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Thursday, February 28, 2019

Black, White, and Color

Who am I? That is the hardest question to answer for a college freshman. In a sense my life-timetime-time has beneficial begun. I am finally on my consume essay to figure out who I am and what I want to do with my life. Does anyone find out who they are as a person at the age of eighteen? This is the age where a major transition is make from teen to a legal adult. I am going from organism a child to being on my own making my own decisions. When I look at myself I delay so many different things, some are things I intimate in the onetime(prenominal) and I carry with me and others are things I hope to achieve or deform.In Core one hundred ten this year I learn that I could connect myself into what we were study through studying psychological science and science. At the stemma of the year I didnt understand why we were learning psychology and science in concert that now I understand they go in concert. Without science on that target would be no psychological evidence a nd without psychology scientist would not be able to test genuine theories. Because of Core 110 I gouge look deeper into myself by the insight I gained by studying psychology and science.In the disc Forty Studies That Changed Psychology, by Roger hock, he discusses Julian vomituss Locus of insure supposition of how individuals family the responsibleness for what happens to them. grass explains that there are two types of mass indwelling locus of maintain and external locus of lead (Hock 192). When people deliver the consequences of their behavior to be controlled by luck, fate, or berthful others, this indicates a judgement in what Rotter called an external locus of control.Conversely, he maintained that if people interpret their own wefts and personalisedity as responsible for their behavioral consequences, they trust in drive inledgeable locus of control (Hock 192). This is basically saying do you reckon that your destiny is controlled by yourself or by exter nal forces? Rotter believed that if a persons equallihood to view events from an versed, versus an external, locus of control is fundamental to who we are and can be explained from a social learning theory perspective (Hock 192).In his view, as a person develops from early childhood through childhood, behaviors in a stipulation situation are learned because they are followed by some form or reward, or livelihood (192 Hock). From the rewards and reinforcements you learn from as a child follow you throughout life and make you develop an external or internal interpretation of the consequences of your behavior. Rotter wanted to demonstrate two points first, make a test to footprint how individuals posses an internal or an external locus of control orientation towards life.Second, is to lot up how internals and externals display differences in their interpretations of the causes of reinforcements in the said(prenominal) situations (Hock 193). Rotter came up with a test called t he I-E Scale, which measured the extent to which a person possesses the character characteristics of internal or external locus of control. He did this by asking certain questions that internal people would only answer a certain panache and vice versa for the external people (Hock 193). In Rotters theory of locus of control I believe I have an internal locus of control because I control my own fate and destiny.My call down were very strict and always made sure I knew from in good order and wrong or else I would be punished. I grew up realizing I wouldnt win the lottery and I had to work hard to become successful. My locus of control is very grounded and I dont believe in luck. My portrait shows me on the playground looking towards the city in the background. It shows my goals and what I want to achieve but I am noneffervescent in black and sportsmanlike Im not there yet. Being at college has only given me a taste of what it authority to be an adult and be independent.I will on e twenty-four hour period achieve all my goals, but until then Im quieten a kid stuck on the playground until one day I can reach the exciting city life. Another archetype from Roger Hocks book is the study done by Langer and Rodin who look at the effects of choice and how it affects people. Everyday a person makes a choice or decision, When your sense of control is threatened, you experience negative feelings (anger, outrage, indignation) and will stand up by behaving in ways that will restore your erudition of personal freedom (Hock 150).Its like what kids do when they are told to do something or forbidden to do something, they either refuse to do it or do the exact adversary. Hock states, What it all boils down to is that we are happier and more telling people when we have the power to choose (Hock 151). This is a problem for two teens and fourth-year people, the only neglection is that elderly people sustain their rights where teens just arent old enough to get them yet. Elderly people lose their rights and control when they premise a nursing home.Langer and Rodin thought, If the loss of personal duty for ones life causes a person to be little happy and healthy, then increasing control and power should have the opposite effect (Hock 151). They wanted to test this by directly enhancing personal power and choice for a group of nursing home residents. They predicted that the patients who were given the control should demonstrate make betterments in mental alertness, activity level, satisfaction with life, and other demonstrable measures of behavior and attitude (Hock 153).Langer and Rodin compared two floors of a nursing home, one given privileges the other stayed the same. The floors were given questionnaires about how they were treated by the end of the troika weeks. The results showed (on chart 20-1 on page 154) that the differences in the two groups were extreme, which proved Langer and Rodins theory correct about the positive effects of choice and personal power (Hock 153). Langer and Rodin pointed out that their study, combined with other previous research, demonstrated that peoples lives improve when they are given a greater sense of personal responsibility (Hock 153).Being in control is a big thing for eitherone. When I turned eighteen last year nothing changed for me except I was one year older and I could vote. My parents heretofore treated me the same and I still had the same curfew. In their eye I was still a child. However, everything changed when I went to college. I became in control of to the highest degree everything except I still had to go to school. Being in control is a good deal(prenominal) a powerful thing. I couldnt imagine losing all my control like the elderly do. When I went home for Thanksgiving I disjointed most of my control to my parents and it upset me.I felt like the elderly people. My picture shows a divided line between black and white side and the pretense side showing I cant g et to what I want to be until I completely surface up and my parents treat me like a true adult. Im stuck on the dark side wanting control, wanting color. In the book Accidental Mind, by David J. calx, he discusses how percept is tied to emotion. Linden states, Clearly, the perception/emotion distinction cuts deep into the way we think about the learning and the ways we deal with its dysfunctions (Linden 98).He is basically saying that the time we stool or are aware of a sensation, emotions are already engaged. dickens examples are Capgras Syndrome and people who have been blinded by damage to the primordial visual cerebral mantle. Capgras syndrome is when someone can still visually identify objects and valet de chambre faces, but they dont evoke any emotional feeling. plurality who are blinded by damage to the primary visual cortex can accurately locate an object in their visual theme even though they have no conscious awareness of beholding anything (Linden 99). The im portant point here is that visual information is rapidly cater into emotional centers in the brain, which make it impossible to severalise emotion from perception in experience (Linden 100). Linden concludes that the examples may only use vision, the teaching still applies broadly to all of the sense, emotions is integral to sensation and the two are not easily separated (Linden 100). In my self-portrait everything is pastel to show that where I am in my life is distorted yet connected and flows.Im transitioning from being a teen to almost an adult. I see and experience things that are fair and also unfair. The color is so blind drunk to me yet I still have to wait for it. I am stuck on the playground trying to amuse myself until I am allowed to enter the real world. The playground and city are tied together because I will one day play on both. Another example from Lindens book is the study on identical fit. Linden states that in certain faces some mental and behavioral traits come from genes.In the experiment they used identical twins (monozygotic twins) who were separated after birth and elevated by different families and monozygotic twins who were raised together to compare with (Linden 53). For example, identical twins given psychological tests to pin-point personality traits, such(prenominal) as extroversion or conscientiousness or openness, showed that identical twins have tended to share many of these traits whether or not the twins were raised together (Linden 53).The point was to see if twins in the same surround and twins in separate environments were tested on being similar. Lindens final stage was that, in children and young adults from middle class or affluent families, in studies that have used a combination of twins, identical and nonidentical, raised together and apart, about 50 percent of general intelligence can ascribe to genes, with the remainder determined by environmental factors (Linden 54). Basically, genes influence general i ntelligence but to a lesser degree than they influence personality (Linden 54).When dealings with general intelligence, both genes and environment contribute, but in the extreme case of environment deprivation seen in the poorest household, the effects of environment become much greater and largely overcome the effects of genes (Linden 54). In the end the tests cogitate that, identical twins raised apart are significantly more alike in measures of personality than nonidentical twins raised apart (Linden 54). This can conclude that there is some contribution due to genes.The main point of the twin experiment was to show that twins who grew up in separate environments were surprisingly more similar then expected. No matter what environment I am in I am still the same person. I can be on the playground playing or in the city working but no matter what I am still me. I grew up on the playground and learned many lessons that I will carry with me when I leave there. No matter how old I become or how aged I become I will still have the same personality and drive to achieve all my goals and dreams.Anything can happen if I set my mind to it and be patient. Eventually Ill be in color like Mickey Mouse. My self-portrait shows the growth a person going from a child to a young adult. In humanity it is normal for a child to continually get frustrated about their age. A twelve-year-old is almost a teen, eighteen-year-old is a legal adult but not a true adult, and a twenty-year-old is so button up to being twenty-one. Being a teen at any age is rough but every year is a year closer to something different. I may be stuck as a legal adult thriving to be ndependent from my parents but in humankind Im not even close to being able to be on my own. Im stuck, like most of the other eighteen-year-olds in the world, trying to figure out who they are. I am just one of millions who feel this way, yet in reality what would I even do with all my independence and freedom? I am a freshm an in college who really doesnt know what I want to do with my life. I wont know until I figure out who I am as a person. This is why my self-portrait is in transition because before I can do anything with my life I have to answer the question who am I?

Option and Major Studios

louver 4414 Financial Management Spring 2009 Arundel Case Assignment Due ring 23, 2009 Case Arundel Partners The Sequel Project, HBS, Case 9-292-140, Revised 12/92. Main interview Is $2million per movie a fair price? Why or why not? Additional Questions 1. Provide a brief overview of the proposed venture. Clearly quarter the relevant time line. 2. Why do the proponents of this venture believe that Arundel Partners elicit make money buying movie law of continuation rights? Why do they propose buying a portfolio of rights rather than negotiating the purchase price on a film-by-film basis?Why do they propose to purchase the sequel rights at t=0 (before the first film is released) rather than at t=1? 3. Assuming a discount rate of 12% (risk free rate of 6% and a risk premium of 6%) calculate the NPV for all told the sequels. Use the anticipate negative costs and the expected revenues given in Table 7. 4. Using the decision-tree approach, calculate the per-movie order of the sequel rights to the entire portfolio of 99 movies released in 1989 by the six study studios. . withdraw that a maximum of ten sequels can be made in any given year. Using the same decision-tree approach, what would you bode to be the per-movie prise of the sequel rights to the entire portfolio of 99 movies released in 1989 by the six major studios? 6. Using the Black-Scholes approach, calculate the per-movie value of the sequel rights to the entire portfolio of 99 movies released in 1989 by the six major studios. Assume once again that there is no maximum to the number of sequels that can be made in a given year). You must provide details of how you estimated the inputs to the B-S formula. a. Asset value b. Exercise price c. Volatility of asset returns d. Time to maturity e. unhazardous rate HINT Note that the time to maturity of the options is when uncertainty is dogged not necessarily when the sequel is made. The asset value is what you will situate if you practice sessio nd the option to make the sequel.Again use average values for all the sequels. Similarly use the average value of the cost to make the sequels for the exercise price. Estimating hackneyed deviation is a little trickier. Note that you do not have past information on returns to each sequel to estimate volatility for a sequel. However, you have information on a portfolio of sequels and you make love the returns to these sequels and you could use these to estimate a standard deviation based on a cross-section of returns (DO NOT USE PRICE LEVELS).Also the standard deviation should be based on all 99 sequels that is it should be based on the entire distribution. 7. Carry out a sensibility analysis of the value of the option to the values of the underlying asset, exercise price, and volatility. 8. What problems or disagreements would you expect Arundel and a major studio to encounter in the family of a relationship like the one described in the shift? What contractual terms and provi sions should Arundel insist on?

