Hello, Answer below question in 2 separate WORD Doc1) Reflect on the assigned readings for the week(please read attched pdf). Identify what you thought was the most important concept(s), method(s), term(s), and/or any other thing that you felt was worthy of your understanding. (10 points). Also, provide a graduate-level response to each of the following questions: When Great Britain voted to leave the Euro- zone, the pound depreciated 17% against the dollar. It also raised fears that the Eurozone would fall apart. Explain how this fear would affect the euro/dollar exchange rate. Your initial post should be based upon the assigned reading for the week, so the textbook should be a source listed in your reference section and cited within the body of the text. Other sources are not required but feel free to use them if they aid in your discussion]. [Your initial post should be at least 450+ words and in APA format (including Times New Roman with font size 12 and double spaced). Post the actual body of your paper in the discussion thread then attach a Word version of the paper for APA review]. [Your posts must be substantive and demonstrate insight gained from the course material]==================================================================================2) i). In 2014, the euro was trading at $1.35 on the foreign exchange market. By 2015, the rate had fallen to $1.10, due to falling European interest rates. Explain the fall in the price of a euro using supply and demand curves, and in words.ii). Using shifts in supply and demand curves, describe how a change in the exchange rate affected your industry. Label the axes, and state the geographic, product, and time dimensions of the demand and supply curves you are drawing. Explain what happened to industry price and quantity by making specific references to the demand and supply curves. How can you profit from future shifts in the exchange rate? How do you predict future changes in the exchange rate? The assignment is to answer the question provided above in essay form. This is to be in narrative form. Bullet points should not to be used. The paper should be at least 1.5 – 2 pages in length, Times New Roman 12-pt font, double-spaced, 1 inch margins and utilizing at least one outside scholarly or professional source related to organizational behavior. This does not mean blogs or websites. This source should be a published article in a scholarly journal. This source should provide substance and
Jaipur National University Managerial Economics Supply & Demand Discussion
I’m working on a business project and need support to help me learn.
This is the feedback we got:Thank you so much! Please see attached. Let’s keep working on this and get this chapter 1 across the finish line.First the committee is requesting that we record how we address Dr. Medina comments in the attached Feedback Table. Am only taking about the major comments not those requiring citations. There are also 2 or more comments from Dr. Brown that must addressed. Lastly please review the paper and make any changes needed including those already modified.
DIS 9901 NCU The Financial Impacts of Immigrants to the State of Ohio Essay
Complex Narrative Structure Of Memento
Due to the nature and complex narrative structure of Memento (Nolan 2000), one has to closely evaluate the succession of events before one could make the assumption that this film is a ‘typical Hollywood mainstream motion picture’. It is easy to assume that this film would in fact fit the criteria of the Hollywood mainstream motion picture, only upon looking at the cast and A-List director- Christopher Nolan- who one could assume would use his ‘usual’ cinematic style to ensure the success of this film. The complex introduction to the film already creates the anxiety-driven need to finish watching the film, due to the unusualness of the opening scene that distinguishes Memento (Nolan 2000) from other classical Hollywood films. Jean Baudrillard: brief biography Jean Baudrillard, the “French sociologist, cultural critic, and theorist of post modernity were born in Reims on the 27th of July, 1929. Even though his parents were civil servants and his grandparents were peasant farmers, Jean Baudrillard was the first University graduate from his family. He later went on to teach sociology at University and was named one of the most “intellectual figures of his time”. Throughout his childhood, he was exposed to the Algerian war of the 1950’s and 60’s, which had a significant influence on the way he thinks and perceives society (Jean Baudrillard-Biography [sa]). After becoming an assistant at Nanterre