Evaluate How Effective Sand Play Was Essay

When given the choice of seven activities all three of the children, aged two years old, went straight for the sandpit to draw letters in the sand with thick and long sticks. The children doing the activity love to draw by making shapes and different movements with a variety of implements, for example paint, colouring pencils or chalk, which is similar to writing in the sand in many different ways. This means spelling out the letters in the sand can be used as a way of stimulating interest in writing. Whilst spelling letters in the sand pit the children were developing in many different ways. In terms of personal, social and emotional development the children were all confident to try a new activity, initiated ideas about the sand and made links to the beach and all spoke happily in the small group. Whilst I was instructing the children as to what we would be doing they sat quietly, maintained concentration and attention. They then took off their shoes and socks independently, demonstrating they can manage their own personal hygiene by undressing. One child in particular was very keep to be shown how to draw the letters and showed a real interest to learn. It also enabled me to continue building a good relationship with the children. In terms of physical development it gave the children to use a range of small and large equipment, mainly a variety of sized sticks. The children were handling the sticks and other objects safely and with increased control. In terms of communication, language and speech development the children used language to imagine and recreate experiences, ideas and feelings they had that related to sand. They were not very good at taking it turns in conversation, which made it challenging to have group conversations. By doing this sort of activity enabled the children to extend their vocabulary, exploring the meanings and sounds of new words as a group. In terms of literacy development this activity gave the children the opportunity to use familiar and common words whilst developing their writing skills by drawing out the different letters. With one child I was supporting them whilst writing their own name. By the end of the activity they were all using a pencil and holding it effectively to form recognisable letters. In terms of numeracy, the children were drawing a variety of shapes in the sand which allowed me to use new words with them to further develop their vocabulary. I  also used everyday words to help reinforce their existing vocabulary in a new context. In terms of arts and design development the children got to explore a different texture and produced a variety of shapes where there was space in the sand. They also responded in a variety of ways to what they saw, heard and felt. In terms of understanding of the world the children used their senses to investigate objects and materials by used. The children also constructed letters with an object and adapted their work where necessary. As demonstrated the children were extending their learning and development throughout the activity in all seven developmental areas. They also all demonstrated their enjoyment during the activity by smiling, laughing, talking and happily asking questions. It is important when planning and co-ordinating an activity your expectations are of the right level to encourage the child to achievement. If you do not expect enough, children rarely complain. However, they underperform and lose confidence in their abilities to achieve. They show symptoms of anger, anxiety, and depression. Although differing abilities and learning styles in children cannot be ignored, children may achieve more and fulfil adults’ expectations if more is expected of them. High standards can be effective motivators. Furthermore, by having too higher expectations can also cause problems for children. Highly competitive goals that feel impossible to achieve can cause children to procrastinate, give up, feel stressed, and show the same symptoms of anger, anxiety, and depression. Of course, that does not mean they are unable to achieve those expectations; it only means that they do not believe they can. They feel pressured, which is important to avoid. However, the children involved in the sandpit activities expectations and achievements have been reached without putting pressure on them. All children that were involved worked at their own speed. The children were able to work together and respecting each other’s work. The children also explored the materials and tools and figured out by themselves what they could do with them. I feel it is important not to put the children under pressure so they are achieving what you want them to as it maybe too early for some children’s developmental rate, let them work at their own pace so they will achieve what they are able when they are able. However, as I was planning all seven activities based on the children’s age and had used their learning journals, previous observations and evaluations and previous  planning sheets and evaluations I was sure that all the children would enjoy any one of the activities and be able to do it at their own pace to get the most out of it developmentally.

