Critical Thinking Case Study part 1Critical Thinking Case Study: Identification, Research, AnalysisRead Case 28 in the final chapter of the textbook – Entitled “The Box” (attached)Submit to the drop box in MLA format. Place your name, the professor’s name, the course name and the date in the upper left-hand corner. Include a Work Cited page, (see drop box rules).MINIMUM OF 350 WORDS!Follow the sample format below.IdentificationList the main moral issue in the correct format. (See Module 2)Should……………….? OR What should……………….? List only one main issue.ResearchList three topics that would be appropriate to research. If you were the person named in your ethical issue and you had to make this decision – what information would you want to help you make a better decision and where would you find it? You do not need to complete the research, just list the three specific topics you would research. Three different topics are required.If you need help and you are near campus go to the Writing Commons in the Library or Learning Support Center and ask for help with this research. If you are not near campus go to the Begin Here Module and use Ask-A-Librarian.Analysis:Create an analysis chart including at least 4 options and 4 stakeholders as seen in chapter 4. In the chart briefly explain how you believe each stakeholder will be affected by each option. Helpful Hints:All options must be in the control of the person named in your main ethical issue.There are many options but choose the best options. All options should be reasonable options that the person named in your main issue could choose to best solve the ethical issue.For example, if the main ethical issue is, Should Jack report Jill for stealing computers, all of your options should begin with Jack could…….Creating a chart – You can copy and paste from the sample format or create the chart in MS Word by clicking on the Insert Tab – Table – choose 5X5 if you have four stakeholders and four options so you can label your chart. If you are still having problems contact the help desk – 341-help or the instructor.
Main Moral Issue in The Box Case Discussion
5A – In this first section of the course, we have looked at many examples of how images are used to convey authority and fashion public identity. This can be seen in images of gods, religious figures, and earthly individuals. Choose ONE of the portraits below, and analyze what it communicates about its subject and how it asserts its authority. Be specific about what is conveyed and precisely how. (Note: this is NOT a Compare and Contrast – you should only discuss ONE of the works)At least 400 words.Farrukh Husain, Ibrahim ‘Adil Shah II Hawking, c. 1590 (Links to an external site.)Abu’l Hasan, Jahangir’s Dream, c. 1618-1622 (Links to an external site.)One of these works is not from your textbook and will require a little additional research to understand the subject matter and historical context. However, the analysis should be your own and based on your own observation of the work provided. In particular, use the discussion of Jahangir Preferring a Sufi Shaykh to Kings in the Lesson 3 Lecture (attached below), as an example of how to break down work to analyze how it conveys a message. However, there are many more examples of this throughout the lessons so far! Lesson 5 Reflection – Art and Death5B – Most of the objects we looked at in this lesson were found in tombs in China. How do these art objects reveal the dominant beliefs regarding the death in China during this period? Consider how the types of objects found in China from this time compare to objects made in India in the same era and how they reveal differences in attitudes towards death. Lesson 3 LectureIslam and Persian Courtly CultureAs you read in your textbook, Islam arrived and took root on the Indian subcontinent during this period. If you are unfamiliar with the origins and beliefs of Islam, read through this Introduction to Islam (Links to an external site.) from Smart History. The Mughals In your text, you learned about the series of Islamic dynasties that ruled from Delhi known as the Delhi Sultanate, as well as the various kingdoms of the Deccan and the south of India. In this lecture, we will focus on the dynasty that succeeded the Delhi Sultanate, the Mughals. The Mughals came from Central Asia and conquered much of the Indian subcontinent. They proudly traced their lineage back to Genghis Khan and Timur (Tamerlane), and they brought with them a sophisticated Persian courtly culture. The powerful Mughals had an enormous influence on the other kingdoms and princely states of India, but we should not think of influence as going in only one direction – the Mughals absorbed the influence of their subjects and neighbors as well. This willingness to adopt elements of local Indian culture is most apparent in the