How to Write a Dissertation Proposal

How to Write a Dissertation Proposal How to Write a Dissertation Proposal Several guidelines are provided to enable an individual to write an excellent dissertation proposal. Here they are for your attention. They should be well detailed regarding the research topic. Current research shows that to be able to write a good dissertation proposal, students have to be well conversant with the topic at hand. This means that they need to gain a lot of information on the subject matter by reading several materials and books on the topic, know current findings on the topic and be able to access various literary sources. They should be able to go outside the area of study. This mainly means that they will be able to research from related topics and as a result, the research work presented will be unique, thus outdoing previous research on the subject matter. The issue of going outside the given area of study is an advantage in that it is a good source of new ideas for a given area of study. They have to be attentive. The issue of attention is a very powerful tool, especially, in the practical application of knowledge gained. In addition, it helps individuals to know the various methods, as well as the procedures, used in a given analysis. This then becomes a great source of information for the broad topic of study. They should know how to cite papers. For instance, an individual who knows the list of authors who wrote a particular article would give a great referenced dissertation proposal paper. In addition, having a good knowledge in the area of text citations would result to a great dissertation proposal. They should be creative. When a researcher is able to refer to research papers that were written previously and come up with new ideas, the outcome document becomes of greater value in comparison to earlier documents. Below is the suggested format that should be used in the writing of a dissertation proposal: A clear formulation of the research question at hand. Justifying the Research Project. Writing a literature review. Compiling conceptual and theoretical research work. Stating the research methodology. Giving a detailed research plan that indicates how the various research stages will be carried out. Budget and Time factor. References together with appendices. Do always remember that, in case you fail to compose a dissertation proposal on your own and the deadline is due in a very short period of time, you can always contact the custom writing agency for help. Proficient writers will rescue you if you are in need and you will get a carefully composed paper within the time you had indicated to them. Do you still need dissertation proposal help online? You can hire our PhD writers who will write a custom proposal for your dissertation. Try our writing service now!

