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Transplant Tourism Definition Report

Prior to this discussion, I was unaware of the issue of transplant tourism, namely because it is not the focus of our media, which would prefer to avoid talking about the issue. Doctor Reynolds and doctor O’Connor have presented two opposing views, one of which stated that transplant tourism is unethical, while the other claimed that although there are certain regulatory problems with the practice, it is not inherently unethical. Upon conducting my own research, I found that both speakers are merely skirting the issue and do not represent the entire width and depth of the subject. In many countries, such as Russia, India, Mexico, Malaysia, the post-soviet republics, as well as the poorer states of Latin America and South Africa, there are criminal organizations that kidnap people and dissect them for organs, in order to sell them at a lower price and attract customers from abroad. Moorlock (2018) reports that roughly 10,000 illegal transplant extractions are performed yearly. The actual numbers may be much higher, as the true scope of the issue is difficult to estimate. The ethical side of the issue can be analyzed using utilitarian ethics, rights ethics, and Kantian ethics. From a utilitarian perspective, illegal organ trade spawned by transplant tourism hurts many more people than the absence of transplants does. Due to the largely involuntary nature of the transactions, the equivalent would be dissecting a healthy living patient to save five sick ones (Pence, 2017). The lack of consent makes the issue unethical. From the perspective of rights ethics, the principle right of the donor to health and life is being violated as a result of organ trafficking and transplant tourism, thus making the practice unethical. According to Kantian ethics, patients have a duty not to engage in practices that promote evil, even if it would cost them their lives (Pence, 2017). Based on these concerns, I believe that the C response is the most appropriate one in this situation. Transplant tourism must be shut down, and the organs harvested legally in other countries should be given to the patients in those countries rather than benefit the rich patients of first world countries. References Moorlock, G. (2018). A look inside the murky world of the illegal organ trade. The Independent. Web. Pence, G. E. (2017). Medical ethics: Accounts of ground-breaking cases (8th ed.). New York, NY: McGraw Hill Education.
AF 450 University of Massachusetts Amherst Federal Taxation Questions.

I’m working on a accounting multi-part question and need guidance to help me learn.

1.Lucas Corporation (a C-corporation) has the following operating profit for 2019 through 2021.Year 2019 2020 2021Operating profit $40,000 ($20,000) $50,000Assume the marginal tax rate is flat 21%. (1) Discuss the tax consequences in year 2019, 2020, and 2021, respectively. (2) Why does the tax law allow business taxpayers to carry the net operating loss (NOL)?2. Ironman is the president of Stark Corp. and owns 40% of its stock. Stark Corp. is organized as an S corporation. During 2020, Stark Corp. has a loss of $160,000. At the beginning of 2020, Ironman’s amount at-risk in Stark Corp. is $30,000. In 2021, Stark Corp. has a taxable income of $50,000. Determine Ironman’s (1) deduction amount and (2) the ending balance of amount at-risk for 2020 and 2021, respectively. Also, (3) what is the purpose of the at risk-rules?
AF 450 University of Massachusetts Amherst Federal Taxation Questions

Consumerism and Fashion in Singapore. Everlasting consumerism has shaped the way 21st century landscape looks like. It creates unlimited demand of products and stores in any possible space. Retail design is responsible to convert this possible space into a ‘consumerism space’. It is where people encounter strong force to see and buy products. A perfect example to show evidence exists in fashion world. There is strong indication of tense competition happens between clothing manufacture to win the market. In relation to that, the store has become one key aspect or rather a strong statement to create brand awareness among public. The question arise is how, in a relatively over-saturated market, a store can be possibly designed to convey strong message to draw the ‘crowd of consumerism’ into the space. 1.1. Consumerism Today The idea of consuming has changed over the past decades. Back to the early human civilization period, most of the activities were needs-driven actions. Earlier, as hunter gatherer, human hunted animals to be able to eat. Followed by agricultural period, farming and plant cultivation were done to produce their food. Consuming was a mere activity that must be done in order to survive. In Industrial and technological age, the way people consume things has changed. As more diverse product being produced and diverse ways of distribution being invented, there are pleasure factors of consuming in form of choices. People find excitement in choosing what they want to consume. This leads to modern consumerism where the concept of consuming goes beyond the needs of survival. 