Museum Project Essays

Museum Project Essays Museum Project Essay Museum Project Essay 10 November 2010 Museum Project Ansel Adams, The Tetons and The Snake River, Grand Teton National Park. 1942. Gelatin Silver Print. Featured at Phoenix Art Museum. Phoenix, Arizona. Ansel Adams (1902-1984) was born in San Francisco, California. Being raised in the shadows of the great Golden Gate Bridge was the motivation for his deep appreciation for nature and his early childhood would become his primary inspiration to pursue photography. Strangely enough the 1906 earthquake made a permanent mark on him as he was thrown to the ground breaking his nose. When he was 17 he gained his early experience and inspiration by working for the Sierra Club at the Clubs LeConte Memorial Lodge, in Yosemite National Park. Ansel eventually became a photographer for the clubs annual outings. He is best known as a visionary figure for natural photography as well as for his passion in preserving the wilderness. In 1980, Ansel received the prestigious Presidential Medal of Freedom for his efforts to preserve the wilderness. He played a significant role in the environmental consciousness of the United States and his photography, to this day; continue to inspire both artists and conservationist (Adams 6)(Ansel). The genre is photography. The picture is of mountains in the backdrop, with a river flowing in front of it surrounded by forest. The three characteristics to describe the piece would be; perspective, value and composition. From the William Cronon website we learn of the two different perspectives in this photo. The author states that the first is a vantage-point perspective. This perspective gives us a stunning image of the landscape. The second perspective would be the birds-eye perspective where the viewer is distanced from the actual elements in the picture giving them an overall view of the picture (Hung). The print is Geletin Silver, which provides the very rich blacks and grays. The value that is instilled in each part of the print makes the prints beauty just unfold before your eyes, giving you the feeling of almost being there. It value distinguishes the shapes and objects from one another in the photograph. Mr. Adams composition shows how he framed the photo to center the mountain and the river. The river leads our eyes to the mountain or looking down from the mountain to the river flowing in front of us. According to Ansel Adams, the picture represents bringing information about earth to the alien civilization. The purpose is showing what life on earth is. The picture gives us the raw beauty of the Teton Nation Park (Van-buskirk). His love for landscape and nature show as he literally brings this picture alive. To me it shows us what the National Parks were and should always be, left as nature intended them to be. Having an absolute love for nature and photography this picture captured my eye immediately and literally left me in awe. Alfredo Ramos Martin, La Malinche (Young Girl of Yalala Oaxaca). 1940’s. Oil on Canvas. Featured at The Phoenix Art Museum. Phoenix, Arizona. Alfredo Ramos Martinez (1872 – 1946). He was born on November 12, 1872. His parents were from Monterrey Mexico, in the state of Nuevo Leon. His father was a middle-class storekeeper. His mother was very supportive of his artistic endeavors. He became a true artist very early at the young age of 9 by sending a portrait he painted of the governor of Nuevo Leon to a competition in San Antonio, Texas. This portrait won first place! Ramos caught the eye of American Phoebe Hearst by his work of painted ordinary life scenes, which he mastered after getting fed up with the system while attending the prestigious Academia Nacional de Bellas Artes in Mexico City for 8 years. His life scene work was created while he was still at the Academia. He was bored of the current curriculum and during those times where he would wander off tired of drawing from plaster casts is when he began crafting his style. Phoebe is the person who made arrangements to financially support his studies abroad. So in 1897 he went to Paris where he mastered his trade in the streets by embracing the Post-Impressionists style. This is where Ramos started painting on newsprint (Martinez). The genre of this painting is Latin American. The painting is of a young Aztec Indian woman. Three characteristics to describe the piece would be line, shape and color. Ramos is using diagonal lines in the background to draw you into the beautiful girl. His lines will guide you and lead you to the center of the painting, which is the young girl. It will make you command the attention of her, who is his main focus. Ramos further uses large shapes in his portraits, which again demand your attention, making her bold and beautiful. The shapes are large ad organic from the shape of her face to the shape of her lips, and all that are in between. The colors of browns and blacks make the picture warm and comfortable and also represent the genre it is from. It gives you the feeling of being there in the young woman’s culture as those colors represent the Indian culture. The portrait represents a young woman in the Aztec Indian culture as a heroine. It gives us an inside look at the women of this time and culture. His use of colors and boldness represent the strong women in the culture and their beauty, as the true heroines they are not the harlots some made them out to be. This portrait stopped me literally in my footsteps. I had to take a second and even a third look as the boldness, the strength and pure simplicity of the woman in the picture calls out to you demanding your attention. I fell in love at first site (La Malinche). Sandy Skoglund, Fox Games, 1989. Sculpture in clay. Featured at The Denver Art Museum. Denver, Colorado. Sandy Skoglund was born September 11, 1946. She currently resides in New York City where she has a studio and is a teacher at Rutgers University. Most of her childhood was spent in California, where her later work would get its influence. Sandy earned a B. A. from Smith College, where she studied art history and her M. A. and M. F. A. she received from the University of Iowa. She also studied art history at the Sorbonne and Ecole du Louvre in Paris, France during her junior year of college. It was in the late 70’s that Sandy took a new direction when commercial image making inspired her. Her work normally features Surrealist tableaux composed of bright colors and numerous recurring objects. Sandy Skoglund has had her work has been displayed in numerous museums around the country; such as Dayton Art Institute, Denver Art Museum, and the San Francisco Museum of Modern Art. Some of her most famous work is the Radioactive Cats and Revenge of the Goldfish. Sandy will create an environment like Fox Games and then photograph the piece and then exhibit the piece along with the photograph (The Free Library)(Fantasy). The genre of this sculpture: Fox Games, is Modern/Contemporary. The piece or pieces are of gray foxes in red rooms looking for food and playing amongst each other. Three characteristics to describe the piece would be form, texture and color. The form in this piece is the playful foxes, which are made of clay and are three dimensional and they are the visible elements of the piece. These pieces being of clay sculpture also show the texture of the pieces by touching the rough and smooth surfaces. You can also get the visual feel of the texture just by looking at the pieces. You see the lines and carvings in each piece. You can see where the pieces are smooth and rough in the texture of the clay. One of the most visual aspects of these pieces of art is the color and contrast. She uses the color red to represent the fear (the nightmare) while she uses the contrast of the soft gray foxes to give you more of the feeling of calmness (dreamlike). It leaves you feeling a bit confused by which message she is trying to convey. Sandy’s work represents surrealism and conceptualism as stated by The Nelson-Atkins Museum. The Nelson-Atkins Museum goes on to say that the pieces are humorous and inviting into almost a dreamlike interpretation but at the same time representing your worst nightmare (Nelson-Atkins).