Biography of Josiah Wedgwood

Biography of Josiah Wedgwood Josiah Wedgwood (ca July 12, 1730–January 3, 1795) was Englands foremost pottery manufacturer and a mass producer of quality ceramics exported around the globe. A member of his familys fourth generation of potters, Wedgwood started his own independent firm and became the Royal Potter for Queen Charlotte, the consort of King George III. Wedgwoods mastery of ceramic technology was matched by the marketing savvy and connections of his partner Thomas Bentley; together they ran the most famous pottery works in the world.   Fast Facts: Josiah Wedgwood Known For: Creator of the famous Wedgwood potteryBorn: July 12, 1730 (baptized), Churchyard, StaffordshireDied: January 3, 1795, Etruria Hall, StaffordshireEducation: Day School at Newcastle-under-Lyme, left at 9 years of ageCeramic Works: Jasper ware, Queens Ware, Wedgwood blueParents:  Thomas Wedgwood and Mary StringerSpouse: Sarah Wedgwood (1734–1815)Children: Susannah (1765–1817), John (1766–1844), Richard (1767–1768), Josiah (1769–1843), Thomas (1771–1805), Catherine (1774–1823), Sarah (1776–1856), and Mary Anne (1778–1786).   Early Life Josiah Wedgwood was baptized on July 12, 1730, the youngest of at least eleven children of Mary Stringer (1700–1766) and Thomas Wedgwood (1685–1739). The founding potter in the family was also called Thomas Wedgwood (1617–1679), who established a successful pottery works around 1657 at Churchyard, Staffordshire, where his great-great-grandchild Josiah was born.   Josiah Wedgwood had little formal education. He was nine years old when his father died, and he was taken from school and sent to work in the pottery for his eldest brother, (another) Thomas Wedgwood (1717–1773). At 11, Josiah had smallpox, which confined him to bed for two years and ended with permanent damage to his right knee. At the age of 14, he was formally apprenticed to his brother Thomas, but because he could not physically work the wheel, at 16 he had to quit.   Wedgwood teacup and saucer in the Waterford Wedgwood flagship store in London, England. The teacup features the white and blue jasper ware ceramic which is synonymous with the brand. Oli Scarff / Getty Images News Early Career At the age of 19, Josiah Wedgwood proposed that he be taken into his brothers business as a partner, but he was rejected. After a two-year position with the pottery firm of Harrison and Alders, in 1753, Wedgwood was offered a partnership with the Staffordshire firm of potter Thomas Whieldon; his contract stipulated that he would be able to experiment. Wedgwood stayed at the Whieldon pottery from 1754–1759, and he began experimenting with pastes and glazes. A primary focus was on improving creamware, the first commercial English ceramic invented in 1720 and widely used by the potters of the time.   Creamware was very flexible and could be decorated and over-glazed, but the surface was likely to craze or flake when subjected to temperature changes. It chipped readily, and the lead glazes broke down in combination with food acids, making them a source of food poisoning. Further, the application of the lead glaze was hazardous to the health of the workers in the factory. Wedgwoods version, eventually called queens ware, was slightly yellower, but had a finer texture, greater plasticity, less lead content- and it was lighter and stronger and less prone to break during shipments.   Thomas Bentley Partnership In 1759, Josiah leased Ivy House pottery in Burslem, Staffordshire, from one of his uncles, a factory which he would build and expand several times. In 1762, he built his second works, the Brick-House, alias the Bell Works at Burslem. That same year, he was introduced to Thomas Bentley, which would prove to be a fruitful partnership.   Wedgwood was innovative and had a strong technical understanding of ceramics: but he lacked formal education and social contacts. Bentley had a classical education, and he was socially connected to artists, scientists, merchants, and intellectuals in London and around the world. Best yet, Bentley had been a wholesale merchant in Liverpool for 23 years and had a broad understanding of the current and changing ceramic fashions of the day.  Ã‚   Josiah Wedgwoods Ivy and Etruria works in Staffordshire, England, ca. 1753. Oxford Science Archive / Print Collector / Getty Images Marriage and Family   On January 25, 1764, Wedgwood married his third cousin, Sarah Wedgwood (1734–1815) and they eventually had eight children, six of whom survived to adulthood:  Susannah (1765–1817), John (1766–1844), Richard (1767–1768), Josiah (1769–1843), Thomas (1771–1805), Catherine (1774–1823), Sarah (1776–1856), and Mary Anne (1778–1786).   Two sons, Josiah Jr. and Tom, were sent to school in Edinburgh and then privately tutored, although neither joined the business until Josiah was ready to retire in 1790. Susannah married Robert Darwin, and was the mother of the scientist Charles Darwin; Charles grandfather was scientist Erasmus Darwin, a friend of Josiahs. Ceramic Innovations Together, Wedgwood and Bentley created a huge variety of ceramic objects- Bentley keeping an eye to the demand, and Wedgwood responding with innovation. In addition to hundreds of types of tableware, their Staffordshire Etruria manufacturing facility produced specialty wares for grocers and butchers (weights and measures), dairies (milking pails, strainers, curd pots), sanitary purposes (tiles for indoor bathrooms and sewers all over England), and the home (lamps, baby feeders, food warmers).   Wedgwoods most popular wares were called jasper, an unglazed matte biscuit ware available in solid paste colors: green, lavender, sage, lilac, yellow, black, a pure white, and Wedgwood blue. Bas-relief sculptures were then added to the surface of the solid paste color, creating a cameo-like appearance.  He also developed black basalt, a stoneware in striking deep back colors. The Portland Vase (black and white jasper ware) that Wedgwood considered his finest work inside the Wedgwood Museum, in Stoke-on-Trent. Christopher Furlong / Getty Images The Art Market To answer what Bentley saw as a new demand in London for Etruscan and Greco-Roman art, Wedgwood made cameos, intaglios, plaques, beads, buttons, figurines, candlesticks, ewers, jugs, flower holders, vases, and medallions for furniture all decorated with classic art figures and themes. The canny Bentley recognized that original Greek and Roman nudes were too warm for English and American tastes, and the firm dressed their Greek goddesses in full-length gowns and their heroes in fig leaves.   Penelope and Maidens, Wedgwood plaque, 18th century. Illustration from Story of the British Nation, Volume III, by Walter Hutchinson, (London, c1920s). Hulton Archive / Getty Images The demand for cameo portraits skyrocketed and Wedgwood met it by hiring known artists to make models in wax for use on the production floor. Among them were Italian anatomist Anna Morandi Manzolini, Italian artist Vincenzo Pacetti, Scottish gem engraver James Tassie, British designer Lady Elizabeth Templeton, French sculptor Lewis Francis Roubiliac, and English painter George Stubbs.   Wedgwoods two main modelers were British: John Flaxman and William Hackwood. He sent Flaxman to Italy to set up a wax modeling studio between 1787–1794, and Wedgwood also set up a studio in Chelsea where artists in London could work.   George III and Queen Charlotte, modeled by William Hackwood after waxes by Isaac Gosset, 1776-1780, jasper, ormolu frames by Matthew Boulton. Public Domain (on display at Wedgwood Museum, Barlaston, Stoke-on-Trent, England) Queens Ware   Arguably, Wedgwood and Bentleys most successful coup was when they sent a gift set of hundreds of his cream-colored tableware to British King George IIIs consort, Queen Charlotte. She named Wedgwood Potter to Her Majesty in 1765; he renamed his cream-colored ware Queens ware.   Five years later, Wedgwood obtained a commission for a several-hundred piece tableware service from the Russian empress Catherine the Great, called the Husk service. It was followed up by the Frog service, a commission for Catherines  La Grenouilliere (frog marsh, Kekerekeksinsky in Russian) palace consisting of 952 pieces decorated with over 1,000 original paintings of the English countryside.   The Life of a Scientist   Wedgwoods classification as a scientist has been debated over the intervening centuries. Largely through his connection to Bentley, Wedgwood did become a member of the famous Lunar Society of Birmingham, which included James Watt, Joseph Priestly, and Erasmus Darwin, and he was elected into the Royal Society in 1783. He contributed papers to the Royal Societys Philosophical Transactions, three on his invention, the pyrometer, and two on ceramic chemistry.   The pyrometer was a tool made first of brass and then high-fired ceramic that allowed Wedgwood to determine the internal heat of a kiln. Wedgwood recognized that the application of heat shrinks clay, and the pyrometer was his attempt to measure that. Unfortunately, he never was able to calibrate the measurements to any scientific scale available at the time, and the subsequent centuries have found that Wedgwood was somewhat incorrect. It is a combination of heat and the length of kiln time that shrinks pottery in a measurable fashion. The showrooms of Wedgwood Byerley in St Jamess Square, London, 1809. Hulton Archive / Getty Images Retirement and Death   Wedgwood was often ill for much of his life; he had smallpox, his right leg was amputated in 1768, and he had trouble with his sight beginning in 1770. After his partner Thomas Bentley died in 1780, Wedgwood turned the management of the shop in London over to a nephew, Thomas Byerly. Nevertheless, he was a vigorous and active director of the Etruria and other manufactories up until his retirement in 1790. He left his company to his sons and retired to his mansion Etruria Hall. In late 1794, he fell ill- possibly with cancer- and died on January 3, 1795, at the age of 64.   Legacy   When Wedgwood began his work, Staffordshire was the home of several important ceramic manufacturers such as Josiah Spode and Thomas Minton. Wedgwood and Bentley made their company the most important of the Staffordshire potteries and arguably the best-known pottery in the western world. Etruria would run as a facility until the 1930s. Wedgwoods company remained independent until 1987, when it merged with Waterford Crystal, then with Royal Doulton. In July 2015, it was acquired by a Finnish consumer goods company. Selected Sources Born, Byron A. Josiah Wedgwoods Queensware. The Metropolitan Museum of Art Bulletin 22.9 (1964): 289–99. Print.Burton, William. Josiah Wedgwood and His Pottery. London: Cassell and Company, 1922.McKendrick, Neil. Josiah Wedgwood and Factory Discipline. The Historical Journal 4.1 (1961): 30–55. Print.-. Josiah Wedgwood and Thomas Bentley: An Inventor-Entrepreneur Partnership in the Industrial Revolution. Transactions of the Royal Historical Society 14 (1964): 1–33. Print.Meteyard, Eliza. The Life of Josiah Wedgwood: From His Private Correspondence and Family Papers with an Introductory Sketch of the Art of Pottery in England, two volumes. Hurst and Blackett, 1866.Schofield, Robert E. Josiah Wedgwood, Industrial Chemist. Chymia 5 (1959): 180–92. Print.Townsend, Horace. Lady Templetown and Josiah Wedgwood. Art Life 11.4 (1919): 186–92. Print.Wedgwood, Julia. The Personal Life of Josiah Wedgwood, the Potter. London: Macmillan and Company, 1915. Print.