1.2. Shopping as Modern Consumerism Shopping is the 21st century’s representation of human consumerism. People find delights surrounded by range of different shops and brands. To be able to choose and compares is the highlight of modern life consumerism. In forms of choosing, buying, and using, shopping has catered these needs. Shopping can be seen as in a positive way of fulfilling people’s needs and wants. But apparently, it has developed so fast, in terms of activity, space, and products. And over the past decades, it becomes major aspect in human life. Museums, libraries, airports, hospitals, and schools are becoming increasingly indistinguishable from shopping. Their adoption of retail for survival has unleashed an enormous wave of commercial entrapment that has transformed museumgoers, researchers, travelers, patients, and students into customers (Koolhaas cited in Luna, 2005, p.26) Shopping is arguably the most universal activity nowadays. The way designer design space has to follow this idea as well. Space has to be designed in such a way to accommodate this, to enable people to shop anywhere, anytime. 1.3. The Existence of Fashion Retail Fashion retail perhaps is the best example to portray the modern consumerism. It shows how people eagerly choose what they wear under the spotlight of diverse fashion brands. If the case is taken to a higher level, it demonstrates obviously how people decisions are led by choice instead of needs. High class fashion brands such as LMVH, Gucci, and Prada exist to serve beyond people’s demand of clothing. They meet people’s desire for choices for range of luxury products. 1.4. Fashion of Singapore Singapore cityscape pictures clearly the existence of international fashion brands. They, indeed, has become one strong attraction point of Singapore for both local costumers and tourists. Singapore is one of the main competition arenas for these giant fashion brands in Asia. To be able to meet customers’ demand, every brand has to come up with high-end design for its retail. Design and technologies are optimized in its use to boost the shopping experience that lead to brand awareness. All these things have to be done so that people will choose certain brand and not others. Orchard Road is a good example depicting the competition among these brands. Interior design, facade treatment, display technologies are being optimized to attract pedestrians along the road. 2. Retail Rebirth People find pleasures in choosing what they want. Retail has two different approaches in response to the demand. Firstly, they must be able to provide a range of products for customers to choose. Secondly, the retail itself subject to competition. That means it is also considered one of so many choices in the market. In this matter, the retail has to prove to the market that it is worth chosen. The brand, the products, and the store has to work together to stand out and creates strong awareness in the marketplace. Retail has to rebirth, leaving old conservative way of promoting brands, and creating fresh interaction between products and customers. 2.1. Brand Manifestation With a strong competition in the fashion market, a strong distinctive image of a brand is required to create public awareness. The case is not only competition among products but also continues to the environment where the products being promoted. At this stage, a store has become key tool for the brand to create its images. A flagship store is designed to represents the identity of the brand indeed. For new customers, the store become the first things that attracts them before they go further down to the products being offered or even before they see the window displays. 2.1.1. Design for the Brands Architecture and interior design are responsible to create environment to deliver products to customers. Fashion retail, regardless of style, trends, or brand identity, should be able to create customer awareness and stimulate them to come and choose it instead of other shops. This is the fundamental function of retail design before it goes down into a deeper and more specific case-based function. On higher level, the architect or interior designer must understand the nature of fabric and how individual fashion designer, that is being represented, has their personal technique to treat it. This unique quality is the one that gives character to a brand. The character, then, must be translated into the space in order to create strong statement of the brand. 2.1.2. Emphasizing Character In order to be distinctive in an over-crowded market, a strong character of the brand is required. This character is projected from the way the brand carry itself to the market. It consists of range of products and service being offered, and the environment of where the commercial activities take place. Retail design has to be able to create the atmosphere that bridge customers and products. The store acts as a package and shelter, literally and metaphorically, to the brand. The character will only be emphasized if there is unity between the brand, the product, and the store. 2.1.3. Characterizing Structure A store as a physical shelter might be more than enough to envelope the commercial activity happening under it. But in fashion world, it goes further than functionality. More than just a place to display the product and providing circulation for people to walk and browse the product, the retail has to relate itself to the product and the company philosophy. In other words, the store has to establish relation, in form and purpose, with the clothes. The physical structure, that provide commercial environment, has to blend in with the clothes and create overall unity. Only by this way, the customer will see the bigger picture of the brand, and not loose pieces of the brands. One ideal example of harmony between brand and store is shown in Calvin Klein store located in Avenue Montaigne, Paris. Its store, designed by John Pawson in 2002, made a good illustration of how the character of the clothes -especially the early Calvin Klein’s work- has been translated into the retail space. (Klein) has said “It ‘s important not to confuse simplicity with uninteresting,” and executes his simplified, refined, sportswear-based shapes in luxurious natural fibers,… (Stegemeyer, 2004, p.130) It is the idea of simplicity that is consistently conveyed through the brand, products, and store. Straight lines and clear space sequences brings out the clarity of the clothes, creating a clean and subtle ambiance of the store. The desired simplicity atmosphere is reinforced through neutral colour that is achieved by materials and lighting installation. 