Chromatography Lab Report

Chromatography Lab Report GC-1 (Gas Chromatography) Experiment 1, 2, 3 4 Experiment 1:- Determination of ethanol content of a mouthwash using an internal standard Experiment 2:- Determination of oxygenates in gasoline Experiment 3:- Qualitative and Quantitative analysis of BTEX (Benzene, Toluene, Ethylbenzene and Xylene) Experiment 4: Determination of volatile compounds by headspace analysis Anil Kumar Introduction Theory The experiments performed in this lab were based on Gas chromatography specifically gas-liquid chromatography. This technique involves a sample being vapourised and injected onto the head of the chromatographic column. The sample is transported through the column by the flow of inert, gaseous mobile phase. The column itself contains a liquid stationary phase which is adsorbed onto the surface of an inert solid. GC: Schematic diagram (http://teaching.shu.ac.uk/hwb/chemistry/tutorials/chrom/gcdiag.gif ) In Experiment 1: the ethanol content in a mouthwash was determined. This was done by using an internal standard of butanol. Then, solutions of internal standard with unknown solution and ethanol were made and injected into the GC. The areas obtained for each compound were then used to calculate the % alcohol in the sample. In Experiment 2: ethanol content in gasoline mixture was calculated using a standard curve of ethanol made with pure ethanol. The gasoline mixture was extracted with water to extract the ethanol in it for further analysis by GC. The GC method is used industrially to find ethanol content in gasolines, plus oxygenates like butyl ether that can contaminate drinking water.. In Experiment 3: qualitative analysis of BTEX (Benzene, Toluene, Ethylbenzene and Xylene) was performed by injecting pure solutions of these compounds in GC. The retention times obtained were recorded for each. In the second part, standard solutions of toluene and xylene were made and calibration curves were made for each. Next, the unknown sample of BTEX was injected to GC. The retention areas obtained were recorded and substituted in equations of standard curves to find the actual content of toluene and xylene in sample. In Experiment 4: the technique of headspace analysis was used to determine the volatile compounds in a contaminated soil sample. The soil sample was also deliberately contaminated with toluene and xylene and placed in a vial for 10 minutes. Then using a syringe, the headspace was sucked and injected to GC for performing a qualitative analysis (the retention times of BTEX from Experiment 3 were used). GC is continuing to be used in a number of fields as an analytical tool due to certain advantages like: Shorter run times Greater sample throughput Cheaper columns Higher signal to noise ratio Lower bleed (thinner films) High resolution power compared to others. Complex mixture can be resolved into its components by this GC method. The separation, determination and identification of many compounds withnegligibledifferences in boilingpoints is possible by this technique. Sensitivity in detection is very high with thermal conductivity detectors. One can detect upto 100 ppm, while flame detectors, electron capture and phosphorus detectors can detect ppm, parts per billion or picograms respectively. (http://www.sge.com/support/training/fast-gc-analysis/advantages-/-disadvantages-of-fast-gc) Some industrial applications of GC include: Identification and quantification of ubiquitous pollutants in the environment: analysis of various classes of persistent organic contaminants in air, water, soils, sediments and biota GC Analysis of Antioxidants Determination of ethanol in gasoline Analysis and quality assessment of alcoholic beverages – Quantitative and qualitative assessment of Alcohols in blood Aromatics (benzene, toluene, ethylbenzene, xylene) Flavors and Fragrances Permanent gases (H2, N2, O2, Ar, CO2, CO, CH4) Hydrocarbons Pesticides, Herbicides, PCBs, and Dioxins Solvents (http://www.med.cmu.ac.th/dept/vascular/alcho/research/res_out/Application%20of%20gas%20chromatography.pdf) As we can see, the varied applications of GC in industry and its advantages over other methods, performing of these GC experiments is industrially justified. Experiment 1:- Determination of ethanol content of a mouthwash using an internal standard Procedure The instrument was set to the following parameters: Injector temperature: 200 degree C Detector temperature: 250 degree C Oven temperature: 80 degree C Attenuation: between 4 and 16 Carrier gas pressure: 8-10 psi FID range: 1 Valve: Split 1 on Dilute the unknown ethanol sample and mouthwash provided with water in a 1:10 ratio. 