Wednesday, February 27, 2019

Boeing: Selling a Dreamliner

What is Boeing exchange in the 787 Dreamliner? Discuss this in terms of the core turn a profit, actual w atomic number 18, and increase convergence levels of 787 Dreamliner. The 787 Dreamliner core benefit is to provide an evolutionary step in air transportation by feel at every font of the flying commence. Boeing wanted to provide its unified clients with an aircraft that falls into the midsized entire body trade with ground breaking innovations that would furnish into true benefits for its guests. Boeing 787 Dreamliner appends the accelerate rake and capacity of the big elephantine jets to the mid-size market.It is forgeed to be the domain of a functions lightest and intimately give notice efficient passenger jet, providing live nest egg to their consumers. By looking at the entire flying experience, Boeing developed revolutionary-fangled mathematical merchandise innovations in the 787 Dreamliner. Such innovations bring 20% little fuel consumption than c omparability sized planes, an inside(prenominal) that offers a flexible invention aimed at providing multiple configurations for seating capacity, increase cargo capacity, enhanced base hit and technology to cut departure delays and improvements to the passenger travel experience.Boeing prides itself on pass increase product levels by dint of superior client relationships both during and subsequently the sale. Boeing invests heavily in managing client relationships during the lengthy gross revenue cycle, through its sales and service technicians, pecuniary analysts, planners, engineers etc. , all dedicated to finding ship canal to understand and satisfy air lane customer claims. After the sale, the sales executives layover in almost constant contact with the customer to ensure that they abide satisfied.In this case of the delayed product delivery, Boeing augmented the product by announcing its allegiance to working with its customers to minimize the impact of the dela ys as well as crack incentives and penalty defrayals to those customers. There be three major types of buy situations in Business markets. Identify which one better describes the situations of the airline mentioned as corruptrs of the 787 Dreamliner and explain.As a customer to the Boeing 787 Dreamliner, I believe this situation is best described as a New Task, A business acquire situation in which the vendee purchases a product or service for the first magazine. Although the customer may befool purchased products previously from Boeing, this product line, the 787 Dreamliner, is a brand new, subverter product in the market. As such, the customer, not having a previous experience with that particular product, its impact or how it would fit into their own product portfolio would confine to perform a complete benefit/risk analysis.Such investigations are including just not limited to product specifications, their own set limits, contract payment terms, order quantities, de livery times and service terms. Without an investigation on the new product, the buyer can only leverage historical experiences from Boeing on disparate product lines and the companys business reputation. This is not enough to mention a get decision. Discuss the customer buying bring for a Boeing airplane. In what major ship canal does this process differ from the buying process a passenger might go through in choosing an airline?Customers looking to invest in the Boeing 787 Dreamliner go away undertake a interwoven Buying Behavior for New Products. This behavior is identified for customers who are super regard in the purchase and perceive portentous differences amount brands. Consumers are highly involved with the product is expensive, risky, purchased infrequently or highly expressive. In the situation of buying the 787 Dreamliner, the purchasing cycle can take days of investigation and negotiations before the final contract is signed or the purchase is made.The length o f the purchasing cycle and the behavior of the customer is identified by a number of stages, and these happen after the customer first identifies their need for the airplane. After identifying if there is a need for the Dreamliner in the business, the customer leave alone then go through a learning process closely the product. They result investigate the 787 Dreamliner, compare the benefits and features with other competitive offerings. The customer will most likely analyze their finding through a comparative analytical model to help identify differences in the product and the foster of those differences.Not only will the customer look at the core benefit of the product, the product itself, exclusively the customer will also analyze the augmented product levels available to them (such as, warranty, alimentation, financing planners, engineers). It is during this evaluation that Boeing can be slavish to the customer by managing the customer relationship by offering up an exten sive team of company specialists all dedicated to finding ways to work closely with customers through the lengthy buying/discovery process. From here, the customer will develop first beliefs about the product itself.With only 2 competitors in the market for this type of product, the customer may already afford a belief or attitude about the company itself (Boeing). It is now, that the customer will develop a belief, and then an attitude about the product and how the Dreamliner will fulfill their needs and what benefits it will bring to their portfolio. From there, the customer will halt a purchase choice. A significant point is, that with this buying behavior, the cognitive dissonance the customer feels is relatively abject, provided that the Boeing meets and provides the service and benefits that it marketed to the customer, thus providing customer delight.If Boeing fails to meet the criteria it set forth with the customer, than, as direct relationship with the price, the cognit ive dissonance is very high. In contrast to a long buying cycle and decision making process that customers make in purchasing an airplane to round out their portfolio. The end user (the buyer) goes through a much shorter decision model and most likely fall in the Dissonance-Reducing Buying Behavior or even the Habitual Buying Behavior. I will review the Dissonance-Reducing Buying Behavior first.The Dissonance-Reducing Buying Behavior is when the buyer identifies a need they have (flying to a destination), that they are highly involved in the purchase as it maybe be an expensive, infrequent or risky purchased, BUT they see little difference among brands. As such, although the purchase price is expensive, and the buyer doesnt see much difference between brands, the buyer may investigate options (shop around to learn what is available for pricing) unless will buy relatively quickly.Provided that all pricing is relatively personify in the market (no large seat sales to take receipts of), the customer may do a preliminary scan of price offerings, stop overs, flight times et cetera the customer will ultimately make a choice and purchase a ticket. As with most purchases, cognitive dissonance will occur with this purchase. It will most likely not be over price, as all options available were of equal value, but it can occur from the service the buyer receives from the airline, or even through beliefs transferred from others experiences with that airline.The Habitual Buying Behavior occurs under conditions of low customer involvement and little significant brand difference. A significant portion of this buying behavior is based on the repetition of the product by the buyer. If the buyer is a frequent flyer, to him/her it may not number about services, but about brand familiarity rather than brand confidence or brand loyalty. Once again, providing that price is not a instrument in the buying decision, the buyer will continually return to the similar airline out of habit provided that (s)he does not have a disadvantageously experience.As it is with Dissonance-Reducing Behavior, cognitive dissonance may occur, but most likely when the buyer receives bad service. Given that business and consumer marketers use many of same division variables, which of the four categories of segmentation variables on page 242 of the textbook has Boeing used in planning for the 787 Dreamliner? Explain. Faced with a sullied reputation and suffering financial situation, Boeing fought seat by first looking at the market and their products. They identified an probability in the mid-size wide-body market.Their current product line did not have the depth required to attack this market. When developing the Boeing 787 Dreamliner, Boeing segmented their marketing evasive action to Psychographic Segmentation, specifically targeting Benefits Sought. This segmentation group divides buyers according to the different benefits they seek from the product. With this thought and segmentation in mind, Boeing not only developed a product to fit into this category, but Boeing focused on improving the standard design including a number of significant changes, (benefits added).Boeing worked on adding ground breaking innovations that would translate into true benefits for its customers, the types of benefits that would stand out to buyers and executives at major airlines. The Boeing 787 Dreamliner brings the speed range and capacity of the big jumbo jets to the mid-size market. It is designed to be the worlds lightest and most fuel efficient passenger jet, providing cost savings to their corporate customers, who in which could pass along the savings to their customers, driving business and market share.Adding on to this innovation, Boeing developed additional product innovations in the 787 Dreamliner. Such innovations bring 20% less fuel consumption than comparability sized planes, an interior that offers a flexible design aimed at providing multiple configur ations for seating capacity, increased cargo capacity, enhanced safety and technology to cut departure delays and improvements to the passenger travel experience.These changes or innovations are designed to provide their corporate customers with financial benefits through cost savings on fuel and cutting sight on departure delays. The enhanced safety technology also provides a costs savings for the customer with increased safety provisions, and maintenance want reporting that can lead to reduced down time. The final advances, although aimed at the end user (the flyer), also promote a benefit to the customer. The customer can promote their flights to the flyer and boast of the 60% noise reduction, to a greater extent legroom, lighting that automatically adjusts to time zone shifts, and higher cabin haul and humidity which reduce the common flying symptoms. By developing the 787 Dreamliner with innovations, cost savings, an end user comfort, Boeing was able to segment their market and target their product to the customers most interested in products that provide them with additional benefits. Identify and controvert the sources of competitive advantages for the 787 Dreamliner.Although the 787 Dreamliner has a hefty price tag, as compared to comparable models, at $168M, it also offers a number of competitive advantages over the competition Worlds lightest and most fuel efficient passenger jet o Single morsel fuselage made of lightweight carbon materials, eliminating 40000-50000 fasteners and 1500 aluminum sheets o Requiring 20% less fuel than comparable models o Fuel range of 8500 nautical miles and ambit speed of Mach 0. 5, bringing big jet speed and range to the midsize market, rivaling the jumbo jets o Innovations in safety technology o Technology in cutting departure delays and ground based com o Self-monitoring vital functions with maintenance reporting technology to cut on down time o Multiple interior configuration o Increased cargo distance The f low through (or advantages aimed at the end user or flyer) are to reduce long-haul flying misery and to better imitate the life on the ground o 60% quieter than other planes in its class much leg room o Lighting that automatically adjust to time zone shifts o Larger over-head capacity to reduce content damage o Cabin pressures and humidity higher to reduce symptoms of flyer promoting a more comfortable ride o 19 inch self-dimming windows o Wireless internet o Entertainment system By looking at the entire flying experience, from maintenance, crew and the passenger, Boeing was better able to produce a product that has distinct and definable advantages over that of its competitor.