art created under the Mughal emperor Akbar.Krishna Holds up Mount Govardhan to Shelter the Villagers of Braj, folio from the Harivamsa (“The Legend of Hari [Krishna]”), c. 1590–1595, ink, opaque watercolor, and gold on paper (113⁄8 × 77⁄8″)The painting shown above depicts Krishna, one of the avatars of Vishnu, holding up a mountain to shelter the people of the village of Braj from the wrath of the storm god, Indra. Here, Krishna acts as the great preserver of life, one of the major roles Vishnu plays within Hindu religion. As a work that was produced in the royal workshop of Akbar, a Muslim ruler, the subject may seem to be an odd choice. However, Akbar was an extremely eclectic patron fascinated by religion, and the paintings produced by his workshop feature Muslim, Hindu, and even Christian subject matter (see image 3-37 on p 75 of your textbook).Aside from its subject matter, the work shown above features many distinctive qualities of Mughal art, and the period of Akbar’s reign in particular. This work fuses local Indian subject matter with Persian stylistic elements. I have included a famous example of Persian painting below so you can get a sense of what features of the Mughal painting above could be considered Persian-influenced. Spend a few moments comparing the two works before continuing to read. Sultan-Muhammad, Court of Gayumars, from the Shahnama of Shah Tahmasp, Tabriz, Iran, c. 1525-1535, ink, watercolour, and gold on paperOne of the most notable and immediately recognizable Persian elements in the Mughal painting is the colorful, lumpy, and dynamic-looking rocks that make up Mount Govardhan. In this case, the twisting and dynamic appearance of the rocks is especially appropriate because it gives the impression that the storm sent by Indra is truly ferocious – so ferocious that even the rocks seem to bend in the wind.However, one of the ways that the Mughal work diverges from the Persian prototype is in the individuality of the figures in the painting. While the Persian work features more stylized and generic looking faces, the Mughal painting’s figures are each distinct, both in body type and facial features. This seems to reflect the broader interest Akbar had in the land and the people he ruled – the people in the painting appear to be based on observations of Akbar’s real subjects, replicating their features, clothing, and mannerisms. This interest in individuality is also apparent in the many rich examples of Mughal portraiture. Mughal PortraitureBichitr, Jahangir Preferring a Sufi Shaykh to Kings, Mughal dynasty, c. 1615–1618, opaque watercolor, ink, and gold on paper (height 187⁄8 × 13″)Akbar’s son Jahangir considered himself a much more discerning art patron, and he ended up letting go of many of the painters his father had employed in the imperial workshop. So while fewer works were created in Jahangir’s workshop, they are of an extraordinarily high quality. They also reveal some of the eclecticism we see in the works created under Akbar’s patronage, in particular, a fascination with European stylistic elements. The work shown here, Jahangir Preferring a Sufi Shaykh to Kings, is a work carefully constructed to communicate a message about Jahangir’s priorities as a ruler. Since this is a work all about Jahangir, let’s look at him first. He is easily identifiable because he draws the most attention. How does he do this? (or rather, how does the artist, Bichitr, draw our attention to Jahangir?) First, while most of the other figures in the painting are lined up along the lower half of the left side of the painting facing right, Jahangir sits above them, largely centered, and is the only major figure facing left. His head is surrounded by a massive halo, and while many of the haloes we’ve seen so far have indicated the divinity of the bearer, this halo does not indicate that Jahangir is a divine being (that would be blasphemous in Islam). Rather, it communicates that he sits in the divine light of God and suggests that his right to rule is divinely ordained (this is important because it makes his authority unquestionable!) Jahangir’s face is shown in perfect profile, a distinguished view for the human face, and one often used in official portraiture (think Roman coins – or our own coins, for that matter!), and his features are specific and recognizable – this is a true portrait, not a generically idealized one. This interest in true portraiture is a distinctive quality of Mughal painting, one that was already present during the reign of Akbar. Now let’s move away from Jahangir himself and look at how the people and objects that surround him and the way they are arranged help to construct Jahangir’s image. The work contains four other major figures (excluding the putti – the winged babies – for the moment), and they do not appear to stand on the