University of Paris in 1966, he was quickly connected with Roland Barthes and used Barthese’s “analysis of culture” in his first book, namely The Object System (1968). When the students of Nanterre University revolted in 1968, Baudrillard joined in the action, and through inspiration, assisted with a distinctive ‘journal of the time’, Utopie. This journal was clearly influenced by “situationism, structural Marxism” and various media theories wherein he issued numerous theoretical articles about/on the environment of capitalist prosperity (affluence) and the evaluation of technology. Baudrillard then went on to teach at the European Graduate School (EGS) from the day that the school opened to the day of his death on the 6th of March, 2007 (Jean Baudrillard-Biography [sa]). Marxism and (post-) Marxism: Marxist film theory The Marxist approach to the study of films centres (focuses) on the continuous ways that cinema ideologically allow and even ‘betrays’ the devises that diminishes the middle-class (bourgeois) view of society and the world. These devises (mechanisms) of ideology comprise both the social organisations (institutions), as well as the industrial knowledge that vigorously function to create (produce) the middle-class culture which society consume daily. Several precise illustrations of such social and industrial organisations are: (1) the way labour is divided to ensure revenue (capital); (2) hierarchy (social order and class-structure); (3) industrial transformation of revenue of production; and (4) replacing services (commodities). Each (and all) of the mentioned devices (mechanisms) have been incorporated into (and informed) the film trade since it originated. In the sphere of cinema and film, these mechanisms shape the influential ‘culture-producing’ section of societal apparatuses that ‘Marxist film theorists’ calls “the cinematic apparatus” (Netto 2000:[sp]). Jean Baudrillard’s opinion of Marxism In his book, The consumer society (Baudrillard 1998:183), Baudrillard makes the conclusion and commends “multiple forms of refusal” of common ruling (convention), obvious notable and eye-catching utilisation (consumption), and conventional thinking and behaving, which can ultimately be merged (combined) into a “practice of radical change” (Baudrillard 1998:183). Baudrillard then goes on to describe a state (situation) where isolation (alienation) in its entirety cannot be improved on since “it is the very structure of market society” (Baudrillard 1998:190). Baudrillard argues that in a social order (culture), in which everything is seen as a product or service that can be purchased and put up for sale, that isolation (alienation) is total. Thus, isolation (alienation) is ever present in the social order where everything (from products to services) can be bought (Kellner 2007:[sp]). In the early 1970’s, Baudrillard had an unsure (ambivalent) relationship with the theory of conventional Marxism in the since that he agreed with the Marxian analysis of the production of social commodities, which ultimately defined and critiqued the various notions of estrangement (alienation), dominant power, and exploitation that was shaped by capitalism. One could say that Baudrillard’s evaluation of these notions corresponds with the traditional (standard) “neo- Marxian” viewpoint which puts emphasis on the culpability of Capitalism and makes the assumption that Capitalism is homogenizing, domineering and ruled social class systems whilst depriving individuals of their liberty, originality and imagination, time, and potential (Kellner 2007:[sp]). In contradiction, Baudrillard could never emphasise any “revolutionary forces” and above all, didn’t argue the circumstances and prospectives of the working class as a driving force for an altered (changed) social order of consumption. Thus, with no suggestion of the subject as a participating driving force of societal modification, Baudrillard pursued the “structuralist and poststructuralist” assessment of the ‘truth-seeking’ (philosophical) and practical subject matter which was extensively governed in French deliberation. Practitioners of structuralism and post structuralism argued that bias (subjectivity) was shaped by verbal communication (language), societal establishments, and cultural appearances and wasn’t sovereign of its creation in these establishments and preparations (Kellner 2007:[sp]). Classical film noir: Definition, Primary characteristics, conventions and historical surroundings The role of the male protagonist In (post-) Marxist noir films, the protagonist is frequently depicted as a single white male, who is usually