Speaking Through the Movement of Dance.

Speaking Through the Movement of Dance Summary: Many people think of dance as human communication at its most basic level. Some form of dance can be found in every culture, regardless of its location or stage of development. It is easy to see that dance is a natural, universal human activity. But what most people overlook to see is that dance can be found as a form of writing just like any other genre out there. So this explains how and why dance is a form of writing, and goes specially into choreographed dancing and how routines are a part of writing. What’s the first thing that pops in your head when you think about dance or dancing?That its form of writing right? WRONG! When thinking about dance or dancing the first thing most people think about is shaking their butts across the dance floor while grooving to the latest jams. But what most people don’t realize is that dance is a form of writing, weird right? I would of never guessed that either, until I went on a rece nt trip back to Chicago, and one of my best friends invited me to a dance performance at her school, not only was the show very entertaining. I learned that dance is more than moving to the rhythm of the beat to your favorite song, but that dance tells a story.Which most people don’t realize. Dance routines are very unique and explore states of mind and feelings such as pleasure and pain. I’ve heard people who like to dance mention things like dancing is form art and writing. They say some people dance to express their feelings and emotions. Other people dance to feel better, but dance can be used to tell a story. As if it is a language or written in a book. It utilizes many of the elements that can be found in other forms of writing and genres like tattooing’, graffiti, Facebook post and many more.But what is dance really? You +1'd this publicly. UndoDance is when people move to a musical rhythm. They may be alone, or in a group. The dance may be an informal pl ay, part of a ritual, or part of a professional performance. There are many kinds of dance, and every human society has its dances. Dances may be planned in detail, or they may be whatever dancers feel like doing. However, most dancing does follow some general style or pattern. Dance takes as its subject matter moving visual patterns, feelings, states of mind, and narrative, in various combinations.The form of the dance, the details and the parts as they work together to organize the structure, gives us insight into the subject matter. However, the details, the parts, and the structure are not as easily perceived as they are in painting, sculpture, or writing. Because when in dance you have to pay very close attention to the little details and follow and feel what the dancers are doing. In this article I want to take a closer look only on choreographed dancing and how it’s a form of writing because the word choreography literally means â€Å"dance-writing†. Choreograph y is not just stringing together steps and figures.That's boring. When choreographing a dance you need to first ask yourself why the audience is there. What do they want to see? What would interest them? Why should they like your piece? Or even if they don't like it, how will it impact them. What will hold their attention at each moment? Keep your audience in mind during every step of your design. Just like an author when writing a book or any writing you still need to follow the same kind of steps in order for people to recognize and acknowledge your work because no one wants to read a boring book nor want to see a boring dance. hat’s why practice makes perfect. Writing, obviously, is my favorite form of expression. It allows me to dance with words, spin with anecdotes and tap out my frustrations. Just like dancing, it is not always easy or a graceful performance. Sometimes I falter, fall, miss a step and tap off beat. I sweat a lot when I’m on deadline and I doubt my abilities when the task is difficult. But at other times, my words gracefully fly off the page like a ballerina mastering a leap. When I keep trying and practicing, the steps get easier and encourage me to keep dancing along.I can also express myself as a writer, expanding my repertoire with different styles. Just as dancers switch from tap and ballet to hip hop and jazz, writers also strengthen their skills and express themselves by varying the tone, organization and style. When I’m frustrated, I tap out an opinion piece to persuade my audience. When I’m happy, I compile a light-hearted narrative or anecdotal piece. When I’m feeling sassy, I throw a little attitude into a blog post and quite often, I spruce up my wording to jazz up an article. In reality, writers are dancers at heart.We sway to the words, we feel the meaning we wish to express and we type to a rhythm with every piece. And sometimes, we pop, lock and drop it just for fun. Work Cited Page: †Å"Dance. † Wikipedia. Wikimedia Foundation, 12 Aug. 2012. Web. 5 Dec. 2012 â€Å"What Is Dance to You? † Yahoo! Answers. Yahoo! , n. d. Web. 11 Dec. 2012. â€Å"What Is Choreography? † What Is Choreography? N. p. , n. d. Web. 3 Dec. 2012. Annette Lamb and Larry Johnson,. â€Å"Dance. † Dance. N. p. , n. d. Web. 24 Nov. 2012 Unknown. â€Å"Dance Quotes. † Dance Quotes. N. p. , n. d. Web. 30 Nov. 2012

