OUTLINE THREE MAJOR TYPES OF MANAGERIAL SKILLS

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There are three types of skills managers use to perform functions in management. The three managerial skills that are essential to successful management are technical, human, and conceptual skills. When achieving organisational goals, managers need these key management skills in order to understand and perform their functions, which are planning, organising, leading, and controlling. 'Management is an ongoing activity, entails goal attainment, and involves knowing how to perform management's major functions.' (Bartol, K., Martin, D., Tein, M. and Matthews, G., 000, Management, A Pacific Rim Focus, rd Edn, McGraw-Hill Sydney, pg. 5)

The function of planning is deciding the best method or plan to achieve organisational goals. The function of organising concentrates on using and allocating organisations resources, such as staff and non-human resources, so that plans can be carried out. Leading involves influencing employees to engage in the work behaviors required to reach organisational goals, and managers control organisational activity so that performance harmonizes to expected organisational missions. Managers routinely perform all of these functions, regardless of their level of hierarchy in the organization. However, managers also routinely perform the technical, human, and conceptual skills to create and maintain the internal environments of organisations.

To carry out a task or procedure, it is necessary for managers to have the knowledge of techniques and understanding of the organisation's field of interest. A technical skill is the ability to use knowledge, methods, techniques, and equipment necessary for the performance of specific tasks. Marketing, E-business, technical skills, analytical skills, decision-making skills, problem-solving skills are only a few examples of technical skills that managers all around the world acquire. It is also a sound knowledge of management theories, and the abilities to apply the theories practically in the place of work. This skill may be acquired from experience, education and training. When made evident that tasks are effectively accomplished according to plan, technical skills are used.

To reach organisational goals as a team, managers lead employees to work towards their aim. Therefore, human skills are needed in order to control and motivate the workers. The ability of judgment for working with and through people is vital for managers to understand whether or not tasks are being accomplished. Developed human skills are observant in advantages and disadvantages of certain attitudes, assumptions, and beliefs in themselves, other individuals and groups in relation to the organisation. Case problems and improvised role-playing can effectively assist in the development of human skills, and self-examining personal concepts and values support the growth of useful attitudes towards him and others. Examples of human skills are delegating skills, leadership skills, negotiation skills, recruitment and selection, communication skills, mentoring and coaching skills, staff training and motivation.

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'It is common for many organisations to undergo restructuring in their human resources and personnel functions to ensure that the right people with the right human skills are at every level in the Department.' (UK Government Changes at the Home Office; Top management focus on delivery, M Presswire, Coventry, February 00)

Conceptual skill involves the ability to see the organisation as a whole, to identify how different functions in the organisation depend on one another, and to associate the organisation with the outside world. Managers analyse and diagnose important issues or patterns in complex situations. Training, coaching, guiding and assigning responsibilities allows managers to be aware of their internal environment, which can also strengthen and develop their conceptual abilities. To act according to the objectives of the total organisation rather than only on the basis of the goals and needs of ones immediate work group, managers must understand the complexities of the overall organisation and where ones own operation fits in the organisation. With this skill, they are able to construct strategy-making processes to approach existing and new opportunities that may benefit their organization.

In assisting to planning their goal, managers should acquire knowledge and be kept informed of new information relating to their organisation's field of interest. Managing Director of Janata Bank Murshid Kuli Khan believes that 'to meet the requirements of the customers of the 1st century, Executives conceptual skills should be enriched by acquiring knowledge in specific business areas, for example e-business.' (Bankers urged to acquire knowledge on e-commerce, The Independent, September 00)

The three managerial skills, technical skill, human skill, and conceptual skill apply at all hierarchy levels of management. The hierarchy levels are the basis of two main dimensions. One is the vertical dimension, which is the managerial level of the organisation that includes the first-level, middle-level, and top-level managers. The other is the horizontal dimension, which are the variations in managers' task and responsibility. However, the use of management skills varies in the vertical dimension of the hierarchy, as different levels of management require different amounts of skills.

Generally, the first-level managers need the greatest amount of technical skills, as they are responsible for day-to-day operations in pursuit of their goals. They are directly responsible for the work of operating and supervising technical and professional employees. However, technical skills decreases as managers move up the hierarchy levels for the reason that managers are moving away from people that are performing the technical work of the organisation.

Conceptual skills are the lowest amount of skill required for first-level managers. Yet, this is variable if strategic management responsibilities are delegated down from higher-level managers.