10 ml of each was diluted to 100 ml in volumetric flask. Next, ethanol standard solution and butanol (internal standard) (each2 ml to 100 ml water) were made. Equal volumes of ethanol and internal standard were mixed. And equal volumes of sample solution and internal solution were made (each 5 ml). Now, three injections (0.3 uL each) were made of each of these solutions into the GC. From the chromatographs, the % of alcohol in sample were calculated. Observations, Calculations and Results Instrument: GC SST Instrument settings: Injector temperature: 200 degree C Detector temperature: 250 degree C Oven temperature: 80 degree C Attenuation: between 4 and 16 Carrier gas pressure: 8-10 psi FID range: 1 Valve: Split 1 on Solution Retention time Peak area Butanol 1.400 5452.57 Ethanol 0.700 3607.3 Butanol (I.S.) + Ethanol 1.400-Butanol (I.S) 0.700-Ethanol 2226.7 1341.9 Solution Retention time Peak area Int. Stan +Unknown ethanol sample Int. Stan- 1.383 Unknown ethanol Sample- 0.683 (Ethanol) 2878.8 874.3 Int. Stan + Mouthwash Int. Stan- 1.383 Mouthwash – 0.683 (Ethanol) 3373.4 2079.5 Using the formula, Rspl RI.S. = Cspl Rstd Cstd RI.S. where, R=response (peak area); spl=sample, I.S.=internal standard C= Concentration For Unknown ethanol sample, we have, Rspl = 874.3, R I.S= 2878.8, Rstd = 1341.9, R I.S. = 2226.7 Cstd = 2 % (From observation table # 1 2) Putting these values in equation, 874.3 / 2878.8 / 1341.9 / 2226.7 X 2 = Cspl On solving we get, Cspl = 1.00 % For mouthwash, we have, Rspl = 2079.5 , R I.S= 3373.4, Rstd = 1341.9, R I.S. = 2226.7 Cstd = 2 % (From observation table # 1 2) Putting these values in equation, 2079.5 /3373.4 / 1341.9 / 2226.7 X 2 = Cspl On solving we get, Cspl = 0.98 % So, % alcohol in Mouthwash is = 0.98 % in Unknown ethanol sample = 1.00 % Experiment 2:- Determination of oxygenates in gasoline Procedure Develop a set of operating conditions that will satisfactorily separate ethanol from hexane. To do this equal volume of hexane and ethanol in a small vial were combined and injected. Inject this mixture into GC and ensure two resolved peaks. Inject pure hexane to establish its identity. The oven temperature was decreased from 80 degree C to 70 and then to 60 degrees C to separate the two peaks. Prepare ethanol standards: 0.2 ml, 0.5 ml, 1.0 ml and 2.0 ml in 25 ml DI water. Concentration, 0.2 ml = 0.2/25 = 0.008 %, 0.5 ml = 0.5/25 = 0.02 % 1.0 ml = 1.0/25 = 0.04 % 2.0 ml = 2.0/25 = 0.08 % These standards were injected into GC and a calibration curve was prepared using the peak area data obtained. The unknown gasoline sample (Unknown Sample D: Ethanol in hexane) was taken and 5.0 of it was transferred to a vial. 5.0 ml of water was added and mixed thoroughly in the vial. It was allowed to stand for 5 minutes. The water layer was taken using a Pasteur pipette and injected into GC. The % ethanol was determined using calibration curve data and peak area data from step 5. Observations, Calculations and Results Instrument: GC SST Instrument settings: Injector temperature: 200 degree C Detector temperature: 250 degree C Oven temperature: 60 degree C (Earlier 80 degree C and 70 degree C) Attenuation: between 4 and 16 Carrier gas pressure: 8-10 psi FID range: 1 Valve: Split 1 on Solution Oven temperature (in degree C) Retention time Pure Hexane 60 0.500 Hexane + Ethanol 80 Hexane: 0.483 Ethanol: 0.683 (Less resolved peaks) Hexane + Ethanol 70 Hexane: 0.483 Ethanol: 0.750 (Better resolved peaks) Hexane + Ethanol 60 Hexane: 0.500 Ethanol: 0.916 (well resolved peaks) Solution Peak Area Standard 0.008 %, 2186.8 Standard 0.02 % 3509.9 Standard 0.04 % 5296.3 Standard 0.08 % 8746.5 Sample (1st Injection) Sample (2nd Injection) 1982.2 2138.1 Calculating % of ethanol in sample Equation of line from standard curve : y = 89994x + 1605.1 where, y = peak area, x = concentration of ethanol in % From Observation table # 3 we have, Area of sample = 1982.2 and 2138.1 Putting these values in equation in place of y we get, 1982.1 = 89994x + 1605.1 2138.1 = 89994x + 1605.1 On solving for x we get, x = 0.00418 % and x = 0.00592 % Averaging the two values, we get x = 0.00505 % So, the % of ethanol in the given Unknown Ethanol in Hexane Sample D is 0.00505 %. Experiment 3:- Qualitative and Quantitative analysis of BTEX (Benzene, Toluene, Ethylbenzene and Xylene) Procedure Part A: Qualitative Analysis Take 1 ml each of Benzene, Toluene, Ethylbenzene and Xylene in separate vials. Run the individual standards and record the retention times. Part B: Quantitative analysis Prepare a series of standard of toluene and para-xylene using hexane as a solvent. Make 2,4,6,8 and 10 % solutions of each of toluene and para-xylene in 50 ml volumetric flasks. For 2 %= 1 ml each of toluene or para-xylene (separate), for 4 % = 2ml For 6 % = 3 ml, for 8 % = 4 ml, and for 10 % = 5 ml to 50 ml with hexane. Prepare a calibration curve based on the peaks area data obtained. Analyse an unknown sample of BTEX provided and find the % of toluene and para-xylene in it using the standard curve data. Observations, Calculations and Results Instrument: GC SST Instrument settings: Injector temperature: 200 degree C Detector temperature: 250 degree C Oven temperature: 80 degree C Attenuation: between 4 and 16 Carrier gas pressure: 8-10 psi FID range: 1 Solution Retention time Chlorobenzene 3.866 Ethylbenzene 2.016 p-xylene 1.400 o-xylene 4.133 Toluene 1.500 From individual injections of hexane, toluene and xylene, it was seen that that the retention times for each of these were 0.500, 0.933 and 1.550 respectively. Solution Peak Area Toluene 2 % 939.8 Toluene 4 % 1254.0 Toluene 6 % 1987.6 Toluene 8 % 2260.2 Toluene 10 % 3210.0 Para-xylene 2 % 455.8 Para-xylene 4 % 985.0 Para-xylene 6 % 1168.1 Para-xylene 8 % 1791.5 Para-xylene 10 % 2222.9 Sample Run 1 Sample Run 2 10500 (Rt = 0.733) 863 (Rt = 1.600) 2966 (Rt = 0.733) 181 (Rt = 1.600) From the sample analysis, we find that the two biggest peaks are seen at Rt = 0.733. This value neither corresponds to value of Rt for toluene (around 0.900) nor xylene (around 1.350). So we cannot identify or quantitate them. The other peak (although small) which is seen occurs at Rt = 1.600 is close to Rt for xylene (Rt for 10 % xylene is 1.600). So this peak would be for xylene. We can find its concentration by making a standard curve for xylene from the data in Observation table # 7. Calculating amount of xylene in sample. From the standard curve (Graph # 2), we have the equation of line y = 217.04x + 22.45 where, y = peak area, x = concentration of ethanol in % From Observation table # 7 we have, Area of sample = 863 and 181 Putting these values in equation in place of y we get, 863 = 217.04x + 22.45 181 = 217.04x + 22.45 On solving for x we get, x = 3.87 % and x = 0.73 % Averaging the two values, we get x = 2.30 % Therefore, the sample (Unknown B) contains 2.30 % of xylene and no toluene. Experiment 4: Determination of volatile compounds by headspace analysis Procedure Soil was taken in a sealed vial and 1-2 drops each of toluene and p-xylene were added to it. Let the sample rest in the vial for about 10 minutes so that the volatile components gather in the headspace of the vial. After 10 minutes, using a syringe, suck out 0.3uL of the headspace keeping in mind that the syringe doesn’t touch the soil sample itself and headspace sample is taken from just the midway of the vial. Inject this to the GC. Perform duplicate injections if both components can not be seen at one go. Observations, Calculations and Results Instrument: GC SST Instrument settings: Injector temperature: 200 degree C Detector temperature: 250 degree C Oven temperature: 80 degree C Attenuation: between 4 and 16 Carrier gas pressure: 8-10 psi FID range: 1 Sample Retention time Compound present Soil Sample 1 1.033 1.533 Toluene P-Xylene Soil Sample 2 1.050 1.483 Toluene P-Xylene From Observation Table # 7, last experiment, we know retention times of both toluene and p-xylene. They were 0.950 and 1.550. So on comparing these Rts with the Rts obtained in these chromatograms, we can identify the peaks as toluene or xylene as done in Observation Table # 8. So, using headspace analysis, Toluene and p-xylene could be identified in the soil sample. Discussion and Conclusion In this lab, using the technique of Gas Chromatography, four different experiments were performed. In Experiment 1: the ethanol content in a mouthwash was determined. This was done by using an internal standard of butanol. Then, solutions of internal standard with unknown solution and ethanol were made and injected into the GC. The areas obtained for each compound were then used to calculate the % alcohol in the sample. The amount of ethanol present in the unknown solution of ethanol was found to be 1.00 % and the ethanol content in mouthwash was found to be 0.98%. In Experiment 2: ethanol content in gasoline mixture was calculated using a standard curve of ethanol made with pure ethanol (An unknown ethanol in hexane sample was used). The gasoline mixture was extracted with water to extract the ethanol in it for further analysis by GC. The amount of ethanol that was found to be present in this sample was 0.00505%. Firstly, we injected pure hexane and ethanol to find out their retention times and then an equal mixture