same plane. Instead, they seem to be stacked, one atop the other. This is partly for the sake of clarity – it is easier to see them stacked up like this than it would be to see them lined up one behind the other, and this preference for clarity over naturalism is fairly standard in Indian art generally. But it is also intended to convey different levels of importance. The figure at the top is a Sufi Shaykh – a Muslim holy man and mystic – who looks up towards Jahangir and receives a book (probably the book recording Jahangir’s life) from him. Beneath him is an Ottoman sultan, a ruler of another powerful empire, much like Jahangir’s own – the facial features are generic and the figure is probably not meant to represent a specific sultan. Beneath him is a man who may seem familiar to some of you (no, it’s not Shakespeare!) – this is King James I of England. While James never traveled to India, nor did Bichitr, the artist of this work, travel to England, this is a true portrait, one that captures the distinctive qualities of James’ appearance, much like the portrait of Jahangir himself. It seems that Bichitr had access to a printed portrait of James, probably brought by European traders, and he has replicated it precisely in this painting (however, he probably only saw a black and white print and has chosen the colors here himself!). Even the three-quarters view of James’ face reflects contemporary fashions in English portraiture. Finally, beneath James is a figure wearing saffron, indicating that he is a Hindu, who holds a small painting which features a bowing saffron-clad figure, two horses, and an elephant. This final figure is Bichitr himself, and the tiny painting also depicts Bichitr with gifts that have been bestowed upon him by Jahangir! It’s important to note here that the inclusion of the artist’s self portrait would almost certainly not have been his own decision – instead, he has been included here because Jahangir wants him here. So what is communicated by the inclusion of these four figures? First, it shows Jahangir as the greatest king among great kings. The Ottoman sultan in particular represents a truly powerful empire, so the fact that he appears to be paying homage to Jahangir further elevates the Mughal’s status. James is here as a powerful king, but more importantly, his inclusion is probably meant to show how worldly Jahangir is and how far-reaching his influence, because James represents a culture that is so foreign to the Mughals. And Bichitr is included as a sort of ‘king of artists’ – suggesting that he is truly among the greatest artists in existence. But remember, this painting is about Jahangir, not Bichitr, so this is not merely a compliment to a court painter. Instead, the inclusion of Bichitr conveys that Jahangir is cultured, recognizes great art, and as patron, is ultimately responsible for the creation of truly great art. So the greatness of all these figures help to enhance Jahangir’s own greatness, but there is also a statement about Jahangir’s piety and humility here. Though kings stand before him, he ignores them and turns to the religious leader. This conveys his devotion to Islam and his willingness to ignore the trappings of power in favor of religion. Looking beyond the five major figures here, there is still a great deal more which the painting communicates. The most noticeable (and obvious) symbol here is the hourglass on which Jahangir is seated. This conveys the idea that Jahangir is preoccupied with the passage of time and is aware of his own mortality. This suggests that he is considering his own legacy and his eternal fate, and this idea is supported by the fact that he is shown passing the book of his life to the shaykh. Additionally, the painting includes some very distinctly European elements, which are unusual and appear almost jarring in the context. First, there are the putti, a staple of European Renaissance art, and second, the carpet features acanthus leaves and half figures with their arms spread in gestures of worship or celebration, both of which are common motifs in Italian art. Like James I, these features are likely meant to highlight Jahangir’s worldliness. However, despite the many European elements, the treatment of them is still distinctively Indian. This is most clear in the representation of the carpet, which in a European painting would recede into space, meaning that the parts closest to the viewer would appear larger and clearer than those further back. However, this would also serve to distort the patterns on the carpet, sacrificing clarity for naturalism. Thus, Bichitr has represented the carpet in an unnatural way – tilted up and parallel to the picture plane – in order to display the pattern as clearly as possible. This treatment of carpets and patterned surfaces in general is typical in