2.2. Design Distinction A character manifestation to a space is inevitability essentials to create strong brand awareness. However, regardless of the brand that is being represented, fashion store can be distinctive by itself. It is a second step after establishing strong representation of the brand. This is about different approach from the experience side, exploring the interaction between products and customers in a conducive controlled environment. In other word, it redefines the way people shop inside a store, creating a fresh shopping experience. 2.2.1. New Fashion Stores Fundamental With Singapore landscape that has been over-crowded with shopping malls and retail stores, the creation of retail store should be more carefully considered. When the market is driven by consumerism, the rate of retail formation will continue to rise up. However, any retail creation should consider avoiding similar addition to the existing scene that might create saturation to market. It is a strategy to evade the similarity and, at the same time, open up a chance to stand out in the marketplace. To address the issues, the store must cater certain factors in its design approach in spite of the brand it conveys. 2.2.2. Flexible Frequent Space Retails should be able to update themselves frequently. It has to be able to adapt to new products, seasonality, and customer trends. There is a high level of experimentation in retail design. It relates to fashion, and fashion changes constantly, is surprising and wants to create experiences (de Wild, 2009, p.14) In advance level, apart from the temporary things, it has to change in order to create different interaction between customers and product in each encounter. In other word it needs to shift, not just in terms of layout, but in a bigger store scheme. By applying this concept, it is not only the window displays that change every time new products are launched, but the whole store represent the display that able to change entirely. The idea can be achieved by applying modular system for the furniture, placing digital multimedia interface, using less heavy fixed display furniture, and installing replaceable lighting systems. 2.2.3. Centre of Social Activities The new concept of retail store is not merely about catering commercial activities -selling, advertising, and buying. It is to incorporate retail space and communal space to be a social meeting point. With the global trend of privatization, I think we are most interested in the idea of shopping as a new kind of public space. How can we enrich these experiences? Can we bring new content, information, ideas and visual experiences to shopping in a thoughtful and dynamic way? (Seller, 2009, p. 23) The idea is to facilitate people do many other inspiring activities in their shopping time. This idea can be done by open-space concept store, creation of different communal spaces inside the store, and even distribution between product display and decorative items -plants, resting furniture, etc. The ideal integration of social space and commercial space is when people are able to rest and relief without any pressure to buy while they are unconsciously take pleasure in the products and tempted to buy. 2.2.4. Cultural Relevance Local relevancy is important to make a store appears hospitable. Establishing relation with the local culture is crucial to relate the global brand to smaller local market. Selling products is not about bombarding potential customers with the global products. Instead, it has to be relevant to the context and understand local customers. This can be manifested through adaptive re-use of local landmark as retail space, renovation of historical aged building, and design fusion between brand character and local culture. The new concept store is about being able to combine the attractiveness of the brand with local taste to create strong invitation and also sense of belonging to customers. The design approach mentioned above can be applied into a store regardless of brands and products. The purpose is to create new way of shopping. Back to the statement earlier where people find satisfaction to be able to choose, it is how the choosing activity can be more valuable and rich in experience. When this approach merged with the brand character, it becomes a holistic package that convey strongly to the marketplace. The mission is accomplished when people find delight in choosing and be able to trustfully choose the brand. 