The decrease amount of technical skills for the middle-level managers is due to the fact that they are more distant from the technical employees. Middle-level managers implement the goals of top managers and co-ordinate the work of first-line managers. They also set tactical objectives, which focus on departmental issues and describe the results necessary to achieve organisation's strategic goals. Therefore, there is an increase in conceptual skills.

For the top-level managers, conceptual skills are the largest and most important skill required. These managers have the most power and take overall responsibility for the organisation. To stay ahead of competition, top-level managers set strategic goals that focus on broad issues and apply to the organisation as a whole.

In contrast, there is the smallest amount of technical skills required for the top-level management. Although top managers are furthest away from the technical day-to-day operations, it is vital that they have some technical knowledge of their organisation's products and services.

Naturally, all three levels of management require the same amount of human skills. To understand other employees, work effectively with them, and to get them to work together as a team is the effectiveness of this skill. Managers must establish good relationships with people internally and externally from the organisation.

Principles of good management are generally uniformed in both profit making and non-profit organisations. Management success is gained through accomplishment of mission and objectives. As managers perform their role and execute management functions, the three skills are routinely exercised. With the specific technical skills, they are able to reflect both an understanding of and accomplish daily tasks in their organisation's specialised field. To accomplish tasks through people internally or externally, managers must have strong communication skills to be able to develop relationships. This human skill allows managers to recognize different mixes in the skills according to the environment, which also allows them to lead and control activities to reach expected goals.

Although all three management skills are important at all three levels of management, conceptual skills become relatively more important at the top-level of management. They need the ability to visualize their organisation as a whole, and understand how they fit into the wider industry.

Nevertheless, throughout the organisation managers of different level requires different amount of technical skills, and conceptual skills to function effectively, but all require the same amount of human skills. 'All effective leaders have some technical, human relations, and conceptual skills, but leaders may vary considerably in their styles.' (Jordan, Debra J, Leadership styles Which one is right for you? The Camping Magazine; Martinsville; Mar 16)

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A STREET CAR NAMED DESIRE

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Street Car Named Desire

The play A Streetcar Named Desire was a playwright by Tennessee Williams and has

deservedly since had over half a century of success. This remarkable success can be credited to

Cheap research paper on A STREET CAR NAMED DESIRE

the intricate characters and their interactions with each other. Sisters, Stella and Blanche have

had an enjoyable upbringing on the family plantation, Belle Reve. As the name suggests Stella

and Blanches time at Belle Reve was near perfect. Like all things perfect it had to come to an

end.

Stella did the logical thing and left the "beautiful dream" and married Stan, Blanche

hung on to it unable to move on and face reality. Blanche comes to Stella in an unbalanced state

of mind in need of her sisters aid. The impression is given that this isnt the first time Stella has

been there to help Blanche through a time of trouble. As much as she needs her help and as

much as she respects her, Blanche strongly disapproves of her sisters new life. Stella tolerates

Blanches continual criticism of her husband, home and friends very well. From this and many

other incidents throughout the play I can see what a tolerant and adaptable person Stella is. Stan

and Stellas relationship is far from ideal. Stan is a violent man. On occasions he hits Stella, but

comes after her to satisfy his sexual needs. This is not to say that Stella is unhappy in her

marriage to Stan. She has adapted to the way of life in Elysian Fields where its accepted that

women have arguments with their husbands and as a result are hit by them. Eunice and Steve

have a similar relationship it is normal. Despite their violent relationship Stella relies on Stan as

much as he does on her. Stella really does need Stan and the security he provides, especially

with a baby on the way. Even if she wasn't expecting a child Stella would have a lot of trouble

leaving Stan. She admits to Blanche that, "I can hardly stand it when he is away for a night…and

when he comes back I cry on his lap like a baby." From the moment Blanche first came to stay at

Stella and Stans home she posed a threat to Stan. He was used to being the only one Stella cared

for, the one who ruled her. He wasnt happy that somebody he had never met could move into his

own territory and while residing there, treat him as an inferior and call him a survivor of the

Stone Age. He felt so threatened by her presence that he competed for dominance over Stella. He

overstepped the boundaries on several occasions; such as going through Blanches personal

belongings, he spread malicious gossip about Blanches past. Which ruined any hopes she had

for a future with Mitch and in one last final act to ensure he had won he raped her. Stan appears

not to feel any guilt whatsoever for his acts that led to the complete mental destruction of

Blanche. Stella had to choose between her sister and her husband. There is no way that two

people as incompatible as Stan and Blanche could live comfortably around each other. For a

considerable amount of time Stella did her best to support both Blanche and Stan, negotiating

middle ground. However, this couldnt last for long because they were forever competing with

each other, the ultimate prize being Stella. Stella chooses to ignore the truth about Stans sexual

assault on Blanche. This could either be a result of his incredible power over her, or the fact that

she sees the future would be a lot easier for her, her child and Blanche should she stay with Stan

and let Blanche be committed to a mental asylum.