Indian (as well as Persian) painting. Rajput and Pahari PaintingsOutside of the Mughal court and the territories held by the Mughals, many works of art were produced for the rulers and elites of smaller princely states. There is a great deal of stylistic diversity among these works, though many of them reflect clear Mughal influence. Watch the video below to see how miniature painters in both the Mughal courts and the courts of the princely states would have worked. Lady with a Hawk, c. 1750, paint on paperIn contrast to the more direct and clear-cut symbolism of Mughal paintings, many Rajput paintings are more suggestive. They often have poetic or musical associations and convey emotions rather than concrete ideas. While portraits of rulers and illustrations of scenes from the Hindu epics – the Ramayana and the Mahabharata – were common, beautiful women were another common subject. The work shown above is a typical example of this genre. The work is elegantly simplified, and it is composed in a way that enhances its sensuality. The many straight hard lines and sharp angles serve to accentuate all the rounded forms, from the refined curves that make up the hawk to the sensuous curves of the woman’s body. Though at a glance, it may seem to be a work that is merely visually pleasing, the artist has used imagery that gives the work romantic overtones. So let’s try our hand at ‘reading’ this work.The woman is young and beautiful and clearly of high status. This is indicated by the fine gauzy clothing she wears, the gold cushioned bench, and the fact that she sits at leisure in a well-kept outdoor setting smoking a hookah. However, the setting is enclosed by a wall, suggesting that the world she inhabits is small and restricted (as would certainly be the case for a high-born young woman). The wall itself is a shocking, vibrant red and suggests an intensity of emotion, even though the woman’s face remains gently impassive (it would be considered undignified – and ugly – for strong emotions to be shown on her face, so emotions in paintings like this are often conveyed through other means). One of the most noteworthy aspects of this painting is the inclusion of the hawk, which would typically be associated with hunting (you saw Ibrahim Adil Shah II hunting with a hawk on p 60 of your textbook), something that this young woman would not be doing from the comfort of her enclosed garden. The hawk is thus an unusual inclusion and one that takes on greater importance because of its oddness within the context. The suggestion of hunting calls to mind a man – one who is strong and virile and belongs to the world outside of this women’s space. And because the major theme of these paintings of women tends to be romantic love, we are meant to understand that this is exactly what this young woman is thinking about. Her contemplation of the hawk conveys her longing for someone who is absent and who lies outside to boundaries of her limited world. This emotion is enhanced by the vibrant red of the wall and the sharp points of the trees on the left, and the sense of restriction is further emphasized by the bird’s own lack of freedom. This is a creature with the natural ability to fly – to transcend things like walls and borders – yet this one has been tamed, and a string can be seen dangling from its leg. Like the woman, it lacks the freedom of the absent man. Thus this painting, without using any obvious symbols, suggests the quiet longings of the woman depicted. It does not have a straightforward narrative, but it engages the viewer through its subtle and sophisticated manner of conveying emotion. Nainsukh, Raja Balwant Singh Smoking Alone on a Palace Roof in the Rains, 1751, paint on paperAnother work, which is both an example of official portraiture and poetically suggestive painting, is a portrait of the Rajput ruler, Raja Balwant Singh by his favorite artist Nainsukh. Nainsukh painted many unusually intimate portraits of Balwant Singh (one of which you read about in your textbook), and this work is no exception. Here, the ruler is shown standing on the roof of his palace alone smoking a hookah. His face is shown in profile, as was typical and appropriate for portraits of rulers, but unlike a typical ruler portrait, this lacks much of the imagery normally used to assert authority, such as the presence of other people. Instead, the emphasis is on the ruler’s solitude. Though the zoomed out viewpoint allows us to see Balwant Singh’s palace (which does emphasize his wealth), it also makes the ruler appear small and even somewhat vulnerable. The sky appears stormy and threatening, suggesting emotional turmoil, and Balwant Singh’s face is tilted up in the direction of a pair of birds, which appears to suggest loneliness – while the birds are coupled, Balwant Singh is decidedly alone. So what is the point of this painting? What exactly is this work intended to convey and who is the audience? Honestly, it’s hard to say. Raja Balwant Singh was not a powerful ruler, and not a lot is known about him. What does seem clear is that these unusual works are meant to communicate that he was a sophisticated and contemplative man, one who was introspective and appreciative of the art