Criminal Sentencing Essay

A basic question in execrable sentencing is What are the advises of criminal sentencing? Scholars, too, reflect on the purposes of punishment. There are ordinarily four identified purposesRetribution. The oldest but considered the most important purpose for sentencing is vengeance, that is, inflicting on an offender suffering comparable to that caused by the offense. An act of social vengeance, requital is grounded in a view of society as a remains of moralistic balance. When criminality upsets this balance, punishment exacted in comparable measure restores the moral order, as suggested in the biblical dictum An eye for an eye. While modern-day critics of retribution sometimes charge that this policy lacks the force to crystalise the offender, it in time remains a strong seriousification for punishment.A second purpose for sentencing, deterrence amounts to the attempt to discourage criminality through punishment. Initially, deterrence arose as the banner of reformers seek ing to end what they saw as excessive punishments found on retribution. Critics asked, Why put someone to death for stealing if that iniquity could be discouraged with a prison house curse? As the purpose of deterrence in sentencing gained widespread acceptance, execution and physical mutilation of criminals were gradually replaced by milder forms of punishment such as imprisonment. There are two types of deterrence, particularized deterrence demonstrates to the individual offender that horror does not pay piece of music in general deterrence, thepunishment of one person take cares as an usage to early(a)(a)s.Rehabilitation. The third purpose for sentencing, rehabilitation, involves reforming the offender to preclude subsequent offenses. It resembles deterrence by motivating the offender to conform. But rehabilitation emphasizes constructive improvement bit deterrence and retribution progress to the offender suffer. In addition, while retribution demands that the punis hment fit the crime, rehabilitation focuses on the distinctive problems of each offender. gum olibanum identical offenses would call for similar acts of retribution but different programs of rehabilitation. mixer protection. A final purpose for sentencing is social protection, or rendering an offender incapable of further offenses either temporarily through incarceration or permanently by execution. Like deterrence, social protection is a rational number approach to punishment and seeks to protect society from crime. The different forms of sentencing used in different jurisdictions include institutional sanctionstime to be served in prison or jail and noninstitutional sanctionsfines and forfeiture of the proceeds of crime, and service of the sentence in the biotic community in the form of probation or parole. Recently the inventory of punishments has been considerably enlarged by the creation of mixed sanctions and alternatives to either institutional or noninstitutional sancti ons. The succeeding(a) are the variety of options for sentencingDeath penalty. In thirty-six states (as well as the federal courts), courts whitethorn impose a sentence of death for any offense designated a capital crime, for example, first-degree murder.Incarceration. The suspect may be sentenced to serve a term in a local jail, state prison, or federal prison.Probation. The defendant may be sentenced to a point in time of probationary supervision within the community.Split sentence. A judge may split the sentence between a period of incarceration and a period of probation.Restitution. An offender may be require to come through financial reimbursement to cover the cost of a victims losses.Community service. An offender may be required to spend a period of time performing public service work.Fine. An offender may be required to pay a certain sum of bills as a penalty and/or as an alternative to or in conjunction with incarceration.This leads us to the next question, What are some reforms that come been proposed? A juvenile reform growing out of the victims rights movement in the sentencing process is the consideration of statements by the victim, known as victim strike statements (VIS).Twenty-six states have mandated the use of VIS in criminal cases, while another(prenominal) twenty-two states have adopted so-called victim bills of rights that include quotation of the right of a victim to present a VIS. In the VIS, the victim provides a statement about the extent of economic, physical, or psychological pervert suffered as a dissolvent of the victimization. The victim also can make a recommendation about the type of sentence an offender should receive. commonly the VIS is incorporated into the pre-sentence investigation report written by the probation officer.Research has revealed that a judges choice of a sentence is influenced much to a greater extent by legal considerations than by victim preferences in cases where VIS has been presented (McGar rell, 1999).The third reform proposal is pop arbiter. reviving justice has been a feature of justice systems for a long time, though it was little used until a gathering of criminologists in the united States and the Commonwealth countries brought the idea back to life. The term renewing justice was virtually unknown a decade ago, and it is still in search of a commonly accepted meaning. Yet, the literature related to this typeface has grown rapidly, so that we venture to define it in terms offered by Howard Zehr, published in a symposium of The justnessProfessional, entitled Criminology as Peacemaking. Zehr provides contrastive paradigms between the traditional, retributive sense of justice and the newly emerging (or reemerging) restorative sense of justice. If the proposed reform of restorative justice were adopted, where would that leave us with look on to the traditional aims or justifications of criminal justice?As to retribution (or just desserts), we would still be limited to never imposing an obligation (sanction) that outweighs the defile done.As to incapacitation, even the staunchest advocates of restorative justice recognize that some offenders are far too dangerous to be returned to the community and that their separation from the community is necessary. But the prison population could be vastly reduced.As to resocialization or rehabilitation, the very idea is built into restorative justice, which aims at restoring the community.Some of the live issues in federal sentencing according to the U.S. Sentencing counsel at https//www.ussc.gov. are the followingThe issue on the amendment pertaining to offenses involving cocaine base (crack) and the amendment pertaining to certain criminal history rules, see 72 FR 28558 (May 21, 2007) 72 FR 51882 (September 11, 2007), should be applied retroactively to previously sentenced defendants.The issue of the Judicial Conference of the United States, the and the United States Sentencing Commission has d ecided to establish a standing victims advisory group pursuant to 28 U.S.C. 995 and Rule 5.4 of the Commissions Rules of Practice and Procedure. It was stated that the purpose of the advisory group is (1) to instigate the Commission in carrying out its statutory responsibilities under(a) 28 U.S.C. 994(o) (2) to provide the Commission its views on the Commissions activities as they relate to victims of crime (3) to disseminate information regarding sentencing issues to organizations represented by the advisory group and to other victims of crime and victims protagonism groups, as appropriate and (4) to perform any other functions related to victims of crime as the Commission requests. The victims advisory group go away consist of not more than 9 members, each of whom may serve not more than two consecutive 3-year terms.The issue on modern Yorks Rockefeller laws to curb the drug trade which directly contributed to a outstanding increase in the states prison population cost th e state millions of dollars, but failing to impact drug trafficking. According to a New York Times editorial, New York has made incremental changes to the Rockefeller laws in recent years, but has stopped short of restoring judicial discretion.A governor-appointed commission supercharged with studying state sentencing practices, however, has produced a report calling for the end of enigmatic sentencing the process by which a judge imposes a minimum and a maximum sentence and the Parole Board decides when to release an offender. It further suggests that unprovocative offenders be considered for community-based treatment instead of prison. Finally, Gov. Elliot Spitzers commission recommends restoring prison-based educational and grooming programs as a means of helping to lower recidivism rates.The website of the Sentencing Project at http//www.sentencingproject.org. mission is to promote reforms in sentencing law and practice, and alternatives to incarceration through their advoc acy and research. Moreover, the Sentencing Project provides defense lawyers with sentencing advocacy training and to reduce the reliance on incarceration. Hence, the Sentencing Project has become the leader in the effort to bring subject area attention to disturbing trends and inequities in the criminal justice system with a successful formula that includes the publication of groundbreaking research, aggressive media campaigns and strategic advocacy for policy reform.As a result of The Sentencing Projects research, publications and advocacy, galore(postnominal) people know that this country is the worlds leader in incarceration, that one in three young black men is under control of the criminal justice system, that five million Americans cant vote because of felony convictions, and that thousands of women and children have lost welfare, education and housing benefits as the result of convictions for minor drug offenses. Thus, the Sentencing Project is dedicated to changing the way Americans recollect about crime and punishment which coincide with the interests of the National Association of Sentencing Advocates.References McGarrell, E.F. Restorative Justice Conferences. Indianapolis, IN HudsonInstitute, 1999 Edmund F. McGarrell, Cutting Crime through Police-Citizen Cooperation, American Outlook, outset 1998, pp. 6567.The Sentencing Project at http//www.sentencingproject.org.U.S. Sentencing Commission Available at https//www.ussc.gov.Zehr, H. Justice as Restoration, Justice as Respect,The Justice Professional 11, nos. 12 (1998), pp. 7187.

Tuesday, February 26, 2019

Being a Man: Rhetorical Analysis

Being a Man, by Paul Theroux, delineates the negative make of being a spell According to himself. Theroux, in his piece, argues that a man is oppressed by gender expectations, despite sustainment in a society where women are be short(p)d in comparison to men. Theroux attempts to explain the go between genders which cause bad marriages, social misfits, moral degenerates, sadists, and latent rapists. Theroux proposes that the sentiment of manhood in America has caused some men to feel standardized they dislike being a men, and caused them to reject break of their own individuality deep down inside.His overall purpose it to bring awareness to twain genders that an oppressiveness is happening to American society due to gender. Theroux tries to create misgiving between the two opposing genders and find common ground against the alike(p) type of oppression both genders face, This version of masculinity is a little like having to wear an ill-fitting coat for ones entire livenes s (by contrast, I imagine femininity to be an oppressive sense of nakedness).Theroux uses parenthetic comments in order to widen the range of theme to his essay. He non only writes about man, unless about women to and how they both have fuck off affected by the gender constructs put in place from living in an American society. This allows his target audience (both men and women) to become understanding of his purpose in the essay. Not only are men fit to relate, but women to as they are remembered in the fact that they face the similar oppression as the one described by Theroux.This rhetorical put is repeated to reemphasize Therouxs purpose, (The paradox in American letters is that it has eer been easier for a womanhood to write and for a man to be published) Theroux is equal to not only give the message that the gender constructs oppresses only men, but also women, gender in general for that matter. Theroux is able to successfully bring in his message (to both genders) that this society is harmful to both genders. Theroux appeals to the audiences sense of sense as he applies his arguments soundly to gender oppression, an emotion felt with both members to his target audience.His argument is that gender constructs lead to an oppression that leaves one feeling a displeasure with their own identity. This feeling of self-loathing appeals to hatfuls sense of emotion. This appeal allows the readers to engage and relate, which captivates them into realizing Therouxs message. Theroux is effective in his proper use of pathos without having to consult ofttimes with the author branches of persuasion, credibleness and logic. Personally I am not able to relate much with the American gender construct. Seeing as I was raised in a more Mexican household, I was raised to believe in a stricter gender construct.One that doesnt apply much to Therouxs translation of the male gender construct setup by American society. mine has roots in a one that emphasizes absolu te respect for women and realizing that her dust is nothing less than sacred. Youd think that this would be a break off way of thinking, but this kind of thinking still implies that a woman is in need of more respect, which creates a kind of sexual inequality. Although do sense and persuading me in his argument, I was not able to relate to his argument, which was part of his purpose.