A Streetcar Named Desire would hardly have a story if the characters werent so complex

and didnt interact with each other in the way they do. Its the intriguing fragile character of

Blanche, the amazing tolerant, adaptable Stella and the power and sex driven Stanley that makes

the play so interesting. And then tension between Stan and Blanche, Stellas test of what is

thicker water or blood? All of these things brought up by the strong personalities of the main

characters and their interactions add to the play; making it very appealing.

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Nuclear Weapons Americas Greatest Moral Issue

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Nuclear Weapons The United States Greatest Moral Issue

Introduction

The invention and introduction of nuclear weapons into our society was an astronomical find that shaped the way nation states around the world perceived war. Nuclear weapons use the power of the atom to create tremendous explosive force. They also produce radiation, which can cause genetic mutations and be lethal for thousands of years. These weapons of mass destruction allowed states to possess weapons capable of destroying cities along with masses of civilians. The nuclear weapon gave nations to power to eliminate foreign foes and extend fear in the psyche of nations with less military might and weapons of mass destruction. This imminent threat started with the one the most important figures of the nuclear age, the Danish theoretical physicist Niels Bohr. Bohr set the nuclear path by helping to harness atomic power. However the perils presented by the atomic energy deeply troubled him. Bohr could envision the disastrous effect this bomb would have on all facets of life throughout the world and history. "He carried on a personal campaign during the war to alert the leaders of the United States and Great Britain to these perils, and to persuade them to put the new force under national supervision" Mandelbaum 6). Bohr understood if these weapons were put to use by a nation that it would be revolutionary development in which the effect could not be reversed. Nation-states like the United States and Soviet Union did not share his belief and decided to advance their military armaments with the atomic bomb. After the US bombing of Nagasaki and Hiroshima, the world had turned in a nuclear arms race as politics and national ideologies sparked the arms race. Many questions arose from the initial bombing of the Japan cities Nagasaki and Hiroshima. The greatest issue facing nuclear weapons was the morality of the bombing by the United States on Japan to end WWII. This paper will explore major issues the United States that affected my position in determining whether it was proper for the United States to use nuclear weapons to end the WWII.

The Dilemma

A great nation such as the United States was faced with a major issue during WWII. The United States, fresh from victory in Europe, was faced with a weakening Japanese military, whose fight until death attitude, prolonged to war. In addition, hatred of Japanese was very high in the United States, particularly because of treatment of Allied prisoners of war and the unexpected Japanese bombing of Pearl Harbor. Brower wrote, "The refusal of Japanese soldiers to stop fighting in the face of hopeless odds further strengthened the decision to eliminate the enemy (4). The German defeat in May and successful testing of the bomb in July 145 presented the U.S leaders with a situation.

"A weapon of unprecedented power was available. But its use was no longer to deter the enemy believed to be developing its own nuclear weapons but to destroy an opponent defenseless against air attack and fighting a land war to the death. The U.S. government chose with little hesitation to drop the bomb on Japanese cities…One August 6 one bomb obliterated the city of Hiroshima, killing over 100,000 people; a second destroyed much of Nagasaki on August . The world had entered the age of the nuclear war"(Brower 5).

The absolute epitome of war destruction had happen. The question of whether it was proper or moral to execute such as mass killing now has to be addressed by all Americans including myself.

Personal Position

My personal position on the bombing is that it was not proper for the United States to end World War II with a nuclear weapon. Many issues attribute to my position of the bomb First of all, the U.S. bombing of Hiroshima and Nagasaki was unnecessary in war were Japan was susceptible to countless air attacks and a strong American land presence;

As Thomas Schelling has noted, "With a combination of bombing and blockade, eventually invasion, an if necessary the deliberate spread of disease, the United States could probably have exterminated the population of Japanese islands without nuclear weapon…Against defenseless people there is not much that nuclear weapons can do that cannot be done with an ice pick"(Mandelbaum ).