Web technologies.From PHP to Python Essay Example | Topics and Well Written Essays - 5250 words

Web technologies.From PHP to Python - Essay Example The distinguishing factor of PHP from client-side languages like JavaScript is that the code is executed on the server. If you were to have a script similar to the above on your server, the client would receive the results of running that script, with no way of determining what the underlying code may be. You can even configure your web server to process all your HTML files with PHP, and then there's really no way that users can tell what you have up your sleeve. (See: http://www.php net/manual/en/introduction.php) The best things in using PHP are that it is extremely simple for a newcomer, but offers many advanced features for a professional programmer. Don't be afraid reading the long list of PHP's features. You can jump in, in a short time, and start writing simple scripts in a few hours.Almost anything. PHP is primarily focused on server-side scripting, so you can do anything a CGI program can do, such as collect form data, generate dynamic page content, or send and receive cooki es. But PHP can do much more.Server-side scripting: This is the most traditional and main target field for PHP. We need three things to make this work. The PHP parser (CGI or server module), a web server and a web browser. We need to run the web server, with a connected PHP installation. We can access the PHP program output with a web browser, viewing the PHP page through the server. All these can run on our home machine if we are just experimenting with PHP programming. Command line scripting: We can make a PHP script to run it without any server or browser. We only need the PHP parser to use it this way. This type of usage is ideal for scripts regularly executed using cron (on *nix or Linux) or Task Scheduler (on Windows). These scripts can also be used for simple text processing tasks. Writing desktop applications: PHP is probably not the very best language to create a desktop application with a graphical user interface, but if we know PHP very well, and would like to use some advanced PHP features in our client-side applications you can also use PHP-GTK to write such programs. You also have the ability to write cross-platform applications this way. PHP-GTK is an extension to PHP, not available in the main distribution. What they use it for practical implementation issues (See: http://www.php.net/manual/en/intro-whatcando.php) PHP can be used on all major operating systems, including Linux, many Unix variants (including HP-UX, Solaris and OpenBSD), Microsoft Windows, Mac OS X, RISC OS, and probably others. PHP has also support for most of the web servers today. This includes Apache, Microsoft Internet Information Server, Personal Web Server, Netscape and iPlanet servers, Oreilly Website Pro server, Caudium, Xitami, OmniHTTPd, and many others. For the majority of the servers PHP has a module, for the others supporting the CGI standard, PHP can work as a CGI processor. So with PHP, we have the freedom of choosing an operating system and a web server. Furthermore, we also have the choice of using procedural programming or object oriented programming, or a mixture of them. Although not every standard OOP feature is implemented in PHP 4, many code libraries and large applications (including the PEAR library) are written only using OOP code. PHP 5 fixes the OOP related weaknesses of PHP 4, and introduces a complete object model.

Tech Guide 2 Assignment Example | Topics and Well Written Essays - 250 words

Tech Guide 2 - Assignment Example software verifies eligibility of patients for every medical procedure, besides helping in automatic posting of remittance of workers (Tang and Stratton 566). In addition, AccuMed has the ability to provide custom reports as well as reminding medical officers and nurses of the appointments and scheduling. Further, the software can support HIEs connections with RHIOs through the help of HL7. Praxis EMR is a unique software for medical records that applies minimal reliance on templates. It gives healthcare practitioners easy time to manage appointments. It has billing system integration within it and gives room for charting directly between patients and medical officers and nurses. Further, Praxis EMR enables medical specialists to carry out an electronic prescription of drugs to patients. The health facility is unique because it can recognize handwriting and voices of both patients and medical officers. It also has HIPAA Compliant, lab integration, patient portal, and ONC-ATCB Certified. The management of the healthcare clinic facility has chosen Praxis EMR software. The reason for Praxis the choice is that it has several applications compared to AccuMed. It enables chatting, lab integration and handwriting and voice recognition that are lacking in AccuMed

Joseph Hellers Catch 22 and Joan Littlewoods Oh! What a Lovely War Essay Example for Free