University of California Human Creative Skills and Imagination Discussion
Impact of Transformational Leadership on Organizational Learning
We are living in an era of competition, technological development, globalization, increased workplace diversity and a number of socio-economic factors that have changed the working conditions, processes and structures of the organizations (Gallos,2006). In this competitive environment organizational learning (an intangible asset and process) is considered as an important driver for the sustainable competitive advantage. Knowledge based view of the firm advocates that the Knowledge and Learning capabilities result in organizational performance as well as the acquisition of sustainable competitive advantage (Lopez, Peon
Development of Japan’s Industrialisation
online homework help Why was Japan able to industrialize? Japan is an island nation in East Asia. Located in the Pacific Ocean, it lies to the east of the Sea of Japan, China, North Korea, South Korea and Russia, stretching from the Sea of Okhotsk in the north to the East China Sea and Taiwan in the south. Japan is the second world’s strongest capitalism economy country. Japan’s research capacity, industrial base and manufacturing technology are among the highest in Asia. Japan’s economy is very well, citizens have a high quality of life, GDP per capita more than forty thousand U.S. dollars in the world. Japan is one of the richest countries in the world, the most economically developed and the highest standard of living. Japan’s economy is so well because of industrialized. There were three main factors that Japan industrialized, introduction foreign technology, stable import dependence and hard working cautious labors. These three main factors caused Japan’s economic prosperity and became the only Asian member of “Group of eight” (G8). The factor “introduction foreign technology” let Japanese technology more advanced than before. The factor “stable import dependence” let Japan had stable industrial raw materials to industrialize, and the factor “hard working cautious labors” was indispensable in Japan industry. Japan was able to industrialize because introduction foreign technology, stable import dependence, and hardworking cautious labors. Thesis Statement: Japan was able to industrialize because of the introduction of foreign technique, stable import dependence and hardworking cautious labors. The Tokugawa Shogunate, also known as the Tokugawa Bakufu and the Edo Bakufu, was a feudal Japanese military government which existed between 1600 and 1868. The heads of government were the shoguns, and each was a member of the Tokugawa clan. The Tokugawa Shogunate ruled from Edo Castle and the years of Shogunate became known as the Edo period. This time is also called the Tokugawa period. In 1868 the Tokugawa shogun, lost his power, than emperor Meiji started to control Japan. During 1868~1912, the important revolution in government system; traffic; education; new technology…Japan became a strong country. Japan had regained complete control of its foreign trade and legal system, by fighting and winning the wars. Japanese industry expanded, both in light export industries like textiles, which were necessary to pay for the raw materials needed from abroad, and also in heavy industries like steel and shipbuilding. Cities grew, as more Japanese moved from farming into jobs in factories and offices. In the countryside larger landlords came to own more and more land, and the number of poor tenants increased. Always dependent on foreign trade, Japan was hard hit by the world depression that began in 1929. The farmers who had grown the silk that was exported to the United States found no market for their product once the roaring twenties and the craze for silk stockings collapsed with the stock market crash. Japan’s dramatic economic growth slowed, and social problems increased, especially in the countryside. At the same time that the leaders of imperial Japan pursued modernization and economic growth, they continued to address the issue of Japan’s unequal status in the international order. In 1894, more than forty years after Commodore Perry pried Japan open to the outside world, Japan finally succeeded in revising the unequal treaties so that it regained its legal parity with the Western powers. In Sino-Japanese War(1894~1895), Japan defeated China in the war for Korea, Japan over the control of Korea and