psychologically troubled due to disloyalty or some form of loss of something in particular. The male protagonist is also usually emotionally crippled or psychologically injured. This summary of the post Marxist noir leading male is applicable to the post Marxist neo-noir picture Memento (Nolan 2000) (Szyszka 2007:[sp]). In Memento (Nolan 2000), Nolan presents the character of Leonard Shelby (Guy Pierce) who could be seen as a combination of the ‘typical’ private investigator that thrives in noir and neo-noir films and the defective (flawed) insurance salesman of the noir crime picture. The result is a “brain damaged insurance investigator”. This character in itself is already a complex and interesting one, but Nolen makes Leonard even more complex by turning Leonard into a serial killer who is unaware of the driving forces that influences him to commit these crimes (Szyszka 2007:[sp]). Further characteristics of classical film noir: mood, tone, visual and cinematic elements According to the British Medical Journal (BMJ), that did a study on films dealing with memory, and made the conclusion that in Memento (Nolan 2000)- different from other films dealing with the ‘memory genre’- Leonards character (with some form of amnesia) maintains/retains his identity and puts emphasis on a number of strenuous daily problems regarding recollection related to mental disorders (Szyszka 2007:[sp]). After watching this film one could argue that the disjointed, ‘mosaic-like’ quality of the succession of edited scenes in Memento (Nolan 2000) ingeniously simulates the “perpetual present” characteristics of memory loss related conditions. The film does not however merely represent mental/neurological illness, but furthermore supports the (post-) Marxian notion of the leading white male point of view. This notion is supported by purposely bringing in a cruel “femme fatale” character named Natalie (Carrie-Anne Moss). Natalie makes use of Leonard by lying to him, whilst telling him that she is using him, since she is fully aware of Leonard’s condition and knows that his memory will fade. Yet again, Nolan does so to make a victim of the protagonist in order to distract the viewers from the plot by making use of ’empathetic relation’ to the character (Szyszka 2007:[sp]). Neo noir films In the 1990’s, spectators all through the world were presented with a newer and darker adaptation of noir, which was concealed within old methods, yet they were presented as ‘fresh and sleek narratives’ in magnificent colour. One of the things that make 90’s ‘neo-noir’ different from previous recreations of film noir is the reoccurring focal point on mental illness and the dilemmas caused by psychological struggles. Within this new ‘neo-noir’, a white male middle-class outlook was reflected, articulating the fear of becoming the solitary objective in an innovative “bold politically correct society”. ‘neo-noir’ also emphasised the increasing statistics of mental illness of the 90’s in America (Szyszka 2007:[sp]). ‘Neo-noir’ films were made to retaliate against a variety of minorities occupied with complicated interior clashes that inhabits not only the minds of the characters, but also the mind of the filmmakers. Whereas this is a presumption as to why noir returned (resurfaced), it is evidently apparent that ‘noir’- exclusively composed of method (style) over matter (substance) – was a new way of thinking in (post-) Marxist filmmaking. By entering the unknown territory of the inner workings of the mind (psyche), as supposed to the usual “physical plane of existence” that regularly surfaces in the narrative cinema, the matter (substance) was produced (formed) (Szyszka 2007:[sp]). In these types of films, making use of the psychological (mental) state whilst attacking ‘unfit’ elements disrupting the social order, a new innovative way of filmmaking ensured an interesting and attention-grabbing combination (Szyszka 2007:[sp]). In 90’s American cinema, audiences were extremely wrapped-up in paranoia. It was a time of confusion and society was faced with a civic (public) crisis when the need for ‘truth’, the status of information, and the “determination of truth” surfaced (Szyszka 2007:[sp]). It is ordinarily noticeable that postmodern, post-industrial, post- Marxist, and post- cold war social orders (society) shaped and produced an ongoing concern to what is “real” and how “reality” could be established and the authorization thereof. The continuing psychological (mental) focal point in/of 90’s contemporary American cinema- mainly of neo-noir- revolves around the postmodern panic (fear) and uncertainty over ‘truth’ and