Billington.Englewood Cliffs, NJ: Prentice-Hall, 1961. 37-62. Ryan, Grace L. Dances of Our Pioneers. New York: A. S. Barnes & Co. , 1926. Sanders, J. Olcutt. â€Å"Finding List of Southeastern Square Dance Figures. † Southern Folklore Quarterly 6 (1942): 263-75. Shaw, Lloyd. Cowboy Dances: A Coll ection of Western Square Dances. Caldwell, ID: Caxton Printers, 1939. Tolman, Beth, and Ralph Page. The Country Dance Book: The Best of the Early Contras and Squares. Brattleboro, VT: Stephen Greene Press, 1976. Winslow, David John. â€Å"The Rural Square Dance in the Northeastern United States: A Continuity of Tradition. † University of Pennsylvania, 1972.

Communal harmony: need of the hour Essay

There is hardly any other country in the world than India which has a great diversity of culture, religion, language, tradition, community etc. People live and think in terms of their respective religions, faiths and tongues, and seek to serve their selfish ends without thinking of the national good. Such thinking is dangerous and is bound to lead to the disintegration of the country in the long run. The need of the hour, therefore, is to fight the forces of disunity and disharmony and to work ceaselessly for the achievement of national harmony and peace. Communal harmony is the coming together of all the communities of the country and living together with a sense of brotherhood and equality, irrespective of their caste, creed, religion etc. We should sink our personal differences in larger interests of the country and adopt a common approach to national problems if we want to achieve the laudable goal of national integration and communal harmony. Attrocities are being committed in our country, day in and day out, in the name of caste, sect, community, social and economic differences and divergent political veiwpoints. Extremists and terrorists who have let loose the reign of terror in some parts of our country and have killed hundreds of innocent and peace-loving citizens, are being lionised as martyrs. It is our bounden duty, as patriotic citizens of our country, to fight tooth and nail against these anti-social elements who are bent upon destroying the unity and integration of the country. So our goal is clear, to put a stop to the process of disintegration that has lately started raising its ugly head and to accelerate the process of communal harmony, solidarity and oneness that has recently received a setback. How to achieve this is the main problem? We have to make all our brethren feel that the whole country belongs to them, that there is no high and low in our country, that there is no distinction between the

Punk

Punk Punk Punk By Maeve Maddox One post often leads to another. When I wrote about the word steampunk, I learned things about the word punk that I hadn’t known before. Three meanings I’ve always attached to the word punk are: 1. punk (noun): a smart-alecky, no-account adolescent boy. Leo [Gorcey] was the filmic prototype of the young  punk. Justin Bieber is a punk, a product of social media. 2. punk (noun): a long skinny taper used to light fireworks. Fireworks should be lit with  punk  or an extended butane  lighting  device.   Dont leave matches and  lighted punk  where ladies may tread on them.   3. punk (adjective): in poor health, under the weather. Sadie is feeling punk: I think her tooth is bothering her. I woke up feeling punk, but now I feel better. Here are some other uses of the noun punk: Note: The dates refer to citations in the Oxford English Dictionary. The first is the earliest citation; the second is the most recent. a prostitute (1575-1983) a boy or young man kept as a passive sexual partner by an older man (1698-2001) the young male companion of a tramp, especially one kept for sexual purposes (1907-2002) derogatory term for a homosexual man (1935-1999) a person of no account; a petty criminal; a hoodlum, a thug (1893-2004) a coward or a weakling (1939-2003) an amateur; an apprentice (1920-1989) a performer or fan of punk rock (1976-2003) Meanings of punk as an adjective include: contemptible, despicable; thuggish; inexperienced (1907-2001) The OED offers the following definition of the word punk relating to the lighting of fireworks: soft decayed or rotten wood, especially as used for tinder 1678-1994) slang term for bread (1891-1991) incense, especially Chinese incense (1844-2000) A piece of a material that smolders when ignited, used to light fireworks or the like (1852-2005) something worthless; foolish or meaningless talk; nonsense, rubbish 1869-1973) New meanings for this old word are still developing, including a verb, â€Å"to punk.† Apparently the past participle is punk’d: Taylor Swift gets Punk’d by Justin Bieber Jusin Bieber gets punk’d by Ashton Kutcher. The odd spelling is from a candid camera show called Punk’d. Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Vocabulary category, check our popular posts, or choose a related post below:Direct and Indirect ObjectsHow to spell "in lieu of"Few vs. Several

Destroy College Stress With These Solid Tips

Destroy College Stress With These Solid Tips Its going to happen count on it. Sometimes it builds up slowly; sometimes it comes quickly when final exams hit for the first time. However and whenever it happens, stress in college is going to happen. If you are wondering how to be stress free, wonder no more. You cant be. You can, however, learn some basic tips for destroying it when it does come. Dont Procrastinate One of the key factors in college stress is too much work piling up all at one time. At the beginning of each semester, you get a course syllabus for a good reason. Your professors want you to know what is due when. Inevitably, they all have papers due at the same time, as well as mid-terms and finals. This can be a killer for you if you put stuff off. All of a sudden, you have 3 papers due in a week and havent started. If you are wondering how to destroy stress that comes from these situations, there really are only two ways: Get yourself organized at the beginning of the semester and calendar your assignments so that you do them over time. Pick your easiest paper first it will encourage you to go on to the next. Find an excellent academic writing service and order some of those papers. Pick those that are for courses not in your major field of study that really wont matter later on. Get Enough Sleep Of course, this is easier said than done. Lack of sleep comes with the territory of being in college, especially if you have a really active social life. Find times for naps, however, and you will be grateful later on. If you know that you are going to be pulling an all-nighter to study for an exam, then get a nap early in the afternoon. And if it is finals week, find times when you can grab and hour of sleep or so during the daytimes. Your body and mind will both thank you. Eat Better During Times of Stress Its so easy to stock up on chips and candy bars so you can snack while you bang out those papers. And that is fine, as long as you are eating correctly during meal times. But usually you are not. So, consider some different kinds of snacks dry roasted nuts (they are absolutely addictive), granola bars, and beef jerky. These will give you long-term energy and wont pile on any fat. Find Some Humor Whether it is pranking your roommate or watching hysterical YouTube videos, getting in a good laugh or two is one of the keys in how to free stress from yourself, at least temporarily. People who have a good sense of humor and who share that humor with others tend to be far less stressed than those for whom everything is just always serious Get Physical Exercise If you are seriously asking, How can I be stress free? remember that the answer is you cannot. But you can deal with it in healthy ways so that it has little to no impact on you. One of these is to get physically active in any way you can. Bicycle, jog, pay basketball or volleyball; go to the campus gym and get a serious workout in. Even if you do 30-minutes of brisk walking with your iPod in, you will be amazed how much brighter your world will look to you. And you will sleep better too. Get in Some ME Time Being around friends, partying, and studying hard is all a part of college life. But it is also good to have some alone time, to just reflect and think about all of the positive things in your life right now. Go to a coffee shop all by yourself, turn off your phone, and just sit with a beverage. Or to a zoo if there is one in your town, and just watch the animals. And if you have time in your room or apartment when your roommates are gone, all the better. Read a book, keep a journal, or try some meditation techniques. Ask for Help if You are Overwhelmed Every campus has a health center. There are counselors there you can talk to, openly and freely. They can give you even more tips than you have here, as well as a good listening ear. Sometimes, just verbally getting out what is really causing you stress in a stress-reducer in itself. Stress is not just a factor of college life. It is a factor of life long after college is behind you. The things you do now to relieve it are good habits to form they will help you for a lifetime.