also gained Taiwan and Penghu island. In Russo-Japanese War, Japan went to war with Russia over Russian eastward encroachment in Asia, and in 1910, Japan expanded its empire, annexing Korea. Japan became a huge empire. From the proto-industrial base, Japan’s agricultural productivity was high enough to sustain substantial craft (proto-industrial) production in both rural and urban areas of the country prior to industrialization. When the United States forcibly “opened Japan” in the 1850s, Japan’s prospects seemed dim indeed. However, Tokugawa achievements: urbanization, road networks, rice cultivation. Tokugawa Japan (1600~1868) the development of proto-industrial (craft) production by merchant houses in the major cities like Osaka and Edo (now called Tokyo) and its diffusion to rural areas after 1700, and the promotion of education and population control among both the military elite (the samurai) and the well-to-do peasantry in the eighteenth and early nineteenth centuries. Tokugawa political economy: daimyo and shogun preventing daimyo from cementing alliances with other countries .The samurai military were forced to abandon rice farming and reside in the castle town. As a result irrigation ditches were extended throughout the valleys, and riverbanks were shored up with stone embankments, facilitating transport and preventing flooding. Quick emulated western organizational forms and western techniques in energy production, like coal and the other fossil fuels to generate steam power. During 1887 to1938 infrastructure and manufacturing expand. In 1852, Shimazu Nariakira, built Japan’s first industrial complex. On the basis of the Japanese sprit of craftsmanship for iron and pottery which had attained pre-eminence in the pre-industrial. Strongly motivated by considerations of national security, heavy industry emerged successfully and competitively, Japanese simply borrowed the best of Western technology and moulded it to fit the needs. Iron and steel production, shipbuilding and armaments, fuelled by abundant Kyushu coal created a new foundation for Asia’s first industrial revolution. Technology was transferred from Satsuma to northern Japan, Kamaishi, to make the first large-scale iron furnace. In the Meiji period, Japan’s history of trial and error iron-making bore fruit and contributed to the birth of the first large scale furnace, in Kitakyushu, in 1901. The first modern coal mine in Japan was on Takashima Island. Iwasaki completed to develop it as Japan’s first modern coal mine. People’s efforts, dreams, ingenuity, and sweat in a drive to build a nation strong enough to survive under any circumstances. These industrial heritage sites are of the highest cultural significance. The first modern coal mine in Japan was on Takashima Island. Iwasaki completed to develop it as Japan’s first modern coal mine. People’s efforts, dreams, ingenuity, and sweat in a drive to build a nation strong enough to survive under any circumstances. These industrial heritage sites are of the highest cultural significance. 1853, when the United States sent Commodore Matthew C. Perry to Japan with a letter to the emperor, and orders to obtain a treaty. The first involved the lucrative China trade. The second was the need for a refueling station for the coal-powered, Japan happened to have plenty of coal. It appeared as if Japan might be headed for the same fate as China, to eventually lose central control to competing spheres of foreign influence. The Tokugawa clan was now blamed for the shame which the unequal treaties had inflicted upon Japan, in the end, the Tokugawa Shogunate was overthrown. At the same time a new emperor ascended the throne. From 1867 to 1912, remains unparalleled in history. 1876, the old class system of Japan was abandoned. With astounding speed, universities were founded, telegraph and railroad lines cross-crossed the country and a national postal system set up. The shipping and textile industries took off. How was such progress at such a rate possible? They borrowed the best of the West and molded it to fit Japan’s needs. A simple baseball story illustrates how enthusiastically and effectively the Japanese borrowed and adapted from other countries during the Meiji Era. 1871, Iwakura Tomomi, they spent several months each in the United States, England and Europe, and studied everything they encountered from banking systems to zoos. Some students stayed behind in different countries with host families for years of foreign education before returning home. The new innovations seemed, they also came at a price. Harsh working conditions and exploitation of workers, this threatened traditional culture. We would do better to treat China and Korea in the same way as the Western nations. In this idea lay the roots of Japanese imperialism. The First World War was -in excellent