Analysis of Madame Bovary Essay

In his first paragraph Barthes uses Balzacs Sarrasines castrato extensions inner voice to examine whos really doing the lecture in a written lick, since there are layers of meaning in the identity inside the graphic symbolicular quote. One of my favorite aspects of post-modernist literature is its jocularity with the t do workile sensation of beginningship and recursive identity within a accustomed work. John Barths Giles Goat Boy, a favorite and seminal work for me, starts with a forward deliberately exertioning to put the informantship of the book into enquire (it is supposedly a discovered manuscript of debatable creation).But Barthes have We shall never know (the causality), for the good reason that report is the terminal of both voice, of every forefront of origin. Its a good orchestrate in a theoretical centering, like the idea within entropy theory that the maximum amount of development that fuck be carried is with white racket (which by the way, is o nly a wiz excogitation within Information Theory, necessary to build other constructs on the formation of information within a signal).However, walling that we can never know, and that the school schoolbook edition exists in a banish oblique berth where everything slips away stands at odds with the practical h adeptsty that if the author and the authors originative star wasnt there, the text would not exist in the first place. One could allow that Barthes point of receive is suggestive and not absolute, or that it promotes a point of view to help shade meanings on traditional decisive methods, save hes constantly painting himself into corners with absolute statements.He doesnt unsex his point of view to contemporary authorship, or even off to the author as a modern figure emerging from the middle ages. He states that No doubt it (the loss of identity of the author in a invalidating oblique space) has always been this way, that as soon as record occurs the author ent ers into his own death. Barthes claims that the author is a modern construct that emerges from the Middle Ages, implying that before that time authorship was assumed by a mediator, shaman or performer, and not coming from genius.But what about the antique Greek Tragidians, like Aeschylus, or Roman pornographers, like Patronius and his Satyricon? As a form, the novel may be modern plainly not the author nor the notion of a genius within the author. Barthes makes a valid and of the essence(p) point that Capitalisms relationship with the author is as a uncommon commodifiable object. It make me think of the profoundly capitalist notion of brand, as in the Mickey Mouse brand to Walt Disney. Its in either case reasonable to place classical tyroism at the service of Capitalism, which provides an slight motive for placing the branded author at the center of a critical approach.And is it correct to see a notional work as breathing solely in the context of the author, even to the e xtent of not placing the discipline of the work remote of the context of the authors personal deportment up to that point. It makes sense that some authors have be list recluses, like Salinger and Pynchon, who choose to let their work stand on its own. In fact the notion of a fictive work standing on its own is what strikes me to be the appropriate post-modernist attitude to tear regarding a creative work copulation to its creator, and as an approach does not require the destruction of the author.Barthes states that it goes without expression that certain(p) writers have long since attempted to loosen the sway of the occasion. No doubt, but if you destroy the validity of the author as a creative center, one who either brings works into the world from some unconscious place of genius as I believe, or out of a tissue of signs or quotations and a mosaic of other activated texts or drawn from an great dictionary as Barthes dispenses, you still befoolt have to execute off the creator.Who constructed the tissue of signs or the mosaic or read the broad dictionary to begin with? Even Mallarmes intensely abstracted and word-based poetry (though I must confess to not having read it) is based in language as a kind of meta language, Mallarme still had to create it, even if Mallarme makes deliberate efforts to re travel himself from the writing of it.According to Barthes, Valery approached his prose with the notion that his interiority, or creative genius or authorship, was pure superstition. Fine, he can believe that. Id like to see Valery prove it. The unspotted attempt to conglomerate a series of words, to become a scriptor as Barthes puts it, the mere attempt in itself is a creative act by a unique individual, and not by a scriptor snatching bits from a pre-existing dictionary without any personal intervention.Barthes takes on Proust as check somehow that by the self-referential and recursive existence of the author within the book working up to writin g the book, that by blurring the realities of authorship and narrative of authorship, one can assume the real author has in some semiotic sense committed suicide, when in fact Proust has only played off an idea, like a make love rift, and has not actually dissolved himself. Barthes includes Surrealistic texts as further proof of non-authorship, with aleatoric and unconscious techniques of construction.But again, where did the technique of construction come from if not from a creative place within the author? Surrealists are in inwardness trapped in a paradox that the subversion of computer codes is in itself a code (and Barthes believes in the indestructibility of codes) but it in nowise removes the destroyer of the code from a creative act through a destructive one. Barthes puts up linguistics as providing a sort of absentous apparatus for deconstructing the author out of the text it examines.That the un-provable, and therefore evacuate, process of enunciation exhausts the no tion of an I within a text, reducing it to no more than an instance of saying I. Fine, great, so? If I have a tool, say a microscope, and I use it to examine the surface of Michelangelos incomplete captive Statues in Florence, and I get a very interesting take on the chisel marks depth and flow and intersections, have I therefore negated Michelangelo? Even if you add on top of that Michelangelos insistency that he was merely releasing the character from within the stone, Michelangelos creative force is still there.Barthes contends that by removing the Author from the text, or even winning text from which the scriptor has removed themselves, that it utterly transforms the text. And here I discipline, and I agree that the tools of post modern deconstruction and linguistics do transform our intelligence of what text can mean and how it can be received in a critical context, and even in a personal one. It is intellectually interesting to remove the author and his/her existence as c onjoined in time and see the scriptor as coming into existence at the chip of reading, and to consider the writing as being what the linguist J.L. Austin calls a Performative Utterance (an act of utterance that does not report a fact, but is an action in and of itself). But contending that the performative utterance, activated by a mint trapped in the phenomena of lagging behind reality by a few microseconds, traces a field without origin or if there is an origin the language itself negates it by ceaselessly calling it into question, is interesting as a point of view only for about the few microseconds that my sensory information to my mind lags behind reality.This isnt about the removal of the author so much as it is contending that even if an author exists, they merely inscribe and dont create, since the language they inscribe is self-referentially self canceling. Barthes says We know now that text is not a line of words releasing a undivided theological meaning (the message of the author god) but a multi-dimensional space in which a variety of writings, none of them original, blend and clash. The text is a tissue of quotations drawn from the innumerable centres of culture. Fine.Interesting, even revelatory in its point of view that there is nothing new under the sun (which is not something new under the sun). But is not this assembled mosaic of texts assembled by someone? And how is it that the act of assembly is tacitly a non-creative act, and an act that does not come from genius. Barthes uses Bouvard and Pecuchet, characters from the same titled book by Flaubert, who try and move from a non-creative life as copyists to a creative one as farmers and back to copyists from a dictionary which Flaubert himself wrote before the book was created, as another(prenominal) example of non-authorness.But it again strikes me as ironic that these are characters, created by Flaubert. Its interestingly recursive, but not self-canceling as Barthes contends. He includ es Baudelaires internal fictional unfailing dictionary in Paradis Atrificiels to exemplify the scriptors self-removal from emotions and supine reading of an immense dictionary from which life never does more than accompany the book, and the book itself is only a tissue of signs, an imitation that is muzzy, infinitely deferred A tissue of signs perhaps, but lost and infinitely deferred?If an author/scriptor is a mere copyist assembling a tissue of signs, how then is the author/scriptor lost and infinitely deferred from the readers interaction with the text. If I read a text I am creating meaning from that text, but I am also conscious that there is a creative force behind my created meaning, irrespective of my created meaning, and that is the author. Barthes seems to contend that all agency or representation must be transferred to the text, or language, itself.Some, like Graham Allen in his book Intertextuality claim that Barthes does not murder all forms of Authorial agency (my italics) and to take it as such(prenominal) is a misinterpretation but he does, over and over. When he says writing is the destruction of every voice, of every point of origin, the whole of enunciation is an empty process, the text is henceforth made and read in such a way that at all levels the author is absent, the text is not a line of words releasing a single theological meaning, but a multidimensional space, the writer can only imitate a gesture that is always anterior, never original. Barthes says To march on a text an author is to impose a limit on that text, to furnish it with a final signified, to close the writing. How so? I am unconvinced. If, as he claims, reprehension has allotted itself the task of discovering the author down the stairs the work, how does that impose a limit on the text? A critic may, like Barthes, impose whatever they like, but in no way does that limit me to my own creation of meaning from a given text. Does the act of analysis destroy flexibilit y of meaning in a creative work? Only if you give the author of the analysis a God-like originator over all other interpretations.Here I agree with Barthes in not granting that power, but it raises the paradox that by agreeing too heartily, Im also negating Barthes existence as the author of Death of the Author. So I choose to limit my giving over of power to the author, but I dont see the need to kill him or her. In Barthes conclusion, he ironically refers to Greek Tragedys texts which carrying double meanings unsounded by the characters within the play in only a coloured way, and with the viewer/listener/reader able to perceive the layers of meaning from outside the play.This reveals to Barthes the totality of the existence of writing a tissue of signs, drawn from many an(prenominal) texts, a multiplicity focused in one place in the reader. True enough, but to say the author is not a part of that focused multiplicity is nonsense. A texts unity lies in its destination as he says , but not at the cost of its origin. That Classic criticism has never paid any attention to the reader may be true enough, but recognizing the reader doesnt obviate the writer. I contend we dont have to throw out the author/ botch when we throw out the bathwater of classic criticism.Barthes newly-birthed reader can live quite a nicely with its older sibling, the author. or has really achieved. Has it thrown off the match of capitalist ideology? Has it done anything to progress society? Has it overthrown the old elites and turn the vast horde of readers? No quite the contrary. When the author is dead, the reader is king, or rather, the individual, free-floating consumer is king. The quality of a work of art is therefore determined by the number of people who consume it in other words, by commercialise forces.Artists must cater their work to market realities, and a whole wrapping of nominally left commentators cheer them on those artists who pursue their singular, uncommercial vis ual sensation are condemned as elitist or worse. The trend launched by the Death of the Author has been against self-expression in art, and in favour of pandering to the dollar and to the lowest common denominator. Its a perfect example of the dead end and hypocrisy of 60s radicalism. The author is dead, long live the free market Deconstructing Authorship 2010 DeathofTheAuthor. com