Joseph Hellers Catch 22 and Joan Littlewoods Oh! What a Lovely War Essay Compare the ways in which figures of authority are portrayed in Joseph Hellers Catch 22 and Joan Littlewoods Oh! What a Lovely War. Both Catch 22 and Oh! What a Lovely War are satirical comedies looking at the absurdity and tragedy of war. Being satires, they serve to expose the flaws in wartime situations and in doing so often develop criticisms of authoritative figures. Both texts approach the portrayal of authority in slightly different ways; being a play, Oh! What a Lovely War has a lot more scope for portraying its characters visually and aurally, whereas Catch 22 must work within its boundaries as a novel. Both texts employ humour to portray characters of authority; whereas Littlewoods play is more focused on dark humour, Heller uses his own brand of absurd irony throughout the novel this humour is central to most techniques used in both pieces of literature. Both texts were written in the 1960s, (Catch 22 was published in 1961 whilst Littlewoods play was performed two years later) an era synonymous with the development of youth culture and radical change. Although Catch 22 was initially snubbed by many of its critics, the novel found its readership amongst the emerging generation of men and women who were fiercely opposed to the Vietnam war. Littlewood did not face the same hostility in 1963 when Oh! What a Lovely War was first shown to the public. Performed by the Theatre Workshop a company she had co-created the play was warmly received by the audience and critics alike. Despite their different reactions, both texts were on the cutting edge of anti-war sentiment and continue to be modern classics. Although the texts focus on different wars and different perspectives (Littlewoods play explores World War One from a primarily British perspective and Hellers novel is an American outlook on World War Two) their main themes are similar. Both texts are exploring the tragedy of war, the utter absurdity of it, the thirst for power and money war brings, and the ignorance of authoritative organisations. Figures of authority are numerous in both pieces, and do not only include the upper ranks (such as Generals, Field Marshalls and Colonels) but also the representations of business and religious organisations, for they too can be viewed as having authoritative roles in society, especially in wartime. One technique used by both authors is a demonstration of the lack of communication between commanding powers. Littlewoods portrayal of the allied army leaders is very effective in signalling how inefficient they are at communicating with one another. The French General Lanzerac and British Field Marshall French do not even speak the same language, and Frenchs unwillingness to do so reveals the total futility and worthlessness of their meeting: Aide: Do you think I ought to organise an interpreter? French: Dont be ridiculous Wilson; the essential problem at the moment is the utmost secrecy.(p21) In this scene the obsession with secrecy over commonsense negotiations shows us how inefficient the allied army authorities are, and the analogy of the different languages spoken serves to demonstrate the complete lack of communication amongst authoritative powers that hold the fate of thousands in their hands. In the same way, Catch 22 looks at the problem of communication within the upper ranks. The call General Peckam receives from Ex P.C Wintergreen the sole words being T.S. Elliot'(sic) has no hidden meaning but is interpreted in an absurd way; Perhaps its a new code or something, like the colors of the day. Why dont you check with Communications and see if its a new code or something or the colors of the day? (p45). This sentence also shows us some insight into General Peckams intellect, which doesnt seem to be substantial demonstrated by the repetition and imprecision of speech. Another example of these communicative difficulties is the case of Major Major who receives documents to sign, which have his signature already. The squabbling within the upper ranks is evident in both texts and serves to show us the pettiness and idiocy of figures of authority. There are many instances in Catch 22 where the Generals are engaged in sneaky tricks against one another. General Dreedles hatred of his son-in-law Colonel Moodus for example, inspires him to keep a beautiful nurse just to torment him with, and the Great Loyalty Oath Crusade1 is started by Captain Black in an attempt to avenge himself on Major Major (who gained the promotion Captain Black was waiting for). Similarly in Oh! What a Lovely War, the Belgian, British and French army officials are at odds with one another. The Belgian army are in a sorry state, the French are angry at the British, and the British refuse to believe they have any responsibility in the war; Were not here under any obligation French persists in telling Lanzerac. The heated discussion only ends when Lanzerac is offered a medal on behalf of the King of England. This gesture pleases the General, who kisses French on both cheeks and leaves, suggesting that the upper ranks of the army are only interested in recognition and promotion. This is a very powerful notion in Catch 22, in which key characters such as Colonel Korn and Colonel Cathcart will do everything in their power to be promoted. Cathcart says of his ambition: What else have we got to do? Everyone teaches us to aspire to higher things. A general is higher than a colonel and a colonel is higher than a lieutenant colonel. So were both aspiring (p450). One of the most important aspects of both texts is how different the experience of war is for the upper ranks and the ordinary men. The inability of authoritative figures to understand the realities of war and their cruel, seemingly deliberate ignorance in many situations is demonstrated in a number of key scenes. An important example of this in Oh! What a Lovely War is on pages 50/51 where a commanding officer reveals his detachment from ordinary trench life, and his unawareness of the death that surrounds the men every day; Ye Gods! Whats that? he asks the Lieutenant upon encountering a German limb that holds up the parapet, immediately telling the men to get rid of it as soon as possible. The Sergeants response reveals how clueless those in authority are to the brutalities of war: Heads, trunks, blood all over the place, and all hes worried about is a damned leg. This warped, uninformed sense of priority and general detachment is evident in Catch 22, especially within Colonel Cathcarts storyline. Hellers novel is jumbled chronologically, but one dependable indication of time is the number of missions the men are forced to fly under Cathcarts orders, which steadily increases as the story progresses. What is simply a number for the colonel is a very real death threat to the men of his squadron, many of whom reach the target just as the missions increase. Cathcart raises them for purely selfish reasons he hopes to gain recognition for his squadrons record and receive a promotion. The Colonels constant cry of Doesnt he know theres a war going on when Yossarian refuses to fly further missions is one of Hellers brilliant lines of absurd irony, as it relates directly to the figures of authority in the novel. They seem to be playing an insane game, unaware of how their actions affect the men they themselves dont realise theyre fighting a war. Other instances of differences between upper and lower rank men can be found in both texts. The final scene of Oh! What a Lovely War portrays the men as lambs to the slaughter at the order of their glory-obsessed officer, and we find them shouting Baaa baaa baaa (p86) as they advance towards the guns. In Catch 22 the Colonels are amazed that the ordinary men worship the same God as them, and after the revelation from the Chaplain refuse to believe it saying What nonsense! Does he expect us to believe that? and Chaplain, arent you stretching things a bit far now?(p407). A noticeable aspect of both texts is the portrayal of other key figures of authority primarily those of big business and religion. Where Littlewood is severely critical of both, Heller holds some sympathy for his character the Chaplain (a representation of religion). Common to both writers is a disgust toward capitalists who exploit war for their own commercial gain. The munitions manufacturers in Oh! What a Lovely War are introduced on stage as members of a shooting party, an ironic analogy highlighting the part they play in the destruction of so many young men. They discuss the peace scares that threaten their income, and congratulate one another for their inhuman schemes in money making: Britain: German chappies were caught on their own barbed wire?.Dashed clever. (p46) In the same way, the character Milo Minderbinder in Catch 22 exposes the lack of morals and boundaries capitalism creates in wartime. His collaboration with the enemy goes unnoticed due to his profit-making, and he even ends up bombing his own men and planes as part of a German contract; If I can persuade the Germans to pay me a thousand dollars for every plane I shoot down, why shouldnt I?'(p273) he tells Yossarian. The forces of religious belief in Littlewoods play are greeted with hostility as tools for the war propaganda machine, who support the war effort rather than fighting for the rights of the soldiers; Chaplain: it is no longer a sin to labour for war on the Sabbaththe Chief Rabbi has absolved your Jewish brethren from abstaining from pork in the trenches. (p77) Religion is portrayed in a slightly more sympathetic light in Hellers novel. The Chaplain is the only character who really connects with Yossarian, and his efforts to help dissuade the Generals from raising the number of missions proves a real commitment and solidarity to the squadron. He is rejected from the Officers Hall and treated disrespectfully by the Colonels, showing us that even Christianity is powerless in the face of such frighteningly stubborn authority. Another key theme of both texts is the portrayal of war as a game, or as something frivolous and light-hearted by those in authority. The very form of Oh! What a Lovely War is as a musical show, with song and dance. Key song titles include Ill make a man out of you and the grand finale track Oh its a lovely war which paints the text as a Broadway extravaganza rather than a harrowing look at battle. This technique is very effective in creating a bitter and attacking tone towards authoritative powers especially considering the nature of the opening scene. In a circus like frenzy the MC brings on the players of the war game; France, Germany, Austria, Ireland, Great Britain and Russia. This structural difference between the play and Catch 22 means that Oh! What a Lovely War parodies authority more consistently. Littlewood constructed the play as a show, so the ability of characters in power to undermine the seriousness of war is endless. The War Game is a classic example of this, as is the grouse-shooting party which consists of munitions manufacturers from the key nations involved in war. Other techniques were available to Littlewood lyrically bitter songs and the use of slides as an accompaniment to the speech, which both served as attacking forces against the power of authority in the play. Examples of this can be found in song titles such as If the sergeant steals your rum and ironic lyrics like with our old commander, safely in the rear in the hymn Onward Christian Soldiers. The use of slides and the newspanel is used on many occasions as a reinforcement of the ignorance seen in authoritative men such as Haig: Newspanel: BY NOV 1916 TWO AND A HALF MILLION MEN KILLED ON WESTERN FRONT Haig: I thank you, God; the attack is a great success. (p78) They are also used comically to outline the stupidity of the Generals: British Admiral: Have you got a plan? British General: Of course. Slide 5: A blank British Admiral: Yes, I thought so. (p6) In a structural sense, the techniques available to Heller with which to parody authority are much more limited. In a novel, all character representations are formed with literary descriptions and cannot rely on visual or aural aids like a play. His technique of storytelling is not as varied or spectacular as Littlewoods, but the effects of his bizarre plots are as successful in criticising authoritative powers as the use of slides and song in Oh! What a Lovely War. Colonel Cathcarts bombing pattern is a sufficient example of this and bears comparison with the War Game approach by Littlewood. Disregarding the fact that men are risking their lives on the insane bombardier missions they are forced to fly, Cathcarts sole concern is whether their bombs create an aesthetically pleasing pattern from the air We didnt get the bridge he tells Milo whilst recalling a previous mission, but we did have a beautiful bomb pattern. I remember General Peckam commenting on it. (p The episodic form of both texts may disrupt the sense of progression, but it is noticeable that the tone of both pieces of literature changes as they near completion. The bitterness towards authority increases, and humour is more often interspersed with moments of seriousness and tragedy. In Act Two of Littlewoods play, a moment of chaos reaches a serious climax with the juxtaposition of Haig and the British Generals telephone conversations against a background of men singing They were only playing leapfrog. The two men speak simultaneously in broken sentences until Haigs final comment No, you must reserve the artillery; we are using too many shells is uttered at the same time as the Generals last words, Night has fallen. The clouds are gathering. The men are lost somewhere in no mans land. This uncharacteristically sombre moment is shocking and serves to signpost the ignorance and inhumanity of Haig in times of crisis. In a similar way the absurd force of bureaucracy in Hellers novel borders on seriousness when Don Daneeka is recorded as killed and remains dead due to the power of paperwork. His presence in the novel is a tragic reminder of the madness of war, and his character becomes a living ghost, the sacks under his eyes turned hollow and black, and he padded through the shadows fruitlessly like an ubiquitous spookthen, only then, did he realize that, to all intents and purposes, he really was dead. (p366) The endings of both texts leave the reader with a slightly different outlook of authority and war. Whereas Oh! What a Lovely War finishes as it started, with a grand song in the traditional musical style, Catch 22 is much more subdued and understated. Both endings tell us something about the intention of the author, and of their opinion on the subject of war and authority. Littlewood wants to leave the audience feeling embittered and slightly outraged at the notion of the Great War as a show, in order to demonstrate the atrocities committed by those in authority against the ordinary men. The final songs Chanson de Craonne, I dont want to be a Soldier, And when they ask us, and Oh its a lovely war express both comic elements (Id rather stay at home and live off the earnings of a lady typist) and the tragic undertones that run throughout the play (I dont want a bayonet in my belly). Although these final songs are more preoccupied with the tragedy and futility of warfare, their tone is still bitter towards commanding powers such as the King and the Generals who promised them a lovely war, and described the life of a soldier as the cushiest job they would ever have. The cause of this great tragedy is clearly explained in Littlewoods play as a direct result of the ignorance and greed of commanding powers, in particular the European Empires and Haig, along with his circle of title-seeking aristocrats. Within the play there are other specific objects of blame; firstly the British Generals, Field Marshall French, and the British Aristocracy. Other possible areas of criticism lie in the portrayal of religion, and of the capitalists who profited from the war. Oh! What a Lovely War is a text very much favouring the ordinary soldiers, all of whom are represented as decent, kind-hearted, and spirited young men. These soldiers are the victims of authoritative powers, they are the lambs going to slaughter, and the grouse at the shooting party. Littlewood is not vague or subtle in her attack of the commanding men, and portrays them as idiots, fat cats and cowards. She intends to show us that they were the main cause of madness in wartime, and that these men of authority should be held to blame for the destruction of a generation. The conclusion of Catch 22 is quite different, and ends with the spontaneous attempt by Yossarian to run away from the military base. Hellers ending is a very interesting final act of defiance for his character, against the powers of authority in the novel. Despite having an easy route out of the air force a simple but dishonest deal with Colonel Cathcart and Colonel Korn Yossarian chooses to reject it. The presence of Natelys whore at the very end of the novel, who unsuccessfully tries to stab him, is perhaps an indicator that Yossarian is making the right choice in escaping from the madness and corruption of bureaucracy (the main authoritative force in Catch 22). The specific targeting of key characters is evident in Hellers novel as it was in Oh! What a Lovely War, with the Colonels and Generals (Cathcart, Korn, Dreedle and Peckam among others) being the main hosts for criticism. However, I believe there is a difference between both texts regarding the role authoritative figures play in war. Whereas Littlewood shows us that the commanding men create the chaos due to their own callous stupidity, in Catch 22 the madness of war seems to be a character unto itself. Although the commanding officers are idiotic and dangerously selfish, this insane wartime logic affects most of the ordinary men except for Yossarian and the Chaplain. A good example of this is near the end of the novel when Aarfy one of the men in the squadron rapes and kills a young girl. wYossarians utter horror when he discovers the scene is elevated further with the arrival of the police, who arrest him for being in Rome without a pass, completely ignoring the dead body on the pavement. Aarfys explanation I hardly think theyre going to make too much of a fuss over one poor Italian servant girl, when so many thousands of lives are being lost every day seems to bear a lot of truth. The infuriating authority figures in this novel and the foolish stunts they are engaged in appear to be more a product of war madness than a cause of it. Therefore, although both texts portray figures of authority in similar ways, their intentions are fundamentally different. Littlewood blames the commanding individuals and glorifies the men who were sacrificed under ridiculous orders. Heller looks beyond these small but powerful characters to a greater evil the madness of war and the insane chaos it creates in all; Colonels, Generals, Capitalists and even ordinary soldiers. 1 The Great Loyalty Oath Crusade was created to divert attention towards Captain Black and thus gain him a promotion the men must swear an oath of allegiance to get their pay from the finance officerto have their hair cut by the barbers. (p125)