Shaolin Monks Fight Japanese Pirates

Shaolin Monks Fight Japanese Pirates Ordinarily, the life of a Buddhist monk involves meditation, contemplation, and simplicity. In mid-16th century China, however, the monks of Shaolin Temple were called upon to battle Japanese pirates who had been raiding the Chinese coastline for decades. How did the Shaolin monks end up acting as a paramilitary or police force? The Shaolin Monks By 1550, the Shaolin Temple had been in existence for approximately 1,000 years. The resident monks were famous throughout Ming China for their specialized and highly effective form of kung fu (gong fu). Thus, when ordinary Chinese imperial army and navy troops proved unable to stamp out the pirate menace, Nanjings Vice-Commissioner-in-Chief, Wan Biao, decided to deploy monastic fighters. He called upon the warrior-monks of three temples: Wutaishan in Shanxi Province, Funiu in Henan Province, and Shaolin. According to contemporary chronicler Zheng Ruoceng, some of the other monks challenged the leader of the Shaolin contingent, Tianyuan, who sought the leadership of the entire monastic force. In a scene reminiscent of countless Hong Kong films, the eighteen challengers chose eight from among themselves to attack Tianyuan. First, the eight men came at the Shaolin monk with bare hands, but he fended them all off. They then grabbed swords; Tianyuan responded by seizing the long iron bar that was used to lock the gate. Wielding the bar as a staff, he defeated all eight of the other monks simultaneously. They were forced to bow to Tianyuan, and acknowledge him as the proper leader of the monastic forces. With the question of leadership settled, the monks could turn their attention to their real adversary: the so-called Japanese pirates. The Japanese Pirates The fifteenth and sixteenth centuries were tumultuous times in Japan. This was the Sengoku Period, a century and a half of warfare among competing daimyo when no central authority existed in the country. Such unsettled conditions made it hard for ordinary folks to make an honest living... but easy for them to turn to piracy. Ming China had problems of its own. Although the dynasty would hang on to power until 1644, by the mid-1500s it was beset by nomadic raiders from the north and west, as well as rampant brigandage along the coast. Here, too, piracy was an easy and relatively safe way to make a living. Thus, the so-called Japanese pirates, wako or woku, were actually a confederation of Japanese, Chinese, and even some Portuguese citizens who banded together. (The pejorative term wako literally means dwarf pirates.) The pirates raided for silks and metal goods, which could be sold in Japan for up to ten times their value in China. Scholars debate the precise ethnic makeup of the pirate crews, with some maintaining that no more than 10% were actually Japanese. Others point to the long list of clearly Japanese names among the pirate rolls. In any case, these motley international crews of seagoing peasants, fishermen, and adventurers wreaked havoc up and down the Chinese coast for more than 100 years. Calling Out the Monks Desperate to regain control of the lawless coast, Nanjing official Wan Biao mobilized the monks of Shaolin, Funiu, and Wutaishan. The monks fought the pirates in at least four battles. The first took place in the spring of 1553 on Mount Zhe, which overlooks the entrance to Hangzhou City via the Qiantang River. Although details are scarce, Zheng Ruoceng notes that this was a victory for the monastic forces. The second battle was the monks greatest victory: the Battle of Wengjiagang, which was fought in the Huangpu River Delta in July of 1553. On July 21, 120 monks met an approximately equal number of pirates in battle. The monks were victorious, and chased the remnants of the pirate band south for ten days, killing every last pirate. Monastic forces suffered only four casualties in the fighting. During the battle and mop-up operation, the Shaolin monks were noted for their ruthlessness. One monk used an iron staff to kill the wife of one of the pirates as she tried to escape the slaughter. Several dozen monks took part in two more battles in the Huangpu delta that year. The fourth battle was a grievous defeat, due to incompetent strategic planning by the army general in charge. After that fiasco, the monks of Shaolin Temple and the other monasteries seem to have lost interest in serving as paramilitary forces for the Emperor. Warrior-Monks: An Oxymoron? Although it seems quite odd that Buddhist monks from Shaolin and other temples would not only practice martial arts but actually march into battle and kill people, perhaps they felt the need to maintain their fierce reputation. After all, Shaolin was a very wealthy place. In the lawless atmosphere of late Ming China, it must have been very useful for the monks to be renowned as a deadly fighting force. Sources John Whitney Hall, The Cambridge History of Japan, Vol. 4, (Cambridge: Cambridge University Press, 1999). Meir Shahar, Ming-Period Evidence of Shaolin Martial Practice, Harvard Journal of Asiatic Studies, 61:2 (Dec. 2001). Meir Shahar, The Shaolin Monastery: History, Religion, and the Chinese Martial Arts, (Honolulu: University of Hawaii Press, 2008).