3. Conclusion The consumerism-driven market will make people enthusiastically choose the products they want. With an over-saturated market in Singapore, an unconventional design is required to for a fashion retail to be distinctive and thus, win the market. Firstly, the store has to manifest the brand that it represents. The store design must convey the brand and products philosophy to create holistic picture and strong brand awareness. Secondly, in terms experience, it must create refreshing and enriching way of shopping. In attempt to achieve the experience, store needs to be designed with consideration of three approaches (flexible frequent space, center of social activities, and cultural relevance). The new retail store requires constant changing in order to provide up to date shopping experience for customers. A store has to be a social assembly more than a commercial place, providing a tranquil customer-oriented atmosphere. Additionally, it is necessary for a store to have a connection with local context and create a sense of belonging in customers mind. Bibliography Antonini, Alessandra. 2008. Design Boutiques. Barcelona: Links Design Council, 2009. Retail Design. [Online] (Updated 26 Oct 2008) Available at: http://www.designcouncil.org.uk/About-Design/Design-Disciplines/Retail-Design/ [Accessed 17 January 2010] de Wild, Femke. 2009. Retail Future. FRAME. Issue 69, Jul/Aug, p.14. EnterpriseOne, 2009. Recent Retail TrendsConsumerism and Fashion in Singapore
Table of Contents Introduction Discussion Conclusion Bibliography Footnotes Introduction A “visit to Grandpa’s” is a story by Dylan Thomas, featured in the “Harrap book of modern short stories,” published in 1956. It portrays the artist as a child, and the close relation he develops with the country side of Wales, at an English village, characteristic with the twentieth century literature. The book also presents the way the artist felt about the experiences he associated to the place. The story is greatly connected to the artist’s life, and the experiences he would develop after growing up. With reference to the artist’s life, a comparison is built, relating their experiences with those of the memory of the reader, about their childhood experiences. The story offers immense attention on the characters and the atmosphere, towards developing the narration, which are linked to the appearing situations and atmosphere.1 The artist also uses the experiences of dreams, which are used towards the development of the meaning of the story. The story, generally, centers on explicating how an adult reader still comprehends the problems and the feelings presented through child memories, as presented through the child story. This paper is an explicative account of the concept expressed through the story, including comparisons, references to the English village, and what the feelings of the Grandpa and how the end of the story are developed.2 Discussion The concept of the author lies behind the blending of atmosphere, characterization and narration, towards the development of a captivating life story. These three areas of reality and abstraction are blended together, to present the memories of the artist as a child, depicting their childhood memories and the experiences of their early years. The concept of Dylan, further, lies in creatively presenting his home place, Wales, in a way that will make the reader see and feel the truth that the author experienced. The artist’s creativity is not only represented in the way he portrays his home place, but also the way that he presents the characters of his masterpiece. The artist’s creative secret of the characters of the story lies in his ability to use them without introducing them, like the norm is for many stories. The author, simply, goes ahead to introduce them, without considerably, taking the pain to develop them, which is not expected from any story, but a style that works so well for his work. Throughout his creative story, the only character which is considerably developed, which can be comprehended in a clear manner, is that of Dylan himself.3 Further, the character Dylan is the narrator, which shows that the writing style used is quite liberal. It can also be argued that the work revolves around liberal creativity, where the character Dylan, who is narrating the story, presents what they are able to remember and what they observed.4 Get your 100% original paper on any topic done in as little as 3 hours Learn More Under characterization, the artist partially introduces the character of Dylan, through a statement put as, “I woke up from a dream full of whips and lariats as long as serpents.” That is the point in the story, where the artist develops the character of the narrator, who is among the characters of the story, and more than that of the artist writing the story, thus depicted in the usage of the first person voice, I. The other character that is incorporated into the work without any attempts of developing the character, is that of the grandpa, through the line, “the old man in the next room crying, Gee-up! And Whoa! and trotting his tongue on the roof of his mouth.” From that point on, the character of the grandfather is introduced into the story, although he refers to him as the old man. Another character incorporated into the artwork is that of the narrator’s mother, as expressed through the line, “for my mother had said that he lit his pipe under the blankets.” Another character incorporated into the story is the man that they came across, while taking a walk around Johnstown village, who is introduced as, “a man with a whippet said,” “there is a nice morning, Mr. Thomas.” This character is apparently compared to the experiences of the author at night, where he had dreamt seeing some men riding on