The bombing could have been avoided if America had been patient enough to continue the air bombing and ground warfare. The decision to save the lives of several hundred American soldiers was far more important than to avoid killing 40, 000 innocent people. Winston Churchill wrote, "The fate of Japan was settled by the atomic bomb"(55). The bombings had immediately triggered many issues that were to be debated.

These weapons of mass destruction destroyed numerous families and broke off the link between the past and the present. Children who died and received radiation illness may have grown up to become prominent figures in society. The bombings destroyed any links those innocent victims may have had in the future. The bomb, known as 'Little Boy', exploded ,000 feet above Hiroshima destroying everything within its radius.

"A blinding heat flash was followed by the blast, radiating out with devastating effect to a radius of 4,000 yards and flattening 47 square miles of the city" (Mina).

Grotesque pictures showed thousands suffering from appalling injuries and radiation sickness that ruined their lives forever. It is unimaginable to think a nation has the power to provoke such a disaster on another state. A nation has to consider the morality of these killings.

The dropping of bomb proved to have an everlasting effect on the way the American government is viewed. U.S leaders should have considered the chain created once the bomb was dropped. First major powers of the world felt the need to enhance their nuclear technology and arms. The Cold War was accelerated by the arms race as tensions rose between the Soviets and US. Since 145 the most formidable weapons have been nuclear. Mandelbaum wrote, "States worry about the devastation and sophisticated armaments…but they also worry about what their neighbors will do if they themselves do not have these weapons"(5). "Even the United States, the world first nuclear proliferator, built the bomb because it feared that Hitler would get one first" (Schell). The United States is directly and indirectly responsible for the 4, 000 nuclear weapons on earth today. Countries such as Pakistan, India, Israel, and recently North Korea and Iran are interesting in acquiring or extending their nuclear arsenal. Johnathan Schell wrote, "the Bush Administration has given up on its goal of preventing North Korea from acquiring nuclear weapons and instead will concentrate on stopping the export of weapons". This country will have to continue to be involved in control of nuclear weapons around the world, as national security remains an issue in the world.

The use of nuclear weapons also can be viewed as a form of terrorism. Terrorists use weapons to kill innocent people. Nations with nuclear weapons point their targets at major cities or populations with heavy civilian occupancy. The nations based their security on threatening to kill millions of innocent people. There is no justification for the bombing of those two cities. Hundreds of thousands of innocent people died. Therefore an act of terrorism was committed. Whether a nation or an individual, one has to question his or her morality when targeting and killing innocent people.

Conclusion

The bombings of Hiroshima and Nagasaki Japan has left a lasting impact in the lives of many Americans, Japanese, and millions of people throughout the world. The debate on whether it was proper to drop the atomic bomb to end WWII will continue to be a debated issue for decades and centuries. I believe there is no justification for taking the lives of innocent victims by dropping the bombs. The United States should have considered many things when faced with the dilemma of ending the war with the atomic bomb. First the war was already in favor of Americans. Next, issues such as thousands of innocent killings, destruction of life and property, example that would be set by instituting the bomb, and also how the bomb is linked to terrorism. All of these issues question the morality of the United States. It takes a great nation to spread diplomacy around the world, but it takes a bad nation to drop a weapon of mass destruction on innocent victims and live with that decision

Brower, Daniel. The World Since 145 A Brief History. Upper Saddle, NJ Prentice Hall, 000.

Churchill, Winston Sir. "Triumph and Tragedy". The Second World War. Great Britain Houghton Mifflin Company, 185. Vol. 6

Mandelbaum, Michael. The Nuclear Question The United States Nuclear Weapons 146-176. Cambridge Cambridge University Press, 17

Mina, Samer. "Nuclear Peace Age Foundation" Frequently Asked Questions www.wagingpeace.org, 00

Schell, Johnathan. "A Nuclear Education." Nation 6 May 00 Vol. 76 Issue 0, pg 7.

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Analytic Cubism - Picasso and Braque

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In the 1th Century, the visual arts had adhered increasingly closely to a set of fundamental notions of perspective, form and modeling which governed composition, especially of the two dimensional kind. The two-dimensional surface of the canvas was something that had to be overcome; something that the artist could, if he succeeded, completely destroy with his brush and replace with a three-dimensional representation as close to nature as possible.