was injected to see if the two peaks can be resolved or not. After doing this, the experiment was performed. The calculations for determining the % of ethanol were based on equation that was derived from the standard curve from ethanol standards. The value of peak area obtained in the chromatogram for the unknown sample was substituted in the equation from standard curve to find the ethanol concentration. This GC method is even used industrially to find ethanol content in gasolines, plus oxygenates like butyl ether that can contaminate drinking water. In Experiment 3: qualitative analysis of BTEX (Benzene, Toluene, Ethylbenzene and Xylene) was performed by injecting pure solutions of these compounds in GC. The retention times obtained were recorded for each. In the second part, quantitative analysis of toluene and p-xylene was done. Standard solutions of toluene and xylene were made and calibration curves were made for each. Next, the unknown sample of BTEX was injected to GC. The retention areas obtained were recorded and substituted in equations of standard curves to find the actual content of toluene and xylene in sample. It was found that the unknown sample had not retention that matched with the retention times of toluene which was close to 0.9550. No peaks were seen at this retention times even on duplicate runs of the sample. So it is concluded that the sample had no toluene in it. Nevertheless, a peak for xylene was seen (determined by comparing the Rt with the Rt of toluene from Experiment 3). A standard curve was made from the data obtained by running xylene standards. Now with the equation of calibration curve and the peak area of sample for xylene, the concentration of xylene present in the sample was calculated. It was found to contain 2.30 % xylene. In Experiment 4: the technique of headspace analysis was used to determine the volatile compounds in a contaminated soil sample. The soil sample was deliberately contaminated with toluene and xylene and placed in a vial for 10 minutes. Then using a syringe, the headspace was sucked and injected to GC for performing a qualitative analysis (the retention times of BTEX from Experiment 3 were used). The peaks for both toluene and xylene could be detected by GC. This conclusion was based on the fact that the peaks had comparable retention times as toluene and xylene. To conclude, we can say that we used GC for quantitative analysis like analysis of BTEX in chemicals, food, etc. or BTEX in soil. And qualitative analysis like determination of ethanol content in gasoline, mouthwash, etc. References Page # 67-73 Chromatography Laboratory Manual, Durham College 2012 Advantages of GC http://www.sge.com/support/training/fast-gc-analysis/advantages-/-disadvantages-of-fast-gc) Industrial applications of GC (http://www.med.cmu.ac.th/dept/vascular/alcho/research/res_out/Application%20of%20gas%20chromatography.pdf)

Dance choreography: Extended programme notes

Big Brother is a dance that explores the idea of being trapped and controlled within a â€Å"box. † For me the box was a larger metaphor for society, and on another level, the dance explores the idea of society controlling the individual, and the desire to escape this control. The accompaniment I chose is called, â€Å"The Black Parade† by My Chemical Romance. I chose this piece of music because I felt it created a very strong atmosphere that largely reflected the emotions of the character in my dance. Though only used for around twenty seconds, the varying pace and the complex rhythms in the piece created an air of frustration, desperation and excitement- emotions I try to convey as the character attempts to break free of the box. The electric guitars and drums complemented the powerful and often heavy dynamics. I chose to use a section that moved from a slower tempo into a faster tempo as I felt this represented the character's situation at that point in the dance. The slower tempo, I feel, made the character seem weary- tired of fighting. The transition into the faster tempo as the character makes a final attempt to break free of the box gives the final section an exciting climax, and creates a sense of excitement yet desperation at the idea of escaping. I decided to bring the music in slowly as I felt it built the atmosphere effectively towards a climax at the end of the piece. My piece is split into four sections of ABCD narrative. Section A focussed on the character's discovery of being trapped, whilst section B looked at the character being controlled whilst being trapped in the box (this was also a theme running throughout my piece. Section C, the largest of the sections