The Baroque Style in English Prose and Poetry

The Baroque Style in English Prose and Poetry In literary studies and rhetoric, a style of writing that is extravagant, heavily ornamented, and/or bizarre. A term more commonly used to characterize the visual arts and music, baroque (sometimes capitalized) can also refer to a highly ornate style of prose or poetry. Etymology From the  Portuguese  barroco  imperfect pearl Examples and Observations: Today the word [baroque] is applied to any creation that is exceedingly ornate, intricate, or elaborate. Saying a politician delivered a baroque speech wouldnt necessarily be a compliment.   (Elizabeth Webber and Mike Feinsilber, Merriam-Websters Dictionary of Allusions. Merriam-Webster, 1999) Characteristics of Baroque Literary Style Baroque literary style is generally marked by rhetorical sophistication, excess, and play. Self-consciously remaking and thus critiquing the rhetoric and poetics of the Petrarchan, pastoral, Senecan, and epic traditions, baroque writers challenge conventional notions of decorum by using and abusing such tropes and figures as metaphor, hyperbole, paradox, anaphora, hyperbaton, hypotaxis and parataxis, paronomasia, and oxymoron. Producing copia and variety (varietas) is valued, as is the cultivation of concordia discors and antithesisstrategies often culminating in allegory or the conceit.(The Princeton Encyclopedia of Poetry and Poetics, 4th ed., ed. by Roland Green et al. Princeton University Press, 2012) Cautionary Notes to Writers Very skilled writers will sometimes use baroque prose to good effect, but even among successful literary authors, the vast majority avoid flowery writing. Writing is not like figure skating, where flashier tricks are required to move up in competition. Ornate prose is an idiosyncrasy of certain writers rather than a pinnacle all writers are working toward. (Howard Mittelmark and Sandra Newman, How Not to Write a Novel. HarperCollins, 2008)[B]aroque prose demands tremendous rigor from the writer. If you stuff a sentence, you must know how to do so with complementary ingredientsideas that do not compete but play off one another. Above all, as you edit, concentrate on determining when enough is enough. (Susan Bell, The Artful Edit: On the Practice of Editing Yourself. W.W. Norton, 2007) Baroque Journalism When Walter Brookins flew a Wright plane from Chicago to Spingfield in 1910, a writer for the Chicago Record Herald reported that the plane drew out great crowds at every town along the way ... In baroque prose that captured the excitement of an era, he wrote: The sky-gazers looked on in astonishment as the great artificial bird bore down the heavens. . .   Wonderment, surprise, absorption were written on every visage . . . a machine of travel that combined the speed of the locomotive with the comfort of the automobile, and in addition, sped through an element until now navigated only by the feathered kind. It was, in truth, the poetry of motion, and its appeal to the imagination was evident in every upturned face. (Roger E. Bilstein, Flight in America: From the Wrights to the Astronauts, 3rd ed. Johns Hopkins University Press, 2001) The Baroque Period Students of literature may encounter the term [baroque] (in its older English sense) applied unfavorably to a writers literary style; or they may read of the baroque period or Age of Baroque (late 16th, 17th, and early 18th centuries); or they may find it applied descriptively and respectfully to certain stylistic features of the baroque period. Thus, the broken rhythms of [John] Donnes verse and the verbal subtleties of the English metaphysical poets have been called baroque elements. . . . Baroque Age is often used to designate the period between 1580 and 1680 in the literature of Western Europe, between the decline of the Renaissance and the rise of the Enlightenment.​  (William Harmon and Hugh Holman, A Handbook to Literature, 10th ed. Pearson Prentice Hall, 2006) Ren Wellek on Baroque Clichs One must, at least, admit that stylistic devices can be imitated very successfully and that their possible original expressive function can disappear. They can become, as they did frequently in the Baroque, mere empty husks, decorative tricks, craftsmans clichà ©s...If I seem to end on a negative note, unconvinced that we can define Baroque either in terms of stylistic devices or a particular worldview or even a peculiar relationship of style and belief, I would not like to be understood as offering a parallel to Arthur Lovejoys paper on the Discrimination of Romanticisms. I hope that baroque is not quite in the position of romantic and that we do not have to conclude that it has come to mean so many things, that by itself, it means nothing...Whatever the defects of the term baroque, it is a term which prepares for synthesis, draws our minds away from the mere accumulation of observations and facts, and paves the way for a future history of literature as a fine art.(Renà © Wellek, The Concept of Baroque in Literary Scholarship, 1946, rev. 1963; rpt. in Baroque New Worlds: Representation, Transculturation, Counterconquest, ed. by Lois Parkinson Zamora and Monika Kaup. Duke University Press, 2010) The Lighter Side of Baroque Mr. Schidtler: Now can anyone give me an example of a Baroque writer?Justin Cammy: Oh, sir.​​Mr. Schidtler: Mm-hm?Justin Cammy: I thought all writers were broke.(Literature. You Cant Do That on Television, 1985)