Monday, February 25, 2019

The Historical Relevance of Masculine and Feminine Spaces Within the Home

This essay will give out the historical relevancy of the thought of male and effeminate immortals indoors the organize and whether these thoughts argon still evident in a 21stcentury sulfur African context. This analysis will be through with(p) by utilizing the models sitd on the Victorian Househ octogenarian and the psychological sexual practice of the unmeasureds, through looking at into cardinal absolutes within the De Villiers offerh overaged place and how the end intercessions used in their place be relevant or opposed to the thought of manful and powder-puff infinites. Through looking at some(prenominal) Public and Private Spaces within the contribute this extent will be analysed.The Victorian epoch is an epoch that has held a batch of symbolism to our up-to-the-minute civilization. It has been the cause of some great argument about the sexual activity executes on field of study forces and adult female persons for centuries ( forty 1986 110 ) . The V ictorian epoch held the strongest railyard for inquiries to be asked about the dwelling dwelling nominate and what went on in doors ( Forty 1986 109 ) . Our up-to-the-minute society still lives by some of the regulations that were placed into the place environment, though a few helps may be reversed or neutralised. When looking at the cardinal civilization of the Victorian epoch the various(prenominal) has to analyze the in-between kinsperson to upper category families that held to a greater extent than three suites and had suites that were gender orientated ( Forty 1986 106 ) . As domestic environments suck in come to be regarded as marks of the re inclinents characters, people lay down gone to great lengths to turn up a satisfactory history of themselves. ( Forty 1986 106 )As people we flooring a big sum of what we think of a individual or domicile on their life conditions and therefore we project the coveted ruling that we want from early(a)s onto our own(prenomi nal) life infinites, to be perceived in a certain manner. This was a outlook that was seen in the Victorian epoch as good and predicted the hereafter of you and you relatives ( Forty 1986 102 ) . The Home was seen as a category symbol that would project the wealth and position of the dwelling house that lived within ( Forty 1986 101 ) . This was an of import portion of cognizing who to socialize with and what their personal worth would be to you.Sexs can merely be adequately evaluated in relation to their broader ethnic contexts ( Smyth 199220 ) . This can find if one or both spouses in a heterosexual relationship ply to be either more than than maidenly or masculine in the relationship. Cavallaro ( 2001115 ) provinces thatAnti-essentialists do non renounce that work forces and adult females are biologically and anatomically different. However, they argue that maleness and muliebrity are non dateless worlds g exposited in natural Torahs but real cultural constructs that ch ange significantly through clip and space.The sex of the individual does non impact the gender function that they have. How that will impact the relationship within the place in footings of the interior manner harmonizing to the gender function that is more prevailing.The De Villiers household place is a family that is normally found in South African, a mix of Afrikaans plaas and English City outlook ( De Villiers 2015 ) . The female parent was brought up in Johannesburg and the male parent on a farm in Nelspruit ( De Villiers 2015 ) . The family consists of the female parent, Debbi and the male parent, Lewis with their three boies over 21 life with them ( De Villiers 2015 ) . The household has a love for hosting friends and household in their infinites, this has do some goal picks important in the house ( De Villiers 2015 ) . Debbi Studied to be a grade 5 instructor, but after holding her initiative-year boy chose to raise their kids as a stay at place Mformer(a) ( De Villiers 2015 ) . At this phase the male parent had a galactic portion in the propose picks and certain things like flowered forms and colour in stuff and nonsenses were non allowed to play a function in the communal infinites ( De Villiers 2015 ) . Debbi decided to brand name her ain drapes for the house and this shortly after became a concern that was transport in more money than the building Job that Lewis had ( De Villiers 2015 ) . They shortly started to work together and this is when the alteration in the house happened and the opportunity for Debbi to convey Hints of florals into the house ( De Villiers 2015 ) .The house is over 85 old ages old and was renovated eleven old ages ago to modernize some of the characteristic and add to some of the infinites in the house ( De Villiers 2015 ) . The household hosts a big aggregation of familial old-timers that have been reupholstered to accommodate the manner of the house ( De Villiers 2015 ) . The mix between modern-day and old signif ier a balance in this impersonal coloring material strategy place. The latest way to be redecorated was the telecasting style in February 2015 ( De Villiers 2015 ) . The remote is a common South African face brick outside. In the Victorian clip the work forces had sphere over what the outside of the house was to be this was because the exterior founding was a mans universe ( Forty 1986 104 ) . A masculine outside was seen every bit excellent as it improved the power position of the household that lived within the house, if the outside was more feminine the house was seen as surrounding on a infantile look ( Ehrnberger, Rasanen & A Ilstedt 2012 89 ) . The outside of the De Villiers house is masculine but the tend softens the exterior and makes the general visual aspect more impersonal.As one enter the house you walk onto a raise platform that forms the transition to the private countries of the house and the everyday countries, this can be seen on the diagrammatic in atten d 1. The entryway looks into the unfastened course of study positive life room ( Figure 1 and 2 ) . This room would be the equivalent to the music room and pulling room in a Victorian family. The infinite is divided into three defined sections the first a Lounge country that is symmetrical with Colour doing the infinite asymmetrical, seen in account 2 a seating country of two wingback chairs that has a tabular array with household images and other memorabilia, seen in Figure 2 and a Music country that has the pianoforte and a music base, the piano has memorabilia on top of it, seen in Figure 2. The soft trappingss are in a bulk impersonal roof of the mouth with ruddy break absorbers and pale blues or florals ( Figure 2 & A 3 ) being brought through, this a feminine manner of adorning the infinite ( Kinchin 1996 13 ) . The sin forests of all the difficult furniture is a masculine trait ( Kinchin 1996 13 ) . Boundaries between interior mind and outward aesthetic look were t urn of events of all time more indistinct ( Sidlavskas 199670 ) . The boilersuit spirit of the room is more feminine with the Photographs and assigns of workss and embroideries throughout the infinite, these embroideries of the room can be seen as a nostalgic component of a more feminine nature of retrieving things from the yesteryear ( Morley 2002 58 ) .The following infinite is the formal eat room that is off the kitchen and Formal life room, as can be seen in Figure 1. Figure 4 shows the full infinite of the eat room. Chiefly done in menacing trappingss with a few nonfunctional points. The room is more masculine with a strong contrast to the Formal life room. The Fire topographic point has a feminine panorama to it and has been in the house since it was originally built. The furniture is all repurposed household old-timers. The images on the walls are prints and picture of work forces. These elements make the room more masculine and as it is more purpose decorated, therefo re it has a more heavy feel to it. This infinite is non a common used infinite and is kept for particular occasions where in the Victorian epoch it would hold been the or so used room and the biggest position symbol in the house ( Kinchin 1996 16 ) . This usage of the dining room would besides touch to the Victorian ideal of the stating man of the House and this would thereof necessitate the infinite to come crosswise more masculine to demo the ownership of the house unit.The outdoor terrasse infinite that is off the dining room, seen in Figure 1, is a infinite used to asseverate household events. Morley ( 2002 19 ) negotiations about the demand of the household to portion take in rites ( Birthdays, Easter and Christmas jubilations ) in certain countries of the house as a manner of demoing an appearance of proper household relations . This infinite in the De Villiers house is the Main terrace, which has been designed to be an enjoyment country. This country was added to the h ouse ten old ages ago and has been used to observe a broad scope of events, every bit good as a favorite infinite to pass clip with one another. This infinite is a multi-purpose infinite that brings in the households love of nature into the infinite with the garden surrounding the infinite. This natural component is seen as a feminine side and with the swerving chandeliers and lighter colorss. the overall infinite has more of a feminine feel to the infinite.The Family Sitting room that is off the dining room, seen in Figure 1, is the virtually used infinite by the full household. Decorated in a Postmodern manner that is emotionally decorated ( Figure 6 ) and non functionally decorated, stressing a alone and daring combination of heterogenous furniture elements all favoured for their reliable single merits ( Cieraad 1999 9 ) . This infinite was redesigned in February and hence the gender function of the room has changed. All the dark timberland trappingss have been limited and som e painted white to give a fuzziness to the difficult furniture. The walls have been repainted in a impersonal coloring material, go the coloring material blue has been brought in with florals and forms to equilibrate masculine and feminine in the room ( Figure 6 ) . The room that was predominately the sons haven hence more masculine, has become a dual-lane sickish infinite for the whole households use.The sons quiescency rooms are each(prenominal) different and fit each of their personalities. The oldest sons sleeping room ( go through 18 ) is bedroom 3. The color strategy is really similar to the remainder of the house with a more impersonal gender function. The in-between sons sleeping room ( figure 15 and 16 ) is merely decorated with blues and a few points on his desk. The youngest boy ( figure 17 ) has the most points in his sleeping room and has a big about of memorabilia in the room. The color strategy is drab and green. The male childs have masculine suites. We must recognize that frequently place is a contested sphere an sphere where differing involvements struggle to specify their ain infinites within which to place and cultivate their identity stated by Ehrnberger ( Rasanen & A Ilstedt 2012 57 ) . Each of the boies are seeking to happen their ain identity element in their single suites and therefore their suites are a contrast to the overall manner of the house.The forefront sleeping room suit that is off the chief passageway next to bedroom 1, seen in Figure 1, is the oasis in the house for the hubby and conjoin woman. Figure 7 to 14 show the full suit. Each infinite has a different gender function and this shows who the infinite was designed more for the people populating within it. The sleeping room shown in figure 7, 8 and 9, is less ornamentally designed so the public infinites. The trappingss are in chiefly impersonal colorss with really small pattern on them. Each dark base has a different entreaty. at that place is a minuscule terrace and seating country for the hubby and married woman to pass clip with each other in their shared infinite. The wifes dark base ( figure 7 ) is round with a table fabric doing it softer, it has a works and a little lamp on the tabular array along with a few books and other points. Along with her dressing tabular array it marks her single infinite within the room. The husbands nightstand ( figure 8 ) has a pendant hanging over it, the base is made of a dark wood and has hemorrhoids of books on the base. The husbands side of the bed is closest to his survey. The get on of a room, the form of an object, its coloring material, can animate understanding or even antipathy objects become marks of a great figure of little actions Paul Bourget ( Sidlauskas 199673 ) . The single infinites within the shared infinites are strongly defied unlike the remainder of the house.The suites off the sleeping room each have more masculine traits. The survey ( Figure 10 and 11 ) off the chief slee ping room is overruning with jumble and books. This infinite seems messy but is a well-used infinite and is the husbands chief infinite for himself in the house. The atrium off the infinite shows the demand for single infinite in the garden country for him every bit good. The bathroom seen in figure 13 and 14, shows a more masculine infinite with the usage of dark forests along the impersonal colors. There is really small ornament other than two pictures and a chair that has been placed in the infinite. The bathroom is more of a topographic point of map so emotion, doing the infinite more masculine ( Morley 2002 57 ) .The De Villiers house was designed in a Gallic manner that would take one to believe that the muliebrity of that manner of design would be the most outstanding gender function within their house. This house shows that through the people the infinite is made a place and their personal gender functions, along with the functionality of each infinite determines the overal l gender function of each infinite. Rothchild ( 1999 11 ) negotiations about the alteration in ownership functions of the house out-of-pocket to the workplace going more feminine. This allows one to see that the household unit has a more balanced Gender function family due to Debbie and Lewis working together as co-owners of a concern, though Debbie now has a more design pick in the house. The private infinites applies to the person that spends the most sum of clip within that infinite. While the public infinite tend to be more masculine with feminine touches or elements being brought in to equilibrate the infinite. The outside of this house does non hold an consequence on the overall gender function within the house. From my personal position, the De Villiers house tends to keep a more balanced sum of masculine and feminine gender infinites, though feminine elements outweigh the masculine elements in the public infinites. The overall design manner of the house stays consistent thr oughout the infinite.

Foundation and Empire Prologue

The Galactic Empire Was Falling.It was a colossal Empire, stretching across millions of worlds from arm-end to arm-end of the justly multi-spiral that was the Milky Way. Its fall was colossal, too and a ache bingle, for it had a long way to go.It had been travel for centuries before one man became really conscious of that fall. That man was Hari Seldon, the man who represented the one spark of creative private road left among the gathering decay. He developed and brought to its highest pitch the science of psychohistory.Psychohistory dealt non with man, but with man-masses. It was the science of mobs mobs in their billions. It could forecast reactions to stimuli with something of the accuracy that a lesser science could bring to the forecast of a rebound of a billiard ball. The reaction of one man could be forecast by no known mathematics the reaction of a billion is something else again.Hari Seldon plotted the well-disposed and economic trends of the time, sighted along the curves and foresaw the continuing and accelerating fall of civilization and the breakage of thirty thousand years that must elapse before a struggling new Empire could emerge from the ruins.It was too late to cede that fall, but not too late to narrow the gap of barbarism. Seldon naturalized two basiss at opposite ends of the Galaxy and their location was so intentional that in one short millennium tied(p)ts would knit and mesh so as to force out of them a stronger, more permanent, more kind Second Empire.Foundation (Gnome Press, 1951) has told the story of one of those Foundations during the for the first time two centuries of life.It began as a settlement of physical scientists on Terminus, a planet at the extreme end of one of the spiral arms of the Galaxy. Separated from the hullabaloo of the Empire, they worked as compilers of a universal compendium of knowledge, the Encyclopedia Galactica, unaware of the deeper subroutine planned for them by the already-dead Seldon, As the Empire rotted, the outer regions fell into the give of independent kings. The Foundation was threatened by them. However, by playing one petty ruler against another, under the leadership of their first mayor, Salvor Hardin, they maintained a precarious independence. As sole possessors, of nuclear power among worlds which were losing their sciences and falling back on coal and oil, they heretofore established an ascendancy. The Foundation became the spiritual center of the neighboring kingdoms.Slowly, the Foundation developed a trading thrift as the Encyclopedia receded into the background. Their Traders, dealing in nuclear gadgets which not even the Empire in its heyday could have duplicated for compactness, penetrated hundreds of light-years through the Periphery.Under Hober Mallow, the first of the Foundations Merchant Princes, they developed the techniques of economic warfare to the point of defeating the Republic of Korell, even though that world was receiving suppor t from one of the outer provinces of what was left of the Empire.At the end of two hundred years, the Foundation was the most powerful accede in the Galaxy, except for the remains of the Empire, which, concentrated in the inner tertiary of the Milky Way, still controlled three quarters of the population and wealth of the Universe.It seemed infallible that the next danger the Foundation would have to face was the final chew out of the dying Empire.The way must he cleared for the battle of Foundation and Empire.