Group Dynamics in Psychology Essay -- Papers

Questions and Answers About Group Dynamics in Psychology 1. How does each one of the two fit the definition of a group? Social- In my social group, it is clear that we are a collection of individuals guided by roles and norms. We, as friends, clearly influence each other, satisfy personal needs through association, and could be classified as a unit due to our common relation and degree of similiarity. I also notice a great degree of interdependence. That is, evnts affecting one tend to affect us all in some way or another. Work- Contrastingly, in my work group, I don't find as much similarity and personal need fulfillment. In this group, I observe a greater emphasis on goal achievement. At work, we achieve goals that we would otherwise be unable to accomplish individually. I also recognize a sense of interdependence as we are all affected by changes involving any single employee. 2. Name the five basic elements for effectiveness in groups and discuss each with respect to both groups. a) Positive Interdependence Social: In my social group for example, we often help one another such that we are able to accomplish group goals and wants. I remember one incident in high school w... ...ate into personal attacks. 10. Discuss the importance of action theory and learning to Group Dynamics (in your own words). How can your learning experience be enhanced by your behavior? In order to be an effective contributer to a group, one must be aware of the consequences of their various behaviors. In addition, one must have a well established set of action theories from which to choose when attempting to reach a desired outcome. Furthermore in order to ensure group success, individuals must be able to recognize when behavior becomes ineffective such that action theories can be modified. This learning process can be enhanced by the willingness to take risks and experiment with different behaviors. As Herbert Otto said "Change and growth take place when a person has risked himself and dares to become involved with experimenting with his own life".