Impact of Oil Prices on the US Economy Essay Example | Topics and Well Written Essays - 1750 words

Impact of Oil Prices on the US Economy - Essay Example Although the rise in prices of oil has been large it has not been sudden and the economies of the major economic powers have adjusted to the change. The rise in oil prices will definitely result in an across the board change in prices and thus inflation rates will continue to be high. However the likelihood of this leading to a recession in the US and other large economies of the world is remote. Over the last five years, US natural gas markets have known three major price shocks and have continued to present extremely high volatility (BNP-Paribas). In the past sudden increases in the prices of oil have been followed by sharp increase in inflation, followed by a recession. Again there has been a sharp rise in the prices of oil and it is necessary to understand what effects this can have on the economy and take corrective action where possible and required. With the experience over the last 40 years it is now possible to arrive at a clearer picture of what effects an oil price shock can have. Economists have developed conceptual frameworks to assist in understanding the effects of a sudden increase in any of the inputs to production, that is, labour and capital. These models can be extended to include the effect of oil price shock to allow analysis of the effects of such an event. The political events in the Middle-East, that led to rise in the price of oil, and their relation with the recessions in the US economy, since the first big rise in 1973, are listed in Table 1, enclosed. An examination of this information shows the political events in the Middle East that led to price rise of oil and the recessions during the same period. There does not seem to be an immediate relationship between the two, but if we factor in other information such as the timing of the interference of the central banks/ Government by adjusting interest rates and other fiscal measures to bolster the economy, the stocks of oil at the time of the rise in prices and also the size and performance of that segment of the economy which is not connected directly to the price of oil. As the development rates of the world economy reach all time highs the recession another oil price hike may cause will be difficult to control, since simultaneously interest rates are already very low and further tightening of money supply would yield very marginal results. Because of the phenomenal growth of the world economy things have become quite different from what was historically normal. Real oil prices have reached twice their average over the past two decades, Bond yields have reached the lowest ever levels, American savings are at record lows while the current-account deficit is at a record high (Woodall P, 2006). Discussion Rise in prices of gasoline hit us all