chance for manufacturers. Japan foreign trade increased four-fold during the war. At the same time, a larger market opened up for the underdeveloped countries of the Pacific area. In Japan, price rose hit all consumers .There were serious social strains and unrest, culminating in the rice riots of 1918. In short, the war benefited Japan both directly and indirectly and when it was over she was apparently poised to make further gains. Tokyo earthquake of 1923, consolidating the position of the zaibatsu. Rapidly growing cotton textile and light manufacturing industries. After 1931, the war-related industries, which used advanced technology, began to grow rapidly. Conditions of labors: A system of seniority which virtually guaranteed lifelong employment to the loyal male worker. Economic crisis: From 1937, industrial effort was concentrated on iron and steel, aircraft, tanks and automatic weapons. Once the conflict had been begun by the attack Pearl Harbor in December 1941, aggravated the hardships of the civilian population. The armed forces were abolished. Recovery: In 1946, a major land reform was initiated aimed at abolishing the allegedly militaristic landlord class by transferring land ownership to the peasants. Reform thus tended to have a two-fold action. It expanded the home market for industrial goods of the kind consumed by rural households, and it released labors for employment in the cities. Meanwhile, the whole capitalist world, from the early 1950s, entered into an unprecedented long-term phase of expansion and prosperity. By the early 1960s, Japan’s rapid resurgence had begun to attract the attention of outside observers who saw it as one of the most astonishing success stories of all time. “TheMeiji Restoration and Modernization.”Asia For Educators1994.Web.18.Oct.2013 “Japan’s Modern History : An Outline of the Period ~~Imperial Japan: Industrialization and Expression 1890~1930.”Asia For Educators.1994.Web.20.Oct.2013 Mosk Carl. “Japanese Industrialization and Economic Growth”. EH.net Encyclopedia.2010.Web.20.Oct.2013 “Story of Japanese modern industry”. World Heritage promotion office.2012.Web.16.Oct.2013 Richard H.Minear. “The Meiji Era and the Modernization of Japan”. The Samurai Archives Japanese History Page. 1994.Web.17.Oct.2013. “Commodore Perry and the Opening of Japan”. U.S. Navy museum website.2012.Web.17.Oct.2013. Sarah Lyons Watts. “Japan: “A meteoric rise .”. Wake Forest University. N.D.Web.19.Oct.2013.
GGS 199 SUNY Buffalo State College Feminism Discussion
GGS 199 SUNY Buffalo State College Feminism Discussion.
What is my definition of feminism and its purpose? When did I first learn or hear about feminism? What qualities/characteristics make someone a feminist? Who is a feminist, famous or not, that I look up to and why do I look up to them? Do I identify as a feminist? Why or why not?Although you will use these questions to guide the development of your essay, it is important that your paper include an appropriate thesis statement and transition sentences that link each paragraph. You should not write paragraph responses to each of the questions and just stick them together. Rather, you must have a thesis statement that allows you to explore these questions as a part of your analysis in each paragraph. Remember, your thesis statement is a sentence at the beginning of your essay that answers the main question (what is feminism to me?) in a short and concise way. The other questions I have provided are meant to help you tease out and develop a broad and full answer to the main question. The basic formatting requirements for the essay are the following: Length: 2.5 pages minimum, 3 pages maximum. Font: Times New Roman Size: 12 Margins: 1-inch margins all the way around Double-spaced lines Put your name and the date in the upper right-hand corner Must be submitted as a Microsoft Word document
GGS 199 SUNY Buffalo State College Feminism Discussion
Florida National University Depression Essay
Florida National University Depression Essay.
TOPIC: DepressionResearch the topic using a minimum of 4 recent peer-reviewed nursing journal articles. Where possible include at least one which is evidence-based. Outline:The following sections MUST be included in your presentation to obtain full credit:Introduction or overview of the topicHistory and statistics related to the topicSignificance to health issuesRole of the nurseRelevance to nursing practiceConclusionSee attached rubrics for grading. Attach a copy of this outline and the rubrics to your paper. It should be in between 750 and 1000 (change as required) words, double spaced, APA format. The article should be attached. When quoting or paraphrasing the article, include in-text citation and attach a reference page with the article listed (APA format).
Florida National University Depression Essay