looked at the character's attempt to escape from the box. Finally, section D, the shortest section, was the character's actual escape from the confines of the box. I began my dance at centre stage, in a ball shape on the floor. By making myself look very small, I feel it made me look very vulnerable, and as if confined- immediately defining the idea of restriction. I then began to run around the ‘box' following a random pathway, pushing off the walls. Creating the circular box as I define these walls. This random pathway indicates the idea of panic for the character on discovering they are in a box. The pathways being random represent the character's lack of self-control over oneself- and underpinning the theme of my dance. Although within these random pathways, I never travel outside the box, outlining the fact I am trapped. The strong pushing gestures (motif A) I use in this section are one of the main motifs running through my piece, and reveal the fact the character is confined to the box. Section B is performed mainly in bound-flow, though the gestures move from closed to open. Initially, the arms are tight to the body, trying to pull away- symbolising chains. Then when free, I take large steps, trudging around the box in a zigzag pathway, with my arms and head floppy yet tense- as if a puppet. Similarly, the idea of a puppet is reflected in the heavy steps here. I used the puppet to convey the idea of the character being controlled; his strings are pulled by society. I then make a gesture, at the edge of the box, facing the audience, as if ‘pulling' away the wall of the box. My facial expression here completely changes to one of wonder and amazement, and I use the second motif – a mime of touching/exploring the wall before pushing off into a spin (motif B). I do this very softly, a contrast from the strength of movements inside the box. I am then pulled back into the box, again like a puppet back under the box's control. This provides the link between section B and section C. I am trying to escape the confines of the box in section C and this is reflected in the repetition of motifs A and B as well as running about the space. As the character is pulled back into the box, the space becomes larger, into a rectangular shape. I included this to allow me to explore a larger amount of the space. This section begins with similar puppet like movements from section B this time repeated on the floor. After getting up, I then run about the space, repeating motif A. After pushing off each wall, I develop this motif by adding to the end of it- travelling to the next in various ways: spins, slide, leap and run. Using many actions emphasises the manic behaviour of the trapped character. The space then again becomes small, this time very small, as if within a corridor. Motif A is again developed, this time by using elbows to push instead of palms. As a result of being trapped in this new smaller box, the somewhat free flow gestures seen earlier in this section become bound flow. I then repeat motif B, this time with a new emphasis on the movements. Instead of them being soft, as they were first, I made them powerful and developed them by adding a hop and push. The hop and push helped make the character look more desperate as if pushing up as well as out of the box. In addition, I developed this motif by repeating each section (the push and spin and then the hop and push) alternately facing to each side. I did this because I wanted to show my motif to the audience from several viewpoints to help add interest to my dance. Section D provides the climax to the dance. The link between section C and D is a set of fast spins, with arms bent upwards. This shows that the character is breaking out of chains seen in section B. The music becomes louder, and moves into a faster tempo- I imagine this to represent the character's heartbeat. The music in section C is slower, but as the character reaches the final breakout he becomes more and more frantic and excited. The climax is me running into a slide on my knees across the floor toward downstage left. I thrash my arms to represent the break for freedom. I then repeat my developed motif B, further developing it by changing the level. This shows how tired the character has become of fighting to escape. For the final image in my piece I thrash my arms over my head, throw my torso forward and hold. The floppy arms here can be left to interpretation for the audience. They could be seen as showing relief at breaking free of the box. Similarly, they also resemble the puppet arms seen in section B showing the box's control- and therefore may indicate that