reality. The internet (made available to the public in the 1990’s) not only brought an increasing stream of information, but made it more difficult for society to know what to trust and what not to trust. The 90’s is known as the era where it was the fastest and easiest way of distribution of propaganda and misinformation, which added a spiralling effect of cynicism and disillusionment of a nation (Szyszka 2007:[sp] ). Strategy of the real The way in which text positions and/or ‘fixes’ the viewer (consumer) is revealed first and foremost through a significant assessment surrounding the dominant (governing) structures of cinema, demonstrated by the Hollywood system (structure), and its utilization of “narrative and realist forms” (BaraÅ„ski and Short 1985:276). One could argue that the dominating shape of narrative used in mainstream cinema and Television creates a meticulous mode (way) of interpreting the world (dominant society): rather than focussing on the subject matter of the motion picture it is concerned with mysteries and anxiety that focuses on the attention of the audience to the method of narrative resolution, it demands and supplies endings which appear to present straightforward resolutions and conclusions to the struggles it has symbolized (represented), so that it gives a ‘closed’ view of the world (modern society); attention (interest) is frequently concerned on a single protagonist rather than groups, and driving forces is understood in the psychosomatic rather than societal conditions (BaraÅ„ski and Short 1985:276). In the same way that it is impossible to rediscover a total (absolute) level of reality it is also impossible to stage a false impression (illusion) of what is real. The possibility of illusion is not possible anymore because the possibility of the real does no longer exist. for instance, should one fabricate (simulate) a break in at a local department store, it would be an interesting observation as to how one would be treated by the repressive state apparatus, as sopposed to what would happen to a person who organised a ‘real’ brake in. A real brake in would ultimately disturb the ‘natural order’ of things- individual property rights- whereas the simulation of a robbery ultimately obstructs the code of reality. Misbehaviour and aggression (committing a crime) are not as serious, because it simply challenges the natural (real) order and will be delt with. Simulation of the real is considerably more hazardous given that it constantly implies (suggests), in addition to its object, that regulation (law) and instruct (order) in itself are merely simulations (Simulacra and Simulations 1988:[sp]). Nevertheless, after simulating a ‘fake’ robbery, how would one convince the repressive state apparatus that it was merely a simulation of theft? One couldn’t, for the reason that there is no ‘objective’ distinction. Identical motions (gestures) and identical signs are apparent in a simulated robbery as it would in a real theft. As far as the dominant power (Ideological state apparatus and repressive state apparatus) is concerned, they (the gestures and signs) resemble those of a real robbery. After the ‘fake’ robbery, one would- without knowing- find oneself instantly in the real (one of whose purpose is specifically and ideologically produced to consume all efforts of simulation) reducing everything to reality (Simulacra and Simulations 1988:[sp]). Socialist and radical practitioner have been using realism as a narrative structure, and although they have been criticised since they are significant to the ‘realities’ they depict, have been presenting information of reality as trouble-free and doesn’t properly give possible methods of altering (changing) the world. in addition, they present an uncomplicated ‘truth’ regarding society. This is the innermost predicament of realism: that it presumes a representation which it considers as the truth, neither inquiring the course of representation nor inserting audiences into position from which they have to work to create an understanding of the text. The significance to the workings of Marxism and (post-) Marxism is that dominant cinema and TV are viewed as two of the positions through which ‘dominant ideology’ is symbolized (represented) and accomplishes its effects. “Narrative forms and realist forms are ideological”, and their ‘naturalness’ and obvious impartialities are conducts of disguising the fact that they create a meticulous vision of the world (BaraÅ„ski, Z.G
University of Bridgeport Evaluation of A Day in the ER Essay
best assignment help University of Bridgeport Evaluation of A Day in the ER Essay.