Critical Reflection of Design Process

The Critical Reflection of the design process iphone Application This document describes the critical reflection of designing the mobile application and describing the software interface in terms of learnability, memorability, effectiveness, efficiency and satisfaction CTS Griffith University 11/6/2012 The Critical Reflection of the design process iphone Application This document describes the critical reflection of designing the mobile application and describing the software interface in terms of learnability, memorability, effectiveness, efficiency and satisfactionCTS Griffith University 11/6/2012 Critical Reflection of the design process Issues I have had issues with the development process were I had coding errors that needed to be resolved and spent some time fixing coding errors. Getting my program up and running in the iOS simulator was very difficult. Sometimes the emulator wouldn’t load properly and other times Titanium wouldn’t recognise that the emulator had successfully launched, I had to stop the emulator and start again and ends up taking time to launch.The program has taken a great deal of time to load. Outcome I was very satisfied with the outcome the project, the project went very well, finally had the program loaded on the emulator and had it successfully launched. Titanium is great for rapid prototyping. One thing I would differently though that would be an improvement is to add more functionality so that mathematical calculations that are not included in the current application can be performed. I will in the future build for Android and eventually the blackberry.I have acquired many skills and knowledge doing this project. I have Learnt how to develop inside of appcelerator titanium to build cross platform mobile applications, how to load the program on the emulator and have the capability and skills that from the knowledge I gained using the Titanium appcelerator to do future projects with it. I have learnt how to code the pr ogram, JavaScript is a language many developers know and enables myself as a qualified web developer to get into mobile app development.I have also learnt how to develop design ideas for the application to be suitable to be used outside, easy to use, address usability issues and make it look attractive. Software interface – learnability, memorability, effectiveness, efficiency and satisfaction The iPhone calculator is a simple calculator with minimal functions. The iPhone / iPad calculator has been designed for simplicity, easy to use, to be user friendly and usability.Designed for a wide range of users, the iPhone / iPad calculator is primarily designed for students as it is the student’s major tool for performing calculations; this calculator is designed to improve the speed and accuracy of the student’s computational skills and be used. The iPhones calculator works like a pocket calculator. The iPhone’s calculator feature on the Home screen, by clickin g the calculator icon. The calculator function is used to perform a variety of different mathematical operations. The iPhone calculator works by adding, subtracting, multiplying, and dividing.Numbers and symbols are large and easy to see and has large separated keys for increased accuracy It is also designed so that you have an efficient finger placement approach when selecting the keys so that you can perform calculations in a minimum amount of time. The iPhone calculator also has large colourful buttons and high contrast color schemes that will allow you to see the screen well outside. As most people nowadays owns a phone, the calculator function would come very handy to use when needed to perform calculations.It can be used anywhere at home, shop, work or travelling The calculator is very effective that allows the user to do a simple calculation with ease, enter in a number, then an operation, then another number, and then the = button. The c button will clear the current operati on. The calculator will perform operations in standard mathematical order. So 5+2? 2 will return 9. This is because multiplication and division are have higher precedence than addition and subtraction. .

Marketing Is Called Delivery of Standard of Living Essay

Standard Marketing Marketing is one of the terms in academia that does not have one commonly agreed upon definition. Even after a better part of a century the debate continues. In a nutshell it consists of the social and managerial processes by which products (goods or services) and value are exchanged in order to fulfill the needs and wants of individuals or groups. Although many people seem to think that â€Å"marketing† and â€Å"advertising† are synonymous, they are not. Advertising is simply one of the many processes that together constitute marketing Marketing, as suggested by the American Marketing Association, is â€Å"an organizational function and a set of processes for creating, communicating and delivering value to customers and for managing customer relationships in ways that benefit the organization and its stakeholders†. [1] Another definition, perhaps simpler and more universal, is this: â€Å"Marketing is the ongoing process of moving people closer to making a decision to purchase, use, follow†¦ or conform to someone else’s products, services or values. Simply, if it doesn’t facilitate a â€Å"sale† then it’s not marketing. â€Å"[2] Philip Kotler in his earlier books defines as: â€Å"Marketing is human activity directed at satisfying needs and wants through exchange processes†. Add to Kotler’s and Norris’ definitions, a response from the Chartered Institute of Marketing (CIM) [3]. The association’s definition claims marketing to be the â€Å"management process of anticipating, identifying and satisfying customer requirements profitably†. Thus, operative marketing involves the processes of market research, new product development, product life cycle management, pricing, channel management as well as promotion. Marketing-â€Å"taking actions to define, create, grow, develop, maintain, defend and own markets†. An approach to business that seeks to identify, anticipate and satisfy customers needs. Al Ries and Jack Trout defined marketing as simply â€Å"war† between competitors, however this is clearly absurd – ‘Ali v Frazier’ is not marketing†¦ however the publicity and hyping of the event for commercial purposes is. It was the era of the clean-cut figure in a smart suit, the glad hander salesman who could sell refrigerators to an Eskimo, capable of selling everything from used cars to Bibles. It was sometime in the late Forties that attention came to rest upon a number of inter related elements of the marketing task that seemed to act together to influence the offtake of a product or service. Neil Borden of Harvard coined the phrase â€Å"the elements of the Marketing Mix,† depicting the manager of the function as not a specialist in selling, distribution, or advertising but rather a blender of ingredients in the right proportions to suit the market, its time and place. Later Marketing got separated from the notion of selling, including three distinct elements: customer orientation, i. . beginning with the customer; integrating the whole organization taking a long-term point of view; and linking with the primary goals of the business i. e. a combination of growth, market share and profitability. Indeed some writers (Peter Ducker, Regis McKenna) hold that Marketing and Business are synonymous. A later and less comprehensive formulation came to be known as the 4Ps â €“ product, price, promotion and place. This has now become the universal standard as a teaching tool for any introductory course in the subject. This was a vast improvement over the confusion between selling and marketing. It firmly put the former as a part, but only one among many that together explain the success or failure of a product in appealing to customers. Marketing thus became the overarching strategic theme, higher in level of abstraction than the mere act of obtaining the order. The significance of advertising in the establishment of an assured customer base really took off only after the widespread availability of mass media, especially after the 1950s. This not only made competition more difficult but more expensive and affordable only by the large sector. Enter the era of brands and branding. The Brand Image and Personality school came next, mostly identified with the legendary David Ogilvy, who said the brand’s personality gave it â€Å"a first class ticket through life. † The purpose of advertising was to convey the essence of this personality, beyond merely conveying the consumer benefits to the user – and do it in a charming and cultured way (â€Å"People don’t buy from clowns . . . † â€Å"The consumer is not a moron. She is your wife . . . â€Å"). Stephen King – Director, J. Walter Thompson, London – acknowledged as the practitioner’s guru of Branding, stressed the need for all the elements of a brand’s make up – from name, packaging, design elements to the creative expression of the advertising – to hang together. They must be not only mutually consistent, but also reinforcing the strengths of one another, to create a totality greater than the sum of its parts. Though brands have been around a long time the attention to building them happened only after the Sixties. Some enlightened organizations were exceptions and the brand leadership of their famous names still stands, such as Marlboro, Lux, IBM, Gillette, Kodak, Johnson & Johnson and so on. Soon, however, the only distinguishing feature of brands became their distinctive flavour of advertising, particularly so in consumer products. After all what can you say about a car (mileage, power, styling, looks), detergent (washes whiter, brighter clothes, removes stains) soap (refreshes, fragrant) or toothpaste (sparkling teeth, healthy gums, fresh breath) that hasn’t been said before