Sunday, February 24, 2019

The all-terrain vehicle-Polaris RZR XP 1000 EPS Ad Essay

The all-terrain vehicle-Polaris RZR XP 1000 EPS ad in a sports magazine is well placed. The ad is intentionally put in the magazine targeting sport enthusiasts or everyone look for information about the resembling. The ad in particular targets those who and or would worry to engage in off- course races with the intention of convincing them to purchase the harvesting for the same. The ad achieves success with its auditory modality in various ways as describe in the document (Polaris Rzr, 11).The ad makes use of a variety of color with the notable ones organism the White Colour of the product-Polaris, with black wheels placed against a brown background of a desert. Red and Silver are too visible with the name of the product world written with the former against a background of the latter. A red background is also used to uncover the varieties in the products in this moorage Blue and Red colored vehicles. A uniform font is used in the devises with the size of the same being u sed interchangeably where the name of the product has the biggest font with the expatiate a small font. The ad utilizes plain folks in this case two riders shown while in action with the product (Polaris Rzr, 11)See more than Examples of satire in adventures of huckfinn essayOn the language in the ad, the word thrill has connotations of summercater and a good must have product. pertly on the other hand has the denotation of the product having been non-existent in the market. jargoon is also part of the language used in the ad the product is described as RZR XP 1000 EPS. The ad uses poetic devices one being analogy where performance of the product is described as razor sharp. repeating is also used for emphasis in describing the product as the all- in the buff new 2015 Polaris (Polaris Rzr, 11).The ad has a logic appeal in this case on authority expressed in pronouncing the manufacturers as 1 brand. Also, there is an emotional appeal in this case on fun with the use of word t hrill. The character appeal in the ad is on status in this case razor- sharp performance (Polaris Rzr, 11).The claims in the ad help in reinforcement. One of the claims is on the value with the product being labeled as being from the 1 brand. Another claim in value is on delivering ultimate combination of power. The tone in the ad is such that it is meant to convince the buyer as there is the belief in value by the product manufacturers being never satisfied until weve redefined razor-sharp performance (Polaris Rzr, 11).There is fallacy in using a out of true analogy to compare the performance of the product in this case a vehicle to a razor. It begs the question what a razor has in proportion with a vehicle whose main aspect should be on velocity (Polaris Rzr, 11).In conclusion, the ad achieves its purpose as with a first glance, any motor sports racing enthusiast and in particular off road racers will be captivated. Though the ad utilizes jargon in the description, the painting of the vehicle in action has a very convincing emotional appeal to the consumers. The ad techniques used relates with the audience (racing fanatics) as they are all based on the product in this a vehicle. The ad appeals to the audience by offering them a product any person in this group will want to have.ReferencesPOLARIS RZR. THE RED BULLETIN 5 June 2014 10-11. Print.Source document

Effects on Children in Single Parent Household Essay

The U.S. Census Bureau reported that about 30 percent of Ameri can buoy families ar headed by only one nurture. atomic number 53 p arent crime syndicates numbered over 12 million in the year of 2000. According to this, case-by-case parent families can no longer be viewed as nontraditional families. These families are all around us today. So, interest has grown as to the entrap of these households on Childrens well-being. The most important effect of hit parent household on children is in academic achievement. According to the research named Single parenting and childrens academic achievement from Kunz (2010), most single parent households are run by mothers. Therefore, children who lack fathers attention cant sport a happy learning environment. They usually perform poorly in school because the lack of guidance on their homework. From this research, we can conclude that for every(prenominal) 100 dollars of child support mothers receive, their childrens standardized test ha emorrhoid increase by 1/8 to 7/10 of a point. In addition, children with single mothers who have tangency and excited support from their fathers turn tail to do better in school than children who have no contact with their fathers.We can make a conclusion from this research that because children live in single parent household, they can hardly do well in academic achievement. Emotional personal effects also play an important affair in the living of children growing up in a single parent household. According to the article named Children in single parent homes and emotional problems by Erica Williams (2003), living in single parent household can have galore(postnominal) emotional effects on children, including feelings of abandonment, sadness, bleakness and difficulty socializing and connecting with others. Nowadays, because living in single parent household, more than and more children become autistic. They cant develop interpersonal blood with normal people, which avoid th em from surviving in the high society independently. Besides, since they are wedded little attention, there are also other emotional effects on them, including low self-esteem, increased anger, frustration and an increased risk for hot behavior.Further, they are more likely to commit a crime because they fatality to attract peoples attention. This can not only reproach their lives that also break their parents hearts. Although there are so m any(prenominal) negative effects on children in single parent households, it can have positive effects on them as well. According to a study at CornellUniversity, positive single parenting did not show any negative impact on the social and educational development of the 12 and 13 years old participating in the study. In addition, children in single parent families may exhibit fond responsibility skills, as they are often called upon to help out more with family chores and tasks. Therefore, if children in single parent households are taugh t and educated by the single parent in an appropriate way, they can become people who are more strong and independent than the normal children in normal families. Because they lack love, they learn how to start in this complex society and live a happy life and become stronger and stronger.To help the children in single parent households, our whole society is so-called to pay more attention on them. If we can defend more care and patience to them, they will become strong but not evil. They are the most innocent part of their families, and they are supposed to be treated as the normal children in normal families. delight give your love and care to them.ReferencesKunz, M. (2010). Single parenting and childrens academic achievement. Retrieved from http//library.adoption.com/articles/single-parenting-and-childrens-academic-achievement.html Williams, E. (2003). Children in single parent homes and emotional problems. Retrieved from http//www.thehilltoponline.com/2.4839/children-in-sing le-parent-homes-and-emotional-problems-1.472758.UjSszMZ9dyc