Write a one-page report about an infographic, aimed at an audience who has some background in the subject you’ve chosen.Find a subject that interests you and an infographic to write about. Imagine that you have to summarize and interpret the information for your colleagues at work. There are many, many sources, and you will have no problem finding one that appeals to you and that you can use for your brief summary. Review the Overview Readings What are Infographics? You may use any of the graphics embedded in these pages or you may search on your own. Remember to keep track of your sources and cite the creator and source of the image in your report. A quick Google search will turn up lots of options. To help you search further, try A Database of Infographics (Links to an external site.) related to Science and Health or another subject found on the New York Times Learning Network blog.Guidelines:Your primary task is an informational summary: report on what the visual says. Practice summary, paraphrasing, and quoting as needed in your brief report. In addition to a summary, guide your audience to help them understand why this visual is important to them. This involves interpretation and analysis. This is will be based on your choice, so as mentioned above, find a subject and infographic that interests you. Use the block format for your report. Block format is typical in business letters and reports as well as essays and other types of academic writing. The paragraphs are NOT indented, but space is given between paragraphs. This page, and others on Canvas for this class, use the block format. One page is a minimum, and you may single space, so about shoot for 300-500 words. Title your summary. Embed your infographic at the end of your report. Cite in APA or MLA method. For help with citations, try our new Tutoring Platform, Smarthinking Online Tutoring (from the Canvas menu), or a site like Purdue Online Writing Lab. Here is an additional link from Pen&Pad blog. (Links to an external site.) Be concise, clear, and professional. Proofread and edit before posting to avoid errors.
University of Bridgeport Evaluation of A Day in the ER Essay
Properties of Water for Organism Survival
NDUI PRISCILLAH Discuss the assertion that water has several unique properties that make it vital not only for human beings, but for all living organisms to survive. Introduction Water is a very important aspect of all living organisms’ plants and animals alike. What makes it so useful and relevant to survival are its unique properties which relate to its functions and hence its relevance to living things as discussed below. Water is a dipolar molecule Water is a normal oxide of hydrogen consisting of two hydrogen molecules covalently bonded to one oxygen molecule. The water molecule is not linear and the oxygen atom has higher electro negativity than the hydrogen atoms. The atoms of oxygen carry a slightly negative charge whereas, the hydrogen atoms are slightly positive, this gives the water molecule its dipole movement (en.wikipedia.org). Hence, the water molecule can form up to four bonds with it self and other molecules. This property gives water most of its properties. Water is a Universal solvent A solvent is a liquid which dissolves other substances. Because of its ability to form four bond with other molecules (dipole), no other chemically inert solvent is able to dissolve a variety of materials as water nor the amount of them it can hold in solution (Edward J.K 1996). Water is able to dissolve a variety of substances solids, liquids and gases alike. (Edward, 1999) adds on to say “water is the best solvent and provides a medium for the movement of molecules within and outside the cell.” hence water is important in both plants and animals in that it aids movement of materials through diffusion as salts, sugars acids, alkalis and gases such as carbon dioxide (carbonation) and oxygen dissolve in it and can be transported in the organism as a transport medium as in blood, lymphatic and excretory system, the alimentary canal and xylem and phloem (Taylor D.J 1984). Water is wet Because of its molecules forming hydrogen bonds with other polar molecules, water makes things wet. This is due to its cohesive and adhesive properties (Dr. Jain VK, 1974). Cohesion is the attraction between like molecules in this case water while adhesion is the attraction of molecules of different substances. This gives water high capillary forces, that is the tendency of water to move up a narrow tube against the concentration gradient. This is a very important property to vascular plants such as trees as it enables water to move along very narrow spaces such as during transpiration which help control the temperature of a plant. Its cohesion property is also relevant in cells and in translocation of water through xylem in plants. This is also vital in the rising or moving up of sap in plants. Surface tension The cohesive property of water brings about surface tension. Besides mercury, water has the greatest tendency to cohere causing its surface to contract to the smallest possible areas as a result of the hydrogen bonds (Edward J.K, 1996), because of this many small organisms are able to settle on water or skate over its surface, thus providing them a habitat, for example the water striders. It also aids reproduction by way of seed dispersal, garmetes and larval stages of aquatic organisms. Water