All Hail the Divine Ruler, Queen of Kish

All Hail the Divine Ruler, Queen of Kish Want to know which monarch of ancient Sumer reigned supreme at any given time? You’d have to check out the aptly named Sumerian King List. But the Sumerians had a super-special idea of â€Å"kingship†: it was a force that liked to travel. For generations at a time, nam-lugal, or â€Å"kingship,† was bestowed upon a particular city, represented by a monarch who ruled for a long time. Only one city was believed to hold true kingship at any given time. After a few hundred years, kingship went from one city to another, which then held the honor of nam-lugal for a few generations. Apparently, the gods, who bestowed rulership as a privilege, not a right, upon humans, got fed up of one place after a period of time, so they regifted it elsewhere. In reality, the list may have reflected a particular city’s rise to power or military defeat in Sumer: if City A came to prominence, then its hegemony could be justified by claiming divine right. This mythological idea wasnt realistic - many cities had individual kings reigning at the same time – but since when did myth have reflect reality? Its Ladies Night Tons of monarchs make an appearance on the Sumerian King List, but there’s only one lady named: Kubaba, or Kug-Bau.  Not to be confused with the monster Huwawa or Hubaba in the Epic of Gilgamesh, Kubaba was a woman alone – the only queen regnant who’s recorded as bearing divine rulership. The Sumerian King List records that the city of Kish held nam-lugal multiple times. In fact, it was the first city to hold kingship after a great mythical flood – sound familiar? After sovereignty bounced around to a lot of different places, it landed in Kish a few more times – although that’s since been cast in doubt. On one of those occasions, a woman named Kug-Bau ruled the city. Drink Up!   Kubaba is first identified in the King List as the â€Å"the woman tavern-keeper.† How could she have gone from owning a bar/inn to ruling a city? We can’t be sure, but female tavern-keepers actually held important positions in Sumerian mythology and daily life. Perhaps that’s because of the mega-importance of beer in Sumerian culture. While some scholars theorized that taverns equaled brothels in Sumer, apparently â€Å"tavern keeping was a common and respectable female occupation until later periods in Mesopotamia,† according to Julia Assante. Regardless of what kind of show they were running, women often ran taverns, holding perhaps one of the only independent female positions of power in ancient Sumer. In the Epic of Gilgamesh, an important character is Siduri the tavern-keeper, who runs an inn in the Underworld. She must be an immortal of some sort to live where she does, and gives Gilgamesh sage advice like â€Å"Who of the mortal can live forever? The life of man is short†¦.let there be pleasure and dancing.† So, in what was probably a very important epic even in antiquity, a female tavern-keeper was seen as a guide  along perilous paths  and a figure worthy of veneration. Real-life politics may or may not have allowed a tavern-keeper co to rule over her city. But what was the purpose in identifying her profession? By associating her with the mythical Siduri and a prominent feminine profession – whether she ran a brothel or not - the recorder of the King List literally immortalized Kubaba and made her the one of world’s most independent women before Beyoncà ©. According to Carol R. Fontaine in her essay â€Å"Visual Metaphors and Proverbs 15:15-20,† there was a sacredness attached to female tavern-keepers. She wrote that, â€Å"given the association of Inanna-Ishtar with the tavern and the sweet (sexual?) wine to be drunk there, as well as female ownership of taverns and involvement with the process of brewery, we should not assume Ku-Baba to be some sort of prostitute but a successful business woman with divine associations herself.† So what else did Kubaba do? The King List says she â€Å"made firm the foundations of Kish,† indicating she fortified it against invaders. Lots of monarchs did this; Gilgamesh even built a lot of walls to protect his city of Uruk . So it sounds like Kubaba carried on a grand royal tradition of building up her city. According to the King List, Kubaba ruled for one hundred years. That’s obviously exaggerated, but a lot of other monarchs on the list have similarly long reigns. But it didn’t last forever. Eventually, â€Å"Kish was defeated† – or destroyed, depending on the version you’re reading – and the gods decided to remove kingship from this city. It went to the city of Akshak instead. A Womans Work Never Ends But Kubaba’s legacy didn’t end there. It seems that later generations weren’t crazy about women occupying traditional men’s roles. A later omen reading indicated that, if an individual is born intersex, it’s the â€Å"omen of Ku-Bau who ruled the land; the land of the king will become waste.†Ã‚  By taking on the duties of a man – a king – Kubaba was seen to have crossed a boundary and transcended gender divisions in an improper fashion. Combining male and female genitalia in an individual would echo her reign as lugal, or king, which the ancients saw as violating the natural order of things. The omen texts indicate that both an individual with the sexual organs of two genders and a queen regnant were seen as unnatural. â€Å"These were linked in the elite mind as a challenge and threat to the political hegemony of the king,† said Fontaine. Similarly, in another omen reading, if a patient’s lung didn’t look so good, it was the sign of Kubaba, â€Å"who seized the kingship.†Ã‚  So, basically, Kubaba’s legacy served as a means of identifying bad stuff that went against the way things should be. Its also worth noting that Kubaba is portrayed as an improper usurper here. Kubaba’s legacy might not have been limited to her reputation. In fact, she mightve founded a real dynasty! After her reign, kingship transferred to Akshak; a few generations later, a king named Puzur-Nirah ruled there. Apparently, Kubaba was still alive at this time, according to the Weidner Chronicle, and Kubaba, a.k.a. â€Å"the alewife,† fed some local fishermen who lived near her house. Because she was so nice, the god Marduk liked her and gave â€Å"royal dominion of all lands entirely over to Ku-Baba.† On the King List, royal power is said to have gone back to Kish after Akshak†¦and guess who ruled? â€Å"Puzur-Suen, the son of Kug-Bau, became king; he ruled for 25 years.† So it looks like the story about Marduk giving kingship back to Kubaba’s family demonstrates her real-life family taking power eventually. Puzur-Suen’s son, Ur-Zubaba, ruled after him. According to the list, â€Å"131 are the years of the dynasty of Kug-Bau,† but that doesn’t add up when you tally the years of each reign. Oh, well! Eventually, the name â€Å"Kubaba† became best-known as that of a Neo-Hittite goddess, hailing from the city of Carchemish. This Kubaba probably didn’t have any relation to our Kug-Bau from Sumer, but an incarnation of the deity so prominent in Asia Minor might’ve become the goddess the Romans knew as  Cybele (nà ©e Cybebe). If so, then the name Kubaba had come a long way from Kish!