Saturday, February 23, 2019

Dance Choreography

RESEARCH PROJECT SUBJECT form of kick inress stage dancing TOPIC Choreograph devil moves in the schooldays medicational, broad(prenominal) enlighten musical ASSESSMENT TYPE 1 FOLIO marriage offer RESEARCH DEVELOPMENT Weeks 1-4 ( oscilloscope look for) Plan for the year. Background look into history of stage dancing Send letter to Kenny Ortega and Mia Michaels in America Analyse DVDs of musicals, Grease, High give instruction musical, Centre Stage, Bring It On Fringe and Festival Performances Research writeright laws and copying exact moves from the movie Weeks 4-10 (the audience turn) Send email to VN most testing techniques Interview ET, ST, AP ab place(p) auditioning experiences Interview BS strong-nighwhat how she selects dancingrs for musicals she choreographs Choreograph audition move and motor feed plunk for Interview MB roughly what inspires her choreography Weeks 10-11 nurture audition piece and select dancers Weeks 12-14 Research fa mous choreographers and how people lead Weeks 11-14 Choreograph dances to inform at the musical coterie Attend camp and read dances and rehearse them Weeks 15-20 Continue rehearsals and polishing performances Discuss my ideas for costumes for the dancers School musical theater Performance BACK GROUND RESEARCH ABOUT CHOREOGRAPHY AND CHOREOGRAPHERS (and my an nonations in blue) Kevin ODay lighting at the top choreographer and dancer Kevin ODay, the redheaded dancer so familiar to us from his distinguished tenure with the comp either of Twyla Tharp (he toiled at that place eight-spot pine years), his duties as soloist with Ameri mountain B eachet Theatre, and his current partship in Mikhail Baryshnikovs albumin Oak dance Project, has made a bravura leap into the tenuous, embarrassing world of choreography and emerged a winner. reachs me realise that choreography isnt easy, and non e trulyone succeeds, not even experienced dancers) With astonishing aplomb, ODay, at th irty-two, resonatems to acquire sprung handsome into the argonna of making dances, forging a vocabulary that while tinged with influences in conviction shapes movements and phrases at erstwhile formal, musical, inventive, and genuinely felt. realise my choreography go a modality in all probability deliver influences from appriseers I stick out had) That his choreographic gifts should take aim made themselves translucent within the span of less than a year, and by only two brief playing, each under a distinguished aegis, is a protective cover to his finely honed dance sensibilities and to the eyes and minds of his champions, Baryshnikov and Peter Martins.Indeed, so strong was their tenet in ODays talent and so positive was the audience and critical re litigate to these fledgling works that both directors instantly commissioned new works for their obligingnessive companies. ( displays that if people regard in you and guide and support you the choreography give the sack be nonplus dreaded. Also if some intimacy is so spectacular your work outho engross line noticed and take you remote) On February 9. ODays second work for youthful York City Ballet (still untitled at press time) volition be premiered.It is set to a score by the young English composer whole meal flour Fitkin. Last December in Tokyo, White Oak unveiled ODays The computable Army, to music of John Lurie of the Lounge Lizards, with Baryshnikov as one of its dancers. This uncommon whirlwind of choreographic success (success is knotty and uncommon ) all began in March 1994, when the White Oak Dance Project gave its first New York season at the New York State Theater. in that location was no question that ODays first ballet. authorise Quartet for IV (and sometimes one, two or three , was the unmodified hit of the companys first New York appearance.While several pleasures were garnered from Baryshnikovs mid frustrate troupe, not the to the lowest degree creationness hi s own masterly and immaculate performances, the companys repertoire was short on firstity or genuine interest. When ODays moment came, audiences responded with an immediacy that indicated the relief they felt at finally encountering a work that, in its exuberance and e bmal focus, turn out as intellectually engaging as it was entertaining. This para shows that if something isnt original or interesting the audience erect doesnt respond, but when something amazing is liven out reckon them they react and now be much to a greater extent(prenominal) engaged) A few critics carped at what they considered ODays glaring Tharpisms, such as his noodling with her polycoordinations and her odd manipulations of phrasing. only if some, notably Arlene Croce in the New Yorker, found this choreographic debut strange and worthy of attention. (His debut shows that even your first show back end be great.Gives me hope) When only a few weeks later ODay presented his second ballet, Viola ent irely (With One Exception), set to Hindemith, created at the invitation of Martins for New York City Ballets prestigious diamond Project II, the rarity of ODays gifts became even to a greater extent evident. Here was a work of very segmentationicular craft and content. (not all dancers can choreograph) Dance powder store senior editor Tobi Tobias, paper roughly the Diamond Project premieres in New York magazine, stated, ODays ballet, the most vivid and engaging of the seven seen, shows him attempting to steer exceed of the Twyla Tharpisms that argon his heritage. (still take to be individuals and break free from your influences)Then, describing the flow and social organisation of the ballet, Tobias concludes, At the end, Alexander Ritter gestures toward the onstage violist, as if to say, The c arfree days of my life asleep(p) nowlie in this music, but sentiment is so ruthlessly excluded from the earlier proceedings that the chief elements of the piece re important lusty ver ve and b sure-enough(a) motion, deftly marshaled. On speaking with ODay, one subscribe tos that the act of choreographing has long been part of his life as a dancer, a by-product of placard and, of course, desire I had al centerings worked in studios on my own whenever I could,. he says. Id point a video camera, set it up, and Id dance around. I was collecting material. (I allow be doing this this year e. g. experimental explore) I learn from Twyla Tharp that if youre sledding to choreograph, you had to go into the studio by yourself and spend time working. You exclusively had to work and work and work.And you had to work on your own way ahead working with a group of people or even just two people. The point is, you had to nurture an understanding of what you insufficiency from dancers out front you start working with them. You cant just snatch things out of the air. (This is excellent advice working by yourself before working with the class so you can perfect the pie ce. It takes a lot of time and lots of confide but this way you bonk how it looks and what to expect from the dancers) The influence of Twyla helps me when Im in the studio alone.You see, Twyla has a lot of ways of putting movements through a road test. Shell improvise, lounge around through a phrase, and then turn it into something very solid. She would in addition change the music. Within the span of an second she might change the music four or five times. So, she invites a body of material, and thats been her greatest influence on me how to put together a body of material. (a lot of trial and error ordain be multiform, so must allow time to experiment) Thus, explains ODay, he, akin Tharp, will try things on is own body, sometimes to divers(prenominal) music, and create a patchwork that whitethorn ultimately be practiced in a work The to a greater extent I try this, with contrastive textures, several(predicate) music, different road tests, different qualities of d oing a movement, to see how far a movement can be stretched or shrunk. All these things serve to build a body of material, which might then go into forming a piece. Dance Magazine, Feb, 1995 by John Gruen http//findarticles. com/p/articles/mi_m1083/is_n2_v69/ai_16686035/ NIGEL LITHGOWs line if the choreography is simplistic it is up to the performer to carry the routine to life. (So You Think You Can Dance) Will truly apply to me as most of the educatees I will be working with take for grantedt sire much experience so will extradite to have dim-witted steps. This means that I will have to enforce that dancers have to be so energetic to really knead the moves to life. This shows that my choreography, although very important, isnt everything. Theres a large-scale responsibility on the dancers to bring the dances to life. I will sh ar the quote with the group when its looking dull so they can bring it to life.My views on RESEARCH ON HOW TO TEACH from article in SACE STAGE 2 Physical fosterage Work apply, Different methodologies (ways to teach or coach) Visual Demonstrations this is the most useful way of tenet dance. This is the main method I have apply so far and its the method I will continue to use the majority of the production. This wont have to be strikee as much once the dance is learnt as the students have to complete how to do it without me because I will not always be standing at the front. This method is so useful for them to get a picture of the dance in their head and how to do it correctly.Usually when we start a rehearsal and before I begin to teach a new dance I sit everyone down and stand out the front and do the dance properly so they get laid what the dance is meant to look like. Then I break down each move, visually showing the cast each step. This would best suit visual learners. Audible Cues when I am teaching a dance from the beginning this method will only be used in conjunction with the visual demonstrations. Just ver bally sexual relation them how to do the dance wont work. This will be used similarly when they be doing the dance and I can call out the counts or gird straight , Point your toes etc. When I am instructing, have to ensure that instructions are short and simple so I dont confuse/overload the learner and once they get along the moves the instructions can get more than than than complex. This obviously suits a verbal learner who understands best through written and spoken words. usance havent used this methodology so far, but from historical experience in dancing I know its very effective. I believe its more useful for beginners or those who engagement with dancing. Basically I have to physically put the persons body/ arms/legs through the correct range of motion.Obviously there is a slight ethical concern here, I have to ensure I dont touch someone in the wrong way. barely I pretend I will start using this more especially with arm movements as they can be quite findfu l and visually and verbally showing them how to do it doesnt always work, Reflections about article Tips for Teaching Seven Principles of Good Practice http//honolulu. hawaii. edu/intranet/committees/FacDevCom/guidebk/teachtip/teachtip. htmtechniques Use time puff up very important time is everything, to get production take a crap on time.Have to remain reminding cast and they have to help. I have to tout ensemble plan rehearsals and set realistic goals. Communicate high expectations Expect more and you will get more. reflects my way of teaching. I have such high expectations of this musical and have a vision of how high-priced it will look. Expecting the cast to perform well is a bonus for me as I will put in the effort to ensure it reaches this standard. Respect different talents and ways of learning have to ensure all dancers have prospect to learn in ways that work for them.Seize the moment if people come and ask for clarification even though I might not have time to help them, I should as they are in all probability ready to learn at that moment. Involve the student in intend this could help if Im stuck for ideas cock-a-hoop the groups challenges to come up with choreography. There is some student involvement in the freestyle move where students get the chance to be creative and do their own thing. Move from simple to complex- I can use this principle in my teaching for sure If I teach complex choreography to begin with and then assess everyones progress who finds it easy and who finds it difficult.Then if everyone gets it and it looks withal simple I can make it more difficult. TELEPHONE INTERVIEW WITH ST (actor, singer, dancer) + My Reflections (in blue) a) What do you think works well in auditions as a performer? Having confidence is the pigment to success. believe in yourself. Forgetting a move just keep red I will have to reinforce these points to all the cast. They should be confident and believe in themselves and remind the m to keep going even if they make mistakes. b) How does a dance audition usually run?Get there and prove (giving name, age, enlarge experience). This is a good suggestion however, using military issues could be a bit intimidating for our students. We would get them to fill out their details of experience etc You then sit in a waiting way most people warm up up here. If it is an audition with a lively dance you practice it. Wed give them time to warm up, but not in an an opposite(prenominal)wise room Usually there would be 2 sittings with 40 dancers. You get called and line up and learn the dance in rows of four. First four would do the dance and then go to the back of the line.Because of the time constraints wed only have one session but I like the idea of doing it in rows and them moving to the back of the line There isnt usually a set warm up- done by the performers while they are waiting. Im considering doing a set warm up only because a lot of the performers are inexper ienced and would not know what stretches to do. c) What auditions have you been successful in and wherefore is that? Is it because of the way the auditions were run? It is mainly the auditions which make you feel really comfortable.You are already flighty adequate as it is and the places that make you feel proficient and secure make you perform better. The environment makes big difference, for example you would be feeling scared auditioning in a spooky house so rooms with warm nice colours give it a good feeling. I will make an effort to be really friendly, welcome and kind to make the students feel comfortable. A lot of them would never have danced before and I wouldnt loss them to feel scared and not come back. In no way would I get angry, spoil or grumpy if theyre not being cooperative. Ill be the nicest person I can try to be. ) Are the dances usually grueling so the good people excel or easy so everyone has the luck to shine rather than focus on the moves? Usually you wo uld learn a dance that is either going to be in the show or a similar style to what is going to be in it. At first I wanted to do a different dance rather than one well use but afterwards consultation this, and after talking to the director, I have decided to do the refrain of Were all in this together for the audition dance. e) Anything else you would like to add? You would usually receive a phone call, email or letter in the post about 3 eeks later saying if youre successful or not. Id have to discuss this with other teachers involved, but wed probably take 1-2 weeks to decide and let them know by hanging up the parts or telling them in person. You need a large wide room as there is nothing worse than trying to dance when it is crowded and squishy. Mirrors and bars are something you need but if its at school you might not have it. The auditions would usually be held in the hall but from ult experience this is narrow and squashy. Ideally Id like them to be held in the spacious gym, but guess it depends on the availability of the gym.The main thing is to talk sporty. With echoing rooms the noise can bound off the walls and it is hard to hear which is difficult for people at the back. You are already nervous enough and this makes it much more stressful if you cant hear the instructor. This is a good point. Nothing is worse than not being able to hear the teacher, especially in a big room where theres lot of people. Im going to speak loudly and shortly so everyone can understand. This also raises the roll in the hay if theres so many people in rows, its hard to see people up the backI think this question was really successful as ST gave me some really good ideas and insights. REFLECTIONS ON THE scoff AUDITION AND WHAT I LEARNED ABOUT CHOREOGRAPHY On Monday I gathered 3 close friends to trial the audition process. The aim was to teach the dance I had prepared for the audition and get some feedback on what the dance was like and how I went teaching it. I chose three friends with 3 diff levels of dancing ability one is a talented well inter link dancer one is a suitable dancer but inexperienced and one is not into dancing at all.I filmed the majority of the audition if I need it for future reference. I think this was a worthy task and I got so much out of it as I reflexiond some hurdles but the main thing was they erudite the dance in the allocated time frame. One thing I learnt during this bemock audition is to be totally prepared. On the day I forgot the CD I was using. I also prospect about what was a more book method of teaching facing the cast and therefore the moves being opposite direction or facing the similar way as the cast with them not able to see what is going on the front of the body.I also had to think about how much I would teach at once. For example, teach 4 or 8 counts before renewing it. How competent did they have to be before we tried it to the music? I also demonstrated the moves in different areas aro und the room so everyone got to see exactly what I was doing and from different angles. I found I involve to speak slower and clearer to G as she needed more explanations so I have to remember there will be a variety of standard in the room. plentiful the cast the opportunity to do it without me, whilst I sit back and watch not only gives me the chance to see how my choreography looks but makes the students think harder. From past experience I know that doing a new routine without the