has a high specific heat capacity The specific heat capacity of water is the amount of heat required to raise one (1) gram of water from O0C to 10C. Compared to other liquids a considerably high amount of energy is required to change the temperature of water (Edward J.K, 1996). This property is also due to the numerous hydrogen bonds between water molecules. This is very vital to both humans and plants as it helps in moderating the earth’s climate by buffering large fluctuations in temperature. It also protects the plants from very harmful temperature fluctuations. High specific heat capacity of water is also vital to marine and fresh bodies of water to help maintain a constant temperature over longer period of time and to be stable over short periods of time. Latent heat of vaporization Vaporization or evaporation is the change of state from liquid to gas. The latent heat of vaporization is the energy required to convert a liquid into gas (Vapour) at constant temperature (Dr V.K Jain, 1974). Water has the highest latent heat of vapourisation of all common substances which is about 44 Kj/Mol at 250C. The high latent heat of vaporization of water enables the plants to cool themselves by giving out heat through transpiration. It is also a major factor in the transfer of heat between the ocean and the atmosphere, thereby driving the weather climate. Beside these, animals also use this property in cooling by the sweating and panting in mammals. That is, the opening of the mouth by some reptile’s e.g crocodiles in sunshine and mammals like dogs. Latent heat of fusion Latent heat of fusion is the heat required to convert a unit of mass of a solid to liquid at the same temperature. To melt 1gram of ice at 00C, 80cal. (335J) of energy is needed which is very high and caused by the presence of hydrogen bonds. This means water must loose a relatively huge amount of heat energy to freeze. This helps protect the contents of the cells not to be damaged as their environments are less likely to freeze. Water expansion and density One of the unique properties of water is that, it reaches its maximum density at 40C and diminishes above and below that temperature. It has a tendency to expand as it freezes and its density is decreased (Dr. Jain V.K, 1974), hence ice has a lower density than water and floats on top of oceans, lakes and rivers. It forms at the surface first and last at the bottom, this provides insulation of the water below it and increase the chances of survival for acquatic organisms especially in cold climates and during cold seasons. Penetration of light Water which has no suspended particles is transparent in the visible electro magnetic spectrum. This implies relatively great amounts of infrared and ultra-violet rays can penetrate through it. This enables acquatic plants to survive as they are able to carry out photosynthesis. It can therefore be deducted that water indeed has several unique properties related to its importance to all living organism without which most of these might become extinct. Besides these water provides a habitat for millions of living organisms and is also vital in sanitation for human beings helping to prevent the spread of infections such as viruses, protozoa and worms. Hence, water is a very vital aspect without which life might not exist. BIBLIOGRAPHY Edward J.K (1996), Concepts of Ecology; fourth edition. Pearson Education. New Jersey. en. Wikipedia.org/wiki/water Dr. Jain V.K (1974), fundamentals of Plant Physiology; S. Chand and Company Ltd. New Dhehi Taylor D.J et al (1984), Biological Science 1
Organizational Behavior Analysis
Organizational Behavior Analysis. I’m studying for my Business class and need an explanation.
In this assignment you will analyze the organizational behavior of your current or former employer. Describe how the following areas influence the organizational behavior in a negative or positive manner:
Type of culture (Pluralism, Dualism or Salad bowl)
Modes of communication in the organization (i.e., written or verbal)
Nature of authority (i.e., recognized social rank)
Motivational techniques (e.g. intrinsic or extrinsic used to influence productivity and performance)
Areas of EQ (emotional quotient) embraced by the organization
Virtual elements (i.e., teleworking and virtual offices)
Provide examples for each item listed above and discuss how each example applies to the organization identified. Your paper must be eight to ten pages in length and use a minimum of four scholarly sources, in addition to the textbook. Your paper must be formatted according to APA style as outlined in the Ashford Writing Center
Writing the Final PaperThe Final Paper:
Must be eight-to-ten double-spaced pages in length (not including the title and reference pages) and formatted according to APA style as outlined in the Ashford Writing Center.
Must include a title page with the following:
Title of paper
Course name and number
Must begin with an introductory paragraph that has a succinct thesis statement.
Must address the topic of the paper with critical thought.
Must use headers
Must end with a conclusion that reaffirms your thesis.
Must document a minimum of four scholarly sources, in addition to the textbook, in APA style, as outlined in the Ashford Writing Center.
Must include a separate reference page, formatted according to APA style as outlined in the Ashford Writing Center.
Organizational Behavior Analysis