however hard he fights, he cannot escape the box's control. I wished for the audience to make their own interpretation at this point. There is floor work in each of the four sections. The transition between low and high levels suggests at the characters weakness- as if being thrown about the space, as seen in sections A and C. I choreographed this dance as a solo because I wished for it to focus around an individual's fight to break free from the confines of a society that tries to force people into conforming to certain ways- as if the individual is a puppet. By performing in solo, it allows the audience to focus and speculate more on how the individual is affected by society. Similarly, I could have choreographed a group dance to display how this idea of control or the ‘box' affects many of us. Throughout my dance I mainly concentrated my focus forward, toward the walls of the box. I did this because I felt it revealed the character's determination to escape the box. I only had a different focus during two other moments. When being the puppet I had my focus follow my arms and legs to suggest that my whole body was being controlled and pulled toward a point in the space. Secondly, in section B when I pulled away from the wall of the box, to show I was outside of the box my focus was all around the space ahead- as if looking in amazement at what was outside the box. In my piece facial expressions played a huge part in helping tell the story. I used a large variety of facial expressions in accordance with my character's varying emotions. In the opening section my facial expressions were wide and open, and my breathing heavy, to show the character is panicking at being in the box. In the puppet section, my face is blank, to show I haven't control over myself. When seeing outside the box, I looked around in amazement to show the contrast between the box and the outside. And during sections C and D my facial expressions were much tighter to show the character is angry at being in the box, and is determined to find a way to escape. I ensured that the music entered at a time that it went well with the narrative. The music was symbolising the character's emotions. When controlled by the box the character has no control over his own emotions. The lack of music symbolises this- no emotion, no music. Similarly, in section D, the music indicated that the character was about to break free, and gain his own emotions back. As a result my music only came in very close to the climax, when I finally escape the box. I had two main inspirations for the dance. The book â€Å"1984† by George Orwell looks at the idea of society trying to control all aspects of our lives, by taking away individuality and making each person the same. A robot; or puppet in the image of society. This is where I got the main idea for the puppet like movements, and for the idea of being trapped within a box. It is also the inspiration for my title ‘Big Brother,' a term coined by the book. Also, watching the piece ‘Swansong' by Christopher Bruce influenced me hugely. I feel the greatest influence it had on me was to create a piece about the world we live in. The themes of bullying and injustices, that Bruce looks at in the piece, are things that happen in the context of prison all around the world. I took from the piece, that sometimes the most powerful pieces are ones that people can in fact understand and relate, to the dance idea. I am extremely pleased with the piece of dance I have choreographed for my coursework. I feel it clearly expressed an interesting dance idea in an engaging fashion. I am particularly, pleased with my manipulation of spatial design to make clear the idea of the box, and the way the box got larger and then closed in around the character. I felt that the simple motifs very clearly communicated the dance idea, with the pushing motions, and were developed in a way that made them very interesting: by adding spins, leaps, hops, turns and varying levels. Feedback from my peers suggested that my main motifs very clearly communicated the idea of being trapped within a box, and that the message of the dance was very clear. I believe I made the right decision in choreographing a solo piece, as I feel that this emphasised the idea of an individual against the greater society well. I did not like the section B I initially choreographed, as after watching it back on video and receiving feedback from my teachers I felt it was much weaker in comparison to the rest of the dance. The movements were much weaker, and the section did not clearly communicate the dance idea, as it was mainly just a set of non-complementing