teacher demonstrating with you gets the routine drilled in your mind, especially as theyll have to do it alone/pairs at the audition. Giving the cast the opportunity to watch me and the way it is meant to be done will also help. Finally I think I have to show Im confident and happy with my choreography because I thought I looked a bit embarrassed and worried about what others would think.Things Ill do the same- filming, deconstructing choreography into 8 counts, demonstrate with them NOT participating , demonstrate with them conjoining, face same way as cast then swap so they get to see the whole picture, stand aside and watch them do it alone, move around room demonstrating + giving advice, get feedback. Things Ill do different- be more organized, more confident, speak with louder voice, dont get frustrated as everyone learns at different pace, get into it be over THE TOP, wait till theyre more competent before practicing with music. utilizable ADVICE FROM VN about how she chooses successful dancers at the udition (from email)Compare the dancers to the strongest performer in the group. former(a) things like heights to make the sure the group is evenly sense of equilibriumd. How the performer presents themselves for an audition is also important. AUDITION PROBLEM A problem we encountered during this process was a large number of people pulling out after the audition and callback process This really worried me as I was stressed that everyone would pullout and we wouldnt have a big enough cast. After talking with the other teachers involved I realized that this was a positive.A smaller cast would be a lot easier to handle and would be easier to get 50 people looking tight and uniform compared to 100. This number would also fit on the stage better and give everyone the opportunity to be on stage for most of the time. Another problem with woof parts was that we had a lack of boys to begin withI think I will have to learn not to stress too slowly as things usually fall into place at the end. ETHICAL CONSIDERATIONS. keep in mind peoples feelings. A lot of these kids have never danced in their lives so I have to treat them with respect when teaching the dance and give them the time to pick it up.Not that I want to do this, but I can not laugh, or gaze or give sarcastic comments or do anything to restrict them lacking(p) to return to practices. Also when choosing parts I have to be advised that my friends are auditioning and not be tempted to favour them and give them important roles if they dont deserve them. I have to leave friendships aside and be unbiased, treating everyone fairly. I also have to remember not to copy the choreography from the movie. The part I did adapt for the finale is the only part I am really going to use.This just reminds me that someone else has spent so much time choreographing these dances and it is not fair if I take them totally and say they are mine. Not to mention legally this would not be allowed. I actually dont like some of the choreography in the movie so I dont want to take it and besides a lot of the choreography would be too difficult for our standard of dancers. So sticking with the another method I have just come up with ,where I play the music and just do what comes to my head seems like a good thing to do. PROBLEM There are not any huge problems at this stage.One thing that I have to go is remember to keep searching. I am doing a lot of choreographing at the moment which is obviously a positive thing, but I also have to remember that this suit is the interrogation project. Now the audition process is over I dont have to keep questioning that but I do have to keep looking at ways of teaching and seek choreographers and what makes other musicals good. In my last discussion Ms W told me I was not doing enough look intoing. FEEDBACK ON MY CHOREOGRAPHY FROM questionnaire to a third year Dance student at Adelaide Centre of the Arts (showed him the footage taken at the Musical Camp)What do you think of the choreography of Were All In This together? Its great, for someone so inexperienced. Looked effective and strong as a large group. Obvious that its taken from the movie which is what your audience will want to see, but some of your easier modifications look cleaner. Some students are seek especially some boys and some leads. What could be changed? Perhaps some of the hard moves could be modified/slowed down, especially in the Wildcats cheer at the end. Arms look messy and un-uniform in wave your hands up in the air.It doesnt even look like there are any set moves. In utter, When we reach, we can fly, maybe arms could be simplified. Looks all over the place. What am I doing well in the area of teaching the moves? The way you break down every undivided move helps cast know where the placements are. Modifying moves as you go along is a positive as youre not changing it later when the old move has already stuck in their head. Like the way you demonstrate it alone first. What do you think I could do to improve? Louder voice beart look as nervous, your body language makes you seem not confident.Stand closer to cast, feel free to mingle and help individuals. You did seem more capable and confident as time went on. What did the choreography look like so far in Status Quo? Looked great, loved the big chorus around the tables. Good idea doing it around one big plenty so everyone gets a feel for the directions. Good concept Brainiacs and book dan ce. boilersuit looks like a fun piece, shows great potential. What could be changed? Brainiacs dance take to be sharper, maybe tell them to get into it a little more (footwork needs to be the same at the end of the dance).Some small groups could have simple choreography. A lot of freestyle people just need to get right into it or learn how to freestyle better (show them some moves ) Slow motion needs more work (actual moves. ) I do understand this is a work in progress. pic pic DISCUSSION My notes How enquiry is developing Ideas developing through the search firstly looked at internet, dance magazines for info on choreography. Not all dancers can choreograph Was quite useful and made me more confident Its up to the dancers to make the choreography sing, so simple moves can second interviews with dancers+ choreographers about auditions to helpbe really effective (good to know as I will probably be me get ideas about running auditions and selecting the dancers. Was Creating a positive atmosphere is important to make performers feel really useful comfortable and get the best out of them (particularly important in our third experimental started getting down my ideas about the school with boys and inexperienced dancers) choreography for the audition Need to speak loud fourth ran a mock audition to trial my choreography and practice Break choreography into small parts, e. g. 8 counts teaching it to a small group Make sure performers are confident with steps before adding difficulty by NEXT plan to look into learning styles and how to teach, so I get moredoing it to music breeding about how to teach the dances successfully Good to sometimes demonstrate facing the cast, but also facing same direction as them so they can follow Knowledge and skills I am developing and applying FEEDBACK FROM TEACHER Knowledge -Many things about ethical favors in being a -Ms W said I need to remember that focus of the task is actually research, choreographer, s uch as not the choreography of the dances, that most of what I had done so far was how strict copyright laws can be. How important it is not to copy the cerebration about the steps and how I will run the audition, so need to think exact moves of the dances in High School Musical, also how to get of more ways of incorporating research into it. this is true but am leave to obtain execute rights , cant change the American graceful nervous about what people will think of my choreography so I keep on flavour of it or the script in any way etc thinking about this) being completely fair when selecting parts for the musical have to be Suggested I analyse the DVDs of High School Musical and the Behind the professional and not let friendships influence my decisions Scenes extras to get ideas. Also really needed to get on to organize visits Be aware of the abilities of the group to view performances. Many things about how to teach sizeableness of things like giving Also suggested I undertake more research into the features of a well students a say where possible (even though this is pretty difficult withchoreographed dance and look at some theoretical writing about choreography, dance would look a mess if I did this) so that I will be able to base the decisions for my choreography on more Importance of using different teaching methodologies technical looking ats drawn from the research. This would show that I have more Essential to be superior organized ( have forgotten music CDs on a mate thoroughly researched my matter. Will ask the dance teacher for some of occasion is disastrous and dont look professional) suggested readings on this. How high expectations can be really productive- encourage performers to strive but not be too high that they cant achieve them Knowledge & Skills in Choreography importance of facing dancers but also showing them when facing the same way. Teaching routine in small chunks, then lots of repetition. Plotti ng patterns on paper and intend beforehand. CHOSEN CAPABILITY Really enjoying being part of the musical and assisting others to develop their creativity, as well as myself Learning a lot about being sensitive to others- particularly with learning to dance its pretty scary and challenging for some so I really need to take that into rumination Have been getting feedback from a few people (teachers, director, stage manager etc) and taking it into consideration. Is really encouraging Stage 2 Research Project Performance Standards Planning practise program Synthesis Evaluation pic pic pic A Thorough consideration and Thorough and exceedingly resourceful developmentInsightful synthesis of association, Insightful evaluation of the research refinement of a research of the research. skills, and ideas to produce a processes used. topic. In-depth digest of nurture and well-developed research outcome. Insightful rumination on the nature of the Thorough pl anning of researchexploration of ideas to develop the Insightful and thorough substantiation ofelect capability and its relevance to processes that are highly research. key findings central to the research themselves and the research project. appropriate to the research Highly effective covering of knowledge outcome. Well-considered and insightful reflection topic. and skills specific to the research topic. Clear and coherent scene of ideas. on the research outcome and its value to themselves and, where applicable, to others. B Consideration of the main Considered and mostly resourceful Considered synthesis of knowledge, Considered evaluation of the research area of research and some development of the research. skills, and ideas to produce a processes used. refinement of a research Some complexity in analysis of information well-developed research outcome. Considered reflection on the nature of the topic. and exploration of ideas to develop the Substantiation of most key findings chosen capability and its relevance to Considered planning of research. central to the research outcome. themselves and the research project. research processes that are Effective application of knowledge and Mostly clear and coherent construction of Considered reflection on the research appropriate to the research skills specific to the research topic. ideas. outcome and its value to themselves and, topic. where applicable, to others. C Adequate consideration of a Adequate development of the research. Adequate synthesis of knowledge, skills, Recount with some evaluation of the broad research topic, but Adequate analysis of information and and ideas to produce a research outcome. research processes used. little evidence of ameliorate exploration of ideas to develop the Substantiation of some key findings Reflection on the relevance of the chosen the topic. research. central to the research outcome. capability to themselves and the research a cceptable planning of Adequate application of knowledge and Generally clear expression of ideas. project. research processes that are skills specific to the research topic. Reflection on the research outcome and its appropriate to the research value to themselves and, where applicable, topic. to others. D Basic consideration and Development of some aspects of the Basic use of information and ideas to Superficial exposition of the research designation of some research. produce a research outcome. processes used. aspects of a r esearch topic. Collection rather than analysis of Basic explanation of ideas related to theSuperficial reflection on the relevance of Partial planning of research information, with some superficial research outcome. the chosen capability to themselves and processes that may be description of an idea to develop the Basic expression of ideas. the research project. appropriate to the research research. Some reflection on aspects of the research topic. Superficial application of some knowledge outcome and its value to themselves and, and skills specific to the research topic. where applicable, to others. E Attempted consideration and Attempted development of an aspect of the Attempted use of an idea to produce a Attempted description of the research identification of an area of research project. research outcome. process used. interest. Attempted collection of sanctioned information, Limited explanation of an idea or an Attempted reflection on the relevance of Attempted planning of an with some partial description of an idea. aspect of the research outcome. the chosen capability to themselves and aspect of the research Attempted application of one or more skillsAttempted expression of ideas. the research project. process. that may be related to the research topic. Emerging awareness that the research can have a alue to themselves and, where applicable, to others. My topic and question. To ch oreograph two dances in our school musical, the much anticipated High School Musical. Really concerned in dance. Have been doing calisthenics since I was two and am member of the Junior Crows Cheerleading Team. Have been in two Rock Eisteddfod Teams. Thrill of performing gives natural high and experiences have brought lifelong memories, lifelong friends and lifelong skills which will get me through life. Want to try something new now, still in dancing field but in different direction where I can have a say in the choreography and what is going on.Relevance of The Chosen Capability Citizenship I will be very involved in, and contribute to, the school community. Will have to show understanding of other peoples perspectives all along. Will be taking action to contribute to the school community objectives of giving students opportunities to develop their talents (artistic) Will be asking for and taking notice of peoples feedback basically giving them a say in the choreography. I snt that democracy? Research processes Background Research- using internet, magazines, journals, newspaper articles. Research topics like Choreography, choreographers, reviews of High school Musical, interviews with cast etcAnalysing performances of musicals on DVD, during the Fringe, TV shows like Dancing With the Stars, So you think you can dance Adelaide Fringe or Festival Shows Interviews with dancers choreographers, I know + to get feedback on my choreography Will have to work with and negociate with many others, e. g. the director, stage manager, costume designer, all the performers, choreographers. Be open to suggestions Experimenting with different routines (often in small groups Ive got to think of the ethical considerations too e. g. -Safety of the performers make sure choreography is safe. -Privacy get permission from people I interview them -Plagiarism must make my own steps original and not copy the choreo Suitability to audience- make sure moves are suitable to a udience of all ages and not offensive in any way. My Outcome The video of the dances + an unwritten to my teacher explaining my choreography. My Outcome The video of the dances + an oral to my teacher explaining my choreography (14) This students research development was presented in large scrap book folios, too large to reproduce as an exemplar. The following is a picking of this evidence, reduced to 10 pages, for inclusion in the students portfolio to be submitted for moderation and marking. This selection of evidence, with the student notes to record the discussion, can be used for moderation purposes to body forth the teacher assessment decision for appraisal Type 1 Folio. CommentsOn balance the Folio is indicative of a B standard. Planning The research topic is well defined. Thoroughly considered research processes, which are appropriate to the task, as well as manageable and ethical, have been planned. Application The research is developed in a mostly resourceful and con sidered manner, including web-based research on choreography, features of successful musicals, how to teach and the audition process. Feedback from more experienced choreographers, has been sought although evidence is not provided of the way the research develops in response to this. At times, there also appears to be an over emphasis on doing the choreography. Information to develop the research has been methodically collected and documented. There is also some evidence of information being analysed in order to develop the research. Some complexity in analysis of information and exploration of ideas to develop the research is evident, such as in the responses to some of the sources located, interviews and the mock audition conducted. Knowledge and skills specific to the topic are applied in a highly effective way, such as in careful planning of patterns for different parts of the dance, preparation for the auditions. Assessment Type 1 Folio Assessment Type 2 Research Outcome Asses sment Type 3 Evaluation