horses, using cloth whips to direct them. Other characters, though passively incorporated, are those introduced as, “all the men who leant on the gates congratulated grandpa on the fine morning.”5 The artist relies on comparisons to develop his story, where he talks of whips as long as serpents, where he intends to create a mental picture of the length of the symbolic whips, as a reader would imagine a serpent to be lengthy. The second case of comparison is that of the floor boards squeaking like mice, as the writer climbs onto the bed, through which he tries to create the mental picture of the squeaking sounds of mice, which he argues as coming from the floor boards of the grandfather’s house. This is also, clearly a case of symbolism, as it may mean to present how old the house was. The author uses this comparison, to create a picture of how noisy the mice and the wooden floor were, which, according to him, produced comparable noise. The author talks of roaring and riding in a book, after he talks of pulling the sheets over his head, which shows that he is comparing the sleeping position with the shape of a book, which he uses towards the development of the story. Another comparison is that introduced as, “the overfilled bow of his pipe smoldered along his whiskers like a little burning hayrick on a stick.” Here, the author is trying to create a mental picture of the look of his pipe placed in his mouth, which seemed like a burning hayrick placed on a stick.6 The artist relies on similes, as they may be viewed as a major model through which he develops his characters, atmosphere, surrounding, comparisons and meanings, towards presenting a clearer image of what they are talking about to the reader. We will write a custom Research Paper on A visit to Grandpas Dylan Thomas specifically for you! Get your first paper with 15% OFF Learn More Examples of the similes incorporated into the work include, the floors squeaked like mice, which he uses to create an abstract image of the kind and the intensity of the noise produced by the wooden floor. “The mice between the walls creaked like wood,” is another simile incorporated into the work, where the author is evidently creating a mental picture of the kind of noise produced by the mice, which he almost mistook as that of the floor, when a person was walking over it.7 The artist also uses reference to Wales, towards developing his story, which he presents as one that is representative of the then time, the twentieth century possibly, as a way of trying to show how the atmosphere looked like and what it meant or how it affected the shaping of his childhood experiences. At the start of the story, the author talks of a dream full of whips, which he continues to present throughout the story, where he presents characters like “a man with a whippet,” which indirectly implies that the Wales region was characteristic with the usage of whips and the riding of horses, which use the whips he talks about throughout the story. The author also talks of mountains, windy gallops across cactus fields, which he presents through the story. This environment, clearly, presents the look of the Wales environment of that time, which is characteristic with the vegetation he talks about and refers to.8 The author talks of a mild summer night, where he presents the feelings that one would experience during a time of summer at the Wales region.9 The author relies on the figure of sounds, towards creating a clear image of what his child hood experiences were like. These sounds are used as models of creating the shape and the look of the surrounding, the atmosphere of the region and the different characters used. Examples from the story include windy gallop sounds over cactus fields, which give the reader the idea that the story may present surroundings associated to the usage of horses, which produce the gallop sounds. The sound of the old man, Gee-up and Whoa! Gives the reader, the idea that, the old man may have been smoking, which would have made him produce such sounds, which is proved right through the story. The author talks of the squeaking sounds of mice, towards the creation of a comparison between that sound to that of the wooden floor. The author, here, is trying to offer insights on the type of noise, the intensity of the noise and the nature of the wood floor. The same case applies with the sounds produced by the mice, which the author compares to those produced by wood, which offers an idea into how sleeping in such a noisy place was like for the artist, during his childhood. The author talks of the flapping of the curtains and the beating sounds produced by the branches of trees hitting against the window, which he uses to portray a climate and atmosphere, which was characteristically windy and noisy. The author talks of a wet dog-whistle, which offers a clear picture of the sounds produced by the grandfather as he smoked.10 Not sure if you can write a paper on A visit to Grandpas Dylan Thomas by yourself? We can help you for only $16.05 $11/page Learn More The narrator of the story is one of the characters presented through the story, and one who is a first-hand witness or bearer to the events and the experiences presented through the story. The narrator of the story is also the major character throughout the story, as well as the author of the artwork. This is clear from the voice used right from the beginning of the work, where he says, “I woke from a dream full of whips.” This voice shows that the main character is the