Food label Essay Example | Topics and Well Written Essays - 750 words

Food label - Essay Example Although the sugar content may be highest in any food item, still it is distributed in different ingredients, which does not reveal the maximum quantity of total sugar present in the food item. For example, the label of a food item could detail combination of ingredients like Sucrose, Corn-syrup, Corn-syrup solids, fructose, brown sugar and dextrose, listed separately on the label. While individually these ingredients would not get a place in the top five of the listed items, the fact remains that sugar would be on the top of the list if revealed as the combined quantity. This is one of the ways to misinform the consumers about an ingredient which most of us would like to avoid in our daily intake of food, particularly the people with diabetic and sugar related history.. Similarly, junk food manufacturers would list a few ingredients, which have any relation to health and nutrition, while the proportion of the same may be even less than one percent. (Adams, 2007) A particular item, for example the strawberry yogurt, may have â€Å"insect-based red food coloring†; yet the label will describe the coloring agent as â€Å"carmine†. Similarly, to hide the real names, manufacturers may list in the label, â€Å"Yeast Extracts†, which is actually Monosodium Glutamate (MSG) that enhances taste of the food. Likewise, sodium Nitrate is a dangerous chemical, which can cause cancer and brain tumors. Therefore consumers need going into the depth of the items listed in the food labels.(Adams, 2007) Under this act, the food manufacturers are required to use common names for popular food allergens, like fish, wheat, soy, shellfish, milk, eggs and peanuts. Although this is a step in the direction of helping the consumer for identifying the ingredients in these items that may cause worry, particularly for people with history of high blood pressure, heart problems and hypertension,

Telephonica Global Strategy, Structure, and Operations Essay

Telephonica Global Strategy, Structure, and Operations - Essay Example The economics of scale in producing and marketing a product in the same way worldwide would produce substantially lower costs, and thus allow lower prices that would overcome remaining differences in tastes. According to the case study: "the telecommunications industry has today become the largest in the world, generating $US 1 trillion (US$1,000 billion) in revenues in 1998 in worldwide service revenues and equipment sales. In 1997, telecom services alone generated a revenue in excess of USS650 billion" (Telephonica Today, 1999). Globalization allows Telephonica to maintain high-speed growth through continuous optimization of is product mix and constant technological innovation. It has also realized rapid expansion through capital injections. In 1997 Telephonica became "a completely private company" and has begun to follow a strategy of withdrawing from small markets with limited potential for its core products and to look for markets in countries with a major growth potential for telecommunication industry. "The first half of 1999 was putting Telef6nica's aggressive strategy of investing in Latin America to the test" (Telephonica Today, 1999). The choice of Brazil was not accidental. This market is considered as the most potential one for telecommunication industry because it had the poorest telecommunication infrastructure development among other Latin American countries. The other potential markets were Argentina, Venezuela, Puerto Rico, Colombia, Peru, Mexico, El Salvador and Chili. The situation is marked by two factor - specification, which is to do with the 'design quality' of service, and conformity, which is to do with the 'process' quality which is achieved are of particular importance to customers. The main challenge is that Telephonica is well-positioned to take on this important global leadership role. It has the global resources and certainly has the technological capability. According to Johnson and Scholes (1998) the size of the investment required by a business wishing to enter an industry is an important determinant of the extent new entrants. The higher the investment required, the less the threat from new entrants. The lower the required investment, the greater is the threat. In this situation: "Telefonica saw opportunity in Latin America whereas most other companies saw risk, and is now present in nine countries with an annual average growth of 13% since 1995" (Telephonica Today, 1999). Another important challenge of global strategy applied by Telephonica is the concept of international culture, which "was absent in the world of telecommunication at that time" (Case study). Latin America has a complex culture which interacts with business in the way of socialization (the influences which shape behaviour in a particular social setting). At its deepest level. In spite this fact, it was more easy for a Spanish-based company to penetrate into Latin American market and gain its competitice position. Another important opportunity is great belief of management team in potential and success. Juan Villalonga commented that "Latin America is to Telefobica what the United States is to AT&T, It is our home, our culture and our language" (Telephonica Today, 1999). In general, it is possible to say that culture in Telephonica is based on the interrelationship of strategy formulation and implementation. The success of the company was caused by correlation of strategy, structure,