Although Pablo Picasso and George Braque would not come into contact until several years into the 0th Century, they shared a mutual dissatisfaction towards the legacy that had been left by the Art of the 1th, specifically regarding the staunch rules which governed the transition of three dimensional space onto a two dimensional surface. It is the changes in this method of transition and the concepts behind it which form the basis of the apparent dissections of form, light and space which are fundamental to Analytic Cubism.

As its name suggests, the genre of Analytic Cubism, despite its almost abstract appearance, is not the result of a disregard for the composition of subject matter, but rather the opposite. The fractured, incoherent, disjointed appearance of a work in this style is a result of an intimate analysis of every facet of an object and its relationship with the surrounding space. This has led to a widely accepted conclusion that the works of Braque and Picasso during this period were the result of a desire to portray an object from every angle. This is a half-truth, appropriated from a comment by Picasso stating that Cubism provided on canvas all the information one would require to view a three dimensional object. (One must also keep in mind that the masters' comments justifying their style of Cubism were often contradictory and evasive.) If anything, it is an excess of visual information which makes these works largely unrecognizable as compositions containing the objects in their titles.

Girl with a Mandolin, (BELOW LEFT) painted by Picasso in 110, seems to be an anomaly in that it is his only piece of the high analytic cubism period which is, at first glance, even vaguely recognizable for what the title claims it to be. Compared with a work of similar subject matter painted in the same year by Picasso, The Guitar Player, (BELOW RIGHT) it is clearly more compositionally "intact".

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It is interesting then to note that Picasso considered Girl with a Mandolin unfinished. Perhaps the image of the girl with the mandolin was not sufficiently deconstructed for Picasso to be satisfied. While a 1th century painter would be unsatisfied until the subject matter was portrayed as closely to nature as possible, Picasso had not yet provided in his work enough information regarding the content. It was still too much picture and not enough essence. Picasso would have desired his picture to contain detailed instructions as to how a viewer should conceptualize a girl with a mandolin, and tell in detail the story of her journey from studio to canvas. The apparent reversal here of usual artistic constructive method gives an excellent indication of the motives of Picasso and Braque, and the processes which were involved in the systematic deconstruction and reconstruction of form.

Among their motives was the desire to rationally accept a canvas as a two dimensional surface. Where other artists had fought against the constraints of two dimensions, using tools such as perspective, foreshortening and chiaroscuro to deceive the eye, Picasso and Braque discarded these methods, and instead allied themselves with the single plane of the canvas. Instead of hindering the depiction of physical space, however, the cubists believed their methods to be much more comprehensive of the essence of an object and its dimesional transition, or "Planar Articulation" as Cezanne called it, than any single-viewpoint linear perspective work of the 1th century.

In Braque's early 110 work Violin and Pitcher (LEFT), it is impossible to conceive that the physical objects were regarded from only one angle as they were being put to canvas. Instead, the work seems to be a kind of collage of viewpoints, or a record of the artist's progress as he moves around the studio, regarding the scene from infinite angles. The strings of the violin move up the body of the instrument and then hang suspended in space as they come into contact not with the fretted fingerboard and tuning pegs as they would in nature, but the convex underside of the neck, onto which the volute head is attached at 0 degrees. Conversely, the movement of the subject matter itself can be recorded in this style; in Girl with a Mandolin, we are given the distinct impression of strumming motion of the girl's right hand over the strings. The faint lines of her four fingers portrayed left to right as well as diagonally off her hand parallel to the strings. A less subtle version of a similar method can be seen in Marcel Duchamp's 11 work Nude Descending a Staircase (LEFT) where Duchamp employs a more dynamic form similar to Cubism to portray successive movements of a single body.

Light, too, is subject to manipulation and dissection for the sake of the essence of the scene. The pin which attaches the document to the wall at the top of Violin and Pitcher casts its shadow to the right, whereas the dog-ear on the corner of the page below casts its shadow left. Such blatant irregularities in logic almost instruct the viewer not to be bound by the constraints of fundamental laws like light and gravity when analyzing the picture for themselves. Indeed, if the works were taken at face value and such physical laws applied to them, aside from their aesthetic appeal they would be nonsense.

The composition is more than just a multi-angular view of a scene, however. It is a profound observation on the fundamental notions of art / nature relationships. Instead of using paint to manipulate the surface of a canvas so it depicts true nature, Braque and Picasso manipulate nature in order to adapt it to the surface of the canvas. Instead of attempting to give the canvas an extra dimension, they detract one from what they see.