major character of the story, which is further supported by the knowledge that the author/ narrator is presenting his own childhood experiences. Based on these insights, the narrator of the story is Dylan Thomas, who is the renowned author of the story.11 The grandpa feels that the author is showing behaviors of hallucination and being affected by his dreams and nightmares, as he talks of a case where the grandfather commands the author not to ask any more questions. This is evident from the quote, “ask no more questions,” after which he asks him whether they experience nightmares. After that night, the grandfather talks of the extreme windy conditions that he had experienced the previous night, which justifies and offers information on what the source of the noises, might have been.12 The grandfather also feels knowledgeable, as he takes the grandson around, offering him information on different issues, including the comparable nature of birds flying through trees to that of horse ridding, as he felt in the night. Towards the end of the story, the grandfather is presented as one who feels hopeless, and maybe delusional. This is the case, as he is presented as one who believes himself as dead, which may show him as one who is mentally challenged in a way, if not confused.13 Conclusion The end of the story may be associated to the confusion that develops in the mind of the author, who was then still a child, as he offers an account of having looked for him for some time, consulting the grandfather’s neighbors, including the carpenter, Dan Thomas, Mr. Griff and the butcher among others. The confusion of the author escalates further, after they found the grandpa around a bridge. The escalation of the author’s confusion, may have led to the end of the story, as the experience of dealing with the grandfather who argued and believed that they were dead. The efforts to convince the grandfather that he was not dead are also not successful, which may have led to the authors failure to continue tracking the story and enjoying the childhood experiences, which he recollects through the story.14 Bibliography Benson, S, “Books LIVE,” SA Partridge, vol. 4, no. 1, 2008, pp. 1-22. Bullocke, J, The Harrap Book of Modern Short Stories, Nelson Publishers, Tennessee, 1985, pp. 23-25. Ketu, K, “The Aesthetics of Dislocation,” The Women’s Review of Books, vol. 5, 2002, 5-6. Lahiri, J, Interpreter of maladies: stories, Houghton Mifflin, Boston, 1999, p. 20. Moeller, A, Dylan Thomas, A Visit to Grandpa’s – an Analysis, GRIN Verlag, New York, 2009, p. 23. Noelle, B, “Reading Jhumpa Lahiri’s Interpreter of Maladies as a Short Story Cycle,” MELUS, Vol. 29, 2004, p. 123. Footnotes 1 J Bullocke, The Harrap Book of Modern Short Stories, Nelson Publishers, Tennessee, 1985, p. 76. 2 A Moeller, Dylan Thomas, A Visit to Grandpa’s – an Analysis, GRIN Verlag, New York, 2009, p. 12. 3 B Noelle, “Reading Jhumpa Lahiri’s Interpreter of Maladies as a Short Story Cycle,” MELUS, Vol. 29, 2004, p. 123. 4 S Benson, “Books LIVE,” SA Partridge, vol. 4, no. 1, 2008, p. 1. 5 S Benson, “Books LIVE,” SA Partridge, vol. 4, no. 1, 2008, p. 1. 6 S Benson, “Books LIVE,” SA Partridge, vol. 4, no. 1, 2008, p. 14 7 S Benson, “Books LIVE,” SA Partridge, vol. 4, no. 1, 2008, p. 15. 8 J Lahiri, Interpreter of maladies: stories, Houghton Mifflin, Boston, 1999, p. 37. 9 S Benson, “Books LIVE,” SA Partridge, vol. 4, no. 1, 2008, p. 17. 10 S Benson, “Books LIVE,” SA Partridge, vol. 4, no. 1, 2008, p. 18. 11 S Benson, “Books LIVE,” SA Partridge, vol. 4, no. 1, 2008, p. 19. 12 K Ketu, “The Aesthetics of Dislocation,” The Women’s Review of Books, vol. 5, 2002, pp. 5-6. 13 S Benson, “Books LIVE,” SA Partridge, vol. 4, no. 1, 2008, p. 20. 14 S Benson, “Books LIVE,” SA Partridge, vol. 4, no. 1, 2008, p. 21.

Trade Unions’ Importance in Workplaces Research Paper

Abstract Trade unions are relevant in the workforce for they champion the interests of the members, thus enhancing the working conditions. Many employees do not understand the relevance of unions at workplaces and so such employees should be educated on the same. Understanding the role of union members as well as that of union representatives allows union members to appreciate the importance of a union in the workplace. Besides workshops, unions engage their members in addressing challenges like employee disputes, racism, and gender discrimination that arise within an organisation, which gives them a chance to have firsthand experience on the critical role of a union in any institution. Trade unions use their collective bargaining to promote equality at workplaces. They compress wages to reduce the disparity between union and non-union workers. Reduction in the number of trade unions is leading to the current increase in wage differential between workers working in the same departments. Introduction Despite the allegations that trade unions are gradually facing extinction in most countries, it is imperative to acknowledge that such unions play a significant role in representing workers. Education on the relevance of trade unions dates back to the 19th century. The United States and the United Kingdom have witnessed organised forms of labour or worker education for a long time. Nevertheless, in the past, the majority of trainers, students, and researchers hardly recognised these forms of union-based education (Greene

Topic 4 DQ 2 Comment 5

essay help online free Topic 4 DQ 2 Comment 5. I need support with this Health & Medical question so I can learn better.