Accost, Assail, Assault, and Attack

Accost, Assail, Assault, and Attack Accost, Assail, Assault, and Attack Accost, Assail, Assault, and Attack By Maeve Maddox The other day I noticed what I view as a nonstandard use of the verb accost in a news article about a man who â€Å"accosted† his wife when he returned home from prison. Because the woman received bruises in the incident, accost seems to me to be the wrong word. The literal meaning of accost is â€Å"to travel along the coast.† The verb was used to describe the practice of drawing up alongside an enemy coast or ship with the intent to invade or to board. The verb developed the meaning, â€Å"to approach and speak to a person.† An additional connotation implied that the approach was made in â€Å"a hostile or importune manner.† Although assail, from which we get the word assailant, is sometimes offered as a synonym, accost does not usually connote physical contact. Here are typical examples of the use of accost in the sense of hurling verbal abuse: Angry Christian Protester Accosts Katy Perry’s Preacher Dad for Raising a â€Å"Wicked† Daughter Anti-war protester accosts Rice at House hearing Accost is the usual word to describe the approach of a beggar or a prostitute: New Yorkers are used to being  accosted by beggars. He read the law pertaining to soliciting, accosting, or inviting to commit prostitution or an immoral act. The Variety writer responsible for the following headline exhibited a sense of humor by applying the act of accosting to the police: â€Å"Django Unchained’ Actress Says She Was Accosted By Police After Mistaken for Prostitute Accost in the sense of â€Å"to speak to someone in a determined or aggressive manner† is especially frequent in reviews and summaries of the television drama The Good Wife: Alicia accosts Cary and demands to know if he’s â€Å"organizing something.†Ã‚   â€Å"No,† he lies, [saying that] he and the fourth years trust the partners will eventually honor their commitments. Dubeck accosts Peter’s ethics advisor, Marilyn Garbanza, on the street and tries to convince her to cooperate with his election fraud investigation.   Diane accosts Alicia as she exits the elevator in the Lockhart/Gardner lobby. â€Å"Okay. How’d it go?† Both assail and assault can be used to mean â€Å"to make a violent hostile attack by physical means.† In current usage, assault retains this meaning, but assail seems to have become more common in figurative use to describe â€Å"a verbal attack with hostile, opprobrious, or bitter words†: Citizens’ group assails rules targeting farm sales German man whose wife left him assails Kasper proposal in new book Nashville Chief Assails Judge [for] Releasing Man Who Beat His Girlfriend When the act being described is a physical attempt to injure or kill, the most common verb by far is attack: Police were forced to draw their guns this morning after a man attacked two pedestrians with meat cleavers in Sai Ying Pun. Chelsea fans attacked by masked thugs in Kiev A settlement was attacked in the early morning hours. Both assail and assault derive ultimately from a Latin verb meaning â€Å"to spring† or â€Å"to leap.† At one time, assail could mean â€Å"to leap on† or â€Å"to mount,† as in the mating of animals. Shakespeare plays on this meaning of assail, as well as on the earlier, nautical meaning of accost, in the scene in Twelfth Night (1601) in which Sir Toby urges Sir Andrew to offer his attentions to the attractive maid Maria. Sir Andrew, severely vocabulary-challenged, at first thinks that Accost is the woman’s name. When Toby corrects him, Andrew, who apparently does know at least one meaning of the word assail, is mortified: Sir Toby: Accost, Sir Andrew, accost. Sir Andrew: Whats that? Sir Toby: My nieces chambermaid. Sir Andrew: Good Mistress Accost, I desire better acquaintance. Sir Toby: You mistake, knight; accost is ‘front her, board her, woo her, assail her.† Sir Andrew: By my troth, I would not undertake her in this company. Is that the meaning of accost? Use assault or attack when the intended meaning is physical aggression. Save accost to mean approach, confront, or importune. Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Vocabulary category, check our popular posts, or choose a related post below:Apply to, Apply for, and Apply withPeople versus Persons1,462 Basic Plot Types

Critically evaluate one aspect of your chosen reserach article Essay

Critically evaluate one aspect of your chosen reserach article - Essay Example On the other hand, qualitative methods are generally supported by the interpretivist (also referred to as constructivist) who portrays the world in which reality is socially constructed, complex, and ever changing. Each represents a fundamentally different inquiry paradigm and researcher actions are based on the underlying assumptions of each paradigm. Strauss and Corbin, (1990) states that qualitative research, is any kind of research that produces findings not arrived at by means of statistical procedures or other means of quantification. Quantitative researchers seek causal determination, prediction, and generalization of findings; while qualitative researchers seek instead illumination, and understanding to similar situations. Therefore, qualitative analysis results in a different type of knowledge than does quantitative inquiry. Glesne (1999) states that qualitative researchers seek out a variety of perspectives; they do not reduce the multiple interpretations to a norm. She adds that in qualitative research, face-to-face interactions are the predominant distinctive feature and also the basis for its most common problem. Such problem she states include researchers’ involvement with the people they study and the accompanying challenges, and opportunities that such closeness brings. Straus and Corbin (1990) claim that qualitative methods can be used to better understand any phenomenon about which little is yet known. They can also be used to gain new perspectives on things about which much is already known, or to gain more in-depth information that may be difficult to convey quantitatively, or where the researcher has determined that quantitative measures cannot adequately describe or interpret a situation. Questionnaires were used in the study as a means of collecting data from participants, with an aim in obtaining their personal views on the safety and security of their children. Campbell et al

Is counselling for people with a learning disabilities inclusive Literature review

Is counselling for people with a learning disabilities inclusive - Literature review Example Dawson (2003) argues that people with learning disability interact with others and may have various talents other than in the field of learning they should therefore not be ruled out to have no contribution in the community. After efficient skill sharpening and counselling, they can be involved in various events other than being guided. They therefore feel appreciated and gain courage in the process facilitating the various aspects of counselling put into practice. Identification of the type of learning disability may help in categorising the counselling group or manner to be adopted. Thus the process becomes inclusive in all dimensions. In this review analysis, the method to be applied will include research based on internet websites in order to obtain different findings and opinions of other counsellors. This includes the research on journals posted in such related websites. Another procedure will be the finding as per various government postings concerning this kind of counselling. There will be a review of findings from research carried out by other researchers in this field. According to Cresswell (2009) personal observation and analysis of various methods applied in this area of jurisdiction. Another method that will be put into use in this research will include the use of software for data analysis. This document is a research paper review that contains analysis of various documents in relation to the topic. The parameters of the initial search included the use of internet service in searching web materials in relation to the topic of study. Various books were also used including journals and newspapers. Most peer reviewed journals available in the internet databases were also put into use. Different researchers have carried out analysis of data collected in relation to counselling those with learning disabilities. From these researches, it has been evident that the process is more of inclusive than not. It will be discussed in the subsequent sections