floor patterns and gestures. I instead developed the theme of society's control, and used this to create the puppet section- a section I am proud of as it is interesting to watch and expresses the dance idea clearly. I could possibly have changed the dynamic of section B to a slower pace to create a greater contrast between the controlled puppet character, and the character fighting for freedom. Other from that, I like the whole of my dance, and felt that all sections were powerful and communicated the dance idea effectively whilst being strong and exciting to watch- especially when combined with my powerful use of facial expression. In feedback from my teachers they suggested that the music would be more appropriately brought in at the point where the character pulls the walls apart and sees outside the box, to show that the character has seen an outside world- a hope- and that now they are not being so controlled but instead fighting the control. My favourite moment of the dance was the ending, the climax to the piece. The loud fast music, powerful and fast dynamic, thrashing gestures and throwing myself to the floor made this very dramatic and a very exhilarating end to the piece.

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Hofstede Model Of National Culture - 989 Words

SCETION:1 Hofstede Model of National Culture Introduction Culture is the social behaviour and integrated pattern of human knowledge, belief, and behaviour that depends upon the capacity fro learning and transmitting knowledge to future generations It is the set of values, goals and practices that characterise an organisation A key to being successful in business internationally is to understand the role of culture in international business.cultural differences will have a direct impact on your profitability in any sectors of its operation.our knowledge about International cultural difference in†¦show more content†¦Corporate culture refers to the belief and behaviour of the employee of the particular company and the business managed by an organisation.A company’s culture will be reflected in the way of treating the clients, the behaviour of the particular company’s employees, satisfaction of clients, hiring decision made by the company, benefits for employees provided by the company and its business hours.corporate culture describes the character of the company not only by its general beliefs but also through its management strategies, company’s wide value system, work environment as well as visual symbols like logos and trademark. Cultural Dimensions Hofstede’s cultural dimensions theory is a framework for cross cultural communication which describes the effects of a society’s culture. Greet Hofstede came up with six basic issues that society needs in order to organise itself these are called dimensions of culture.Each of them has been expressed on a scale that runs roughly from 0 to 100.The six dimension model of national culture are given below Power distance index Individualism versus collectivism Uncertainty Avoidance index Masculinity versus femininity Long term versus short term orientation Indulgence versus Restraint The score on each dimension determines the position of the each country with various other countries.some combinations are tooShow MoreRelatedAn Overview Of Geert Hofstede Developed The First Empirical Model Of Dimensions Of National Culture996 Words   |  4 PagesReport Title – Individual Component Report Teacher – Claire Nicholls Date – 11th November 2014 Introduction Geert Hofstede developed the first empirical model of ‘dimensions’ of national culture. He was recognised internationally for the model that includes Power Distance, uncertainty avoidance, individualism vs collectivism and Masculinity vs Femininity. The Dimension of Hofstede that is the basis of this report is uncertainty avoidance. Uncertainty Avoidance is how society reacts to an unusualRead MoreReview of Study: McSweeneys Hofstedes Model of National Cultural Differences and Their Consequences: A Triumph of Faith, A Failure of Analyses1463 Words   |  6 PagesMcSweeney, B. (2002) Hofstedes model of national cultural differences and their consequences: A triumph of faith a failure of analyses, Human Relations, 55, 1: 89-118 Name Institution Professor Course Date Introduction The research article by McSweeney (2002) ascertains that within every management disciplines, crucial literatures that presuppose that every nation holds its distinctive, describable and influential culture. According to McSweeney (2002), culture shapes every aspect of natureRead MoreCultural Constraints in Management by G. Hofstede904 