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The Christian perspective does not entertain taking one’s life through abortion, suicide or euthanasia saying that reduces the human being into slavery and it is the violation of the divine law. The Christian church has declared that euthanasia is false compassion and devalues and dehumanizes the sick. Christians continue to wage war against the death with dignity laws that allow qualified terminally-ill adults to voluntarily request to put an end to medical treatment and resulting death.
Topic 4 DQ 2 Comment 5

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Due no later than Thursday 11:59 am (PST)Discussion 1:1a. Discuss how the articles by Neims (2015) and Goldsmith (2011) on
plagiarism are alike and how they are different by explaining their
views on if and how plagiarism is a problem.1b. How does society at large need to change their views of plagiarism?Do your best to cite your source(s) and reply to at least one other student’s post. – can you name the file a.b eng130=================================================================================================Due no later than Sunday 11:59 pm (PST) can you name this file a.b eng130Discussion 2Review the paraphrasing tips from Gahan (2019) and the video in the module background readings.2a. Discuss at least 2 key elements to keep in mind when paraphrasing?2b. What is at risk when you paraphrase poorly?2c. Paraphrase the statement below:”Earning a college degree is all about opening up opportunities in
life. It prepares you, both intellectually and socially, for your career
and your adult life. The benefits of a college education include career
opportunities like better paying and higher skilled jobs, but studies
have shown that it also leads to overall happiness and stability”
(Education Corner, 2016).
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ECE 672 Ashford University Documenting Progress Plan and Reflection Paper

ECE 672 Ashford University Documenting Progress Plan and Reflection Paper.

Documenting Progress Plan and ReflectionAs mentors and coaches, you will support teachers and staff throughout their process of inquiry. It is important that you plan and are prepared when checking in with your protégés. Additionally, you will want to continually reflect on your own growth and development as mentors. This week’s assignment is an opportunity to begin your progress plan and reflection. After reading the chapter in the course text, create a document (that you can potentially use when you are supporting teachers as a mentor or coach) and reflect on your own journey as a mentor. Please note this is a work in progress that will be modified based on your personal development and growth, as well as the development of those you coach and/or mentor.Part 1: Create your own Progress Plan document based on Table 5.7 that can be used for the current early childhood program you are working with or for a future program, making sure that you address all the elements for steps 1-4. Additionally, either embedded or at the top or bottom of the document, add a short checklist of questions that you find most relevant from Table 5.6 that you can use as reminders for yourself as you are checking in and documenting teacher’s progress.Part 2: Reflect on Table 5.8 “Mentor Development Self-Reflection” and your experience in co-creating an Individualized PD Plan from Week 2. Circle the letter next to each statement that currently feelings about your mentoring relationship (using your experience with your volunteer) and skills.Write a two page paperexplaining why you think certain areas are strengthswhich areas you would like to grow inbriefly describes a plan for growing mentoring for your own professional developmentThe Documenting Progress Plan and Reflection (Parts 1 and 2)Must be a minimum of three double-spaced pages in length (excluding title and references pages) and formatted according to APA style as outlined in the Ashford Writing Center (Links to an external site.).Must include a separate title page with the following:Title of PaperStudent’s nameCourse name and numberInstructor’s nameDate submittedMust use at least one sources in addition to the course text.The Scholarly, Peer Reviewed, and Other Credible Sources (Links to an external site.) table offers additional guidance on appropriate source types. If you have questions about whether a specific source is appropriate for this assignment, please contact your instructor. Your instructor has the final say about the appropriateness of a specific source for an assignment.Must document all sources in APA style as outlined in the Ashford Writing Center.Must include a separate references page that is formatted according to APA style as outlined in the Ashford Writing Center.Carefully review the Grading Rubric (Links to an external site.)for the criteria that will be used to evaluate your assignment.
ECE 672 Ashford University Documenting Progress Plan and Reflection Paper