At a glance, one of the pieces most detached from its apparent subject matter would definitely be Picasso's Ma Jolie (RIGHT), a portrait of his lover Marcelle Humbert, who suffered from tuberculosis in secret for fear of being left by Picasso if he found out. In this piece especially, the detachment of the Cubist style from nature as well as from the principles of previous movements is most apparent.

Picasso tried to capture the effect of his muse on himself and the environment, rather than loyally record her physical features through a lover's eyes, as would have been the norm only a few years previously. Perhaps the reason this work seems especially disjointed is due to Picasso's particular intimacy with the subject. The concepts he desires to portray are so fervent that no trace of the physical can be left to dilute their purity. It seems that he paints more of the process of rationalising the infinite facets of a lover, both physical and emotional, into a form that can be accepted by the canvas, than of the lover herself. Indeed, apart from a pair of stylized hands constituted of geometric shapes, there is little to suggest that there is any human subject in the piece at all.

What is it then which makes this portrayal of a lover any different from the portrayal of any woman in the same style? In regard to the misogynistic Picasso, the answer is probably very little, or if not, known only by the artist himself. Picasso finally did learn of Marcelle's condition when she was hospitalized in 115 and, true to her fears, he almost immediately took up a neighbor as his new lover. The deconstruction of Picasso's life into a plethora of fleeting infatuations which lasted as long as they were passionate, convenient and inspiring parallells the deconstruction of his images.

By the nature of the Analytic Cubist works of Picasso and Braque from 10 to 111, fundamental concepts, such as form, space and light, may at first glance appear to have been severely neglected by the artist. The dislocation of the components of the subject matter mean the actual content is often only discernable after scrutiny of the work's title. The resulting work of art could be seen as a "side effect" of the process that is Cubism. When applied to a subject matter, this process makes for a composition which, however indecipherable to the eye, is infinitely discriptive of its transition from three-dimesional space to two-dimentional plane. BIBLIOGRAPHY

Rubin, W. Picasso and Braque Pioneering Cubism.

18, Museum of Modern Art Press, New York.

Cottington, D. Cubism Movements in Modern Art.

18, Cambridge University Press, England.

Schapiro, M. The Unity of Picasso's Art.

001, George Braziller, USA.

Rosenblum, R. Cubism and Twentieth-Century Art.

001, Harry N Abrams, England.

Cooper, D. The Cubist Epoch.

15, Phaidon, USA.

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Homer Smith- Lilies of the Field

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Homer smith is a black, ex-GI who now lives life on the open road. He was a buck sergeant when he received his army discharge, with much money that he had saved from his work and from occasional luck in gambling. Now, he lives in his station wagon, which he brought second-hand in Seattle, packed with sleeping materials, enough food, his guitar, almost everything that a man needs to live. Homer, according to his mom, is two-thirds amiable and one-third plain evil. He was a man who would only help if he was in the mood of helping. This character was shown when he said to Mother Maria, Look! I aint no nun and I aint no hired hand, either. I get up when I feel like getting up. If I dont want to work, I dont work. He was a man who would live his life one day at a time, enjoying each precious moment. But he was a kind-hearted man. He would always think about the others before him specially the people whom he loves, like the nuns. In the story, Homer observed that the nuns didnt have that much food. So he gave them cans of soup and peaches which he picked up from his station wagon. He also brought them groceries every week, which he bought with his salary from Mr. Livingstons company. But the most important one is by proving to Mr. Orville Livingston, Jose Gonzalez and almost to everyone that Mother Maria and her nuns will survive in their convent. Homer proved them wrong by building a chapel for them inspite the lack building materials. Homer became a role model to me by showing that anything could be made possible if you have faith in God, in yourself, and if you offered what you did to your loved ones.

There are two types of conflict with the main character. One is internal and the other external. The internal conflict was between the character and him. The conflict was shown in the story every time he reflects and tries to decide whether he would follow Mother Maria or not. The external conflict is between Homer and Mother Maria. I n almost every chapter, there is always a part where Homer and Mother Maria argue with each other. It is the attitude of Mother Maria that Homer hates a lot. Homer doesnt want to be bossed around by Mother Maria. Who does? But the conflict between the two didnt last forever. Thanks to the parishioners of Piedras and to the attitude of Orville Livingston, Homer continued to build the chapel and proved to them that it was possible for the nuns to survive in their convent.

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