Words   |  4 PagesA Critical Review of Hofstede, G. 1993, Cultural Constraints in Management Theories, The Executive, vol. 7, no. 1, pp. 81-94. There have been many research and studies on the national cultures and its consequences on management theories by numerous researchers. Of those many, ‘Cultural constraints on management theories,’ by Hofstede (1993) is one that has been talked about by most scholars. He strongly claimed that management is a function of culture and that culture influences the way managersRead MoreUnderstanding National Culture And How Relevant Is Important Essay841 Words   |  4 Pagesapproaches to understanding national culture and how relevant is such an understanding to an internationalising firm. â€Æ' Index 1.- Introduction 3 2.- Aproaches to National Culture 4 2.1.- Hall’s Context Culture Model 5 2.2.- Hofstede s Cultural Dimensions Theory 5 2.3.- Trompenaars Model of National Culture Differences 5 3.- Conclusion 6 4.- Bibliography 7 â€Æ' 1.- Introduction According to Hofstede definition, it is possible to develop the idea of national culture as a culture for a particular groupRead MoreAn Analysis of Management and Leadership Strategies Using the Hofstede Cultural Dimensions Model616 Words   |  3 PagesStrategies Using the Hofstede Cultural Dimensions Model Introduction The Hofstede Cultural Dimensions Model is invaluable in evaluating the variations in cultural values across 93 different nations Dr. Hofstede profiled throughout his research efforts over the last three decades. Many corporations rely on this model for planning their globalization strategies, specifically looking at how best to align managers and leaders with specific attributes to nations whose cultures will be most complementaryRead MoreHofstede s Four Cultural Dimensions And Fons Trompenaars1225 Words   |  5 Pages1. Introduction Hofstede (1991) argued that culture was a social phenomenon, people had a mind programming which could distinguish with other people. According to Trompenaars (1997), ‘culture is a way a group of people act to solve problems.’ This report has introduced two approaches to look at culture, which are Geert Hofstede’s four cultural dimensions and Fons Trompenaars’ seven cultural dimensions. There are mainly demonstrated national cultural by critically evaluate these two approaches. TheRead MoreAnalysis Of Geert Hofstede s Cultural Theory1644 Words   |  7 PagesCulture influences our expectations of what is appropriate or inappropriate and also learned and reflects the values of a society. It frames our experiences and provides us with patterns of behavior, thinking, feeling, and interacting. In summary, culture affects every prospect of daily life - how we think and feel, how we learn and teach, or what we consider to be beautiful or cross-grained. However, most people are unaware of their own culture until they experience another. In fact, we don t regularlyRead MoreAnalysis Of Geert Hofstede s Cultural Theory1644 Words   |  7 PagesCulture influences our expectations of what is appropriate or inappropriate and also learned and reflects the values of a society. It frames our experiences and provides us with patterns of behavior, thinking, feeling, and interacting. In summary, culture affects every prospect of daily life - how we think and feel, how we learn and teach, or what we consider to be beautiful or cross-grained. However, most people are unaware of their own culture until they experience another. In fact, we don t regularlyRead MoreFive Aspects of Culture1688 Words   |  7 PagesAspects of Culture Hofstede s cultural factors    Explanations  gt;  Culture gt; Hofstede s cultural factors Power |  Self | Gender | Predictability | Time | So what?    Geert Hofstede, a Dutch cultural anthropologist, analyzed cultures along five dimensions. He rated 58 countries on each dimension on a scale from 1 to 100. Power Hofstede named this Power Distance (PD or PDI). It is the extent to which less powerful members expect and accept unequal power distribution. High PD cultures usuallyRead MoreUnderstanding National Culture And How Relevant Is Important1209 Words   |  5 PagesIntroduction 3 2.- Approaches to National Culture 4 2.1.- Hall’s Context Culture Model (180) 4 2.2.- Hofstede s Cultural Dimensions Theory 5 2.3.- Trompenaars Model of National Culture Differences 6 3.- Conclusion 7 4.- Bibliography 8 â€Æ' 1.- Introduction According to Hofstede definition, it is possible to develop the idea of national culture as a culture for a particular group of humans that includes systems of values and is passed down between generations by learning. (Hofstede G. H., 1980, p. 21) Given