Statement Of Teaching Philosophy Education Essay

Geting a 2nd linguistic communication is a womb-to-tomb procedure that requires great attempt and dedication. Many pupils come to my Chinese category anticipating it to either be a stepping-stone to better calling chance or a channel to feed their wonder towards â€Å" alien â€Å" Chinese civilization and history. With this in head, I have three chief aims for my instruction: 1. ) to ease the development of general sense and grasp for Chinese linguistic communication and civilization, 2 ) to supply cardinal cognition and tools built-in to Chinese larning procedure, 3 ) to further critical thought, self-learning consciousness and the capableness to use what they learn to practical scenarios. I actualize these aims by making an engaging, student-centered acquisition environment in which I place myself as a facilitator for my pupils ‘ larning procedure. My overarching end is to permeate pupils with relentless enthusiasm and grasp towards Chinese linguistic communication, and fi nally, animate them to go womb-to-tomb Chinese scholars and talkers. Bing a Chinese linguistic communication teacher, I try to incorporate my cognition gained as a research worker in linguistics and 2nd linguistic communication acquisition field, my passion as a devoted Asiatic linguistic communication scholar and my individuality as a native Chinese talker into my category. During my three old ages ‘ instruction, I steadfastly believe and ever adhere to the undermentioned rules. First, I ever strive to make a student-centered linguistic communication acquisition environment, which is reflected in assorted facets of my instruction. One facet lies in that I ever design and revise my category to suit what pupils genuinely want. For most pupils, the ultimate end of larning a linguistic communication is to be able to efficaciously pass on in that linguistic communication. Therefore, I include many synergistic activities which address common state of affairss in day-to-day life to hone pupils ‘ ability to use their acquisition to practical scenarios. For case, when learning a lesson about dinning, I ask my pupils to take part in a role-play activity that simulates a common scenario in a Chinese eating house. Students are paired up into groups of two and presume the function of clients or servers. Then, client will inquire waiter/waitress about recommendation on dishes utilizing a bill of fare from an reliable Chinese eating house. Furthermore, I encourage pu pils to prosecute in conversation with native Chinese talker by making a linguistic communication spouse plan, in which pupils are required to speak with his/her native Chinese spouse often. In my category, I place myself in a function non merely as a instructor that provides necessary cognition, but as a facilitator that guides pupils to detect the beauty of the linguistic communication. Through debut of these communicative activities, I aim to make a linguistic communication larning environment that is driven by its really purpose, that is, to accomplish effectual Chinese communicating in pattern. A student-centered acquisition environment is besides indicated by the fact that instructor should ever esteem each pupil and go to to each pupil ‘s specific demands. As the affectional filter is a really of import factor in foreign linguistic communication acquisition, A it is of import for me to be patient with pupils who make errors. I invariably remind my pupils that doing errors is an inevitable portion of advancement in linguistic communication acquisition and a good chance to larn. I besides pay particular attending to pupils who fall behind by doing certain they have all the aid they need to catch up. Second, I make every attempt to maintain pupils interested and motivated. As an experient linguistic communication scholar myself, I find that the most effectual goaded force to truly get the hanging a linguistic communication is echt involvement in that linguistic communication. Therefore, I try to actuate my pupils by maintaining the category moral force, entertaining and enlightening. On one manus, I introduce assorted synergistic activities that simulate interesting scenarios in day-to-day life, in which pupils are encouraged to travel about and organize groups at will. Such activities make the category more vivacious and stimulate pupils ‘ desire to better their acquisition. On the other manus, I besides include some relevant Chinese folklores, history and pop civilization in each talk that pupils find most interesting. For illustration, I explain the Chinese tradition of delegating a specific â€Å" birth animate being † to each twelvemonth when learning the Chines e footings for day of the month and clip. I find fun facts like this brand pupils more attentive and greatly prolong keeping period. I think strong motive and involvement will non merely better pupils ‘ public presentation in category, but besides let them to profit from the Chinese acquisition experience even beyond the schoolroom environment. Third, I believe that instructors and pupils must be portion of the invariably altering technological landscape. Technology permeates every facet of life, which I find can be a really powerful tool in linguistic communication acquisition. I use a assortment of multimedia tools in category to ease instruction, such as slides, film cartridge holders and audio extract. I besides add utile on-line resources, including online classs, intelligence and articles to my repertory, which provide a good beginning for my pupils to prosecute in self-learning activity, which is indispensable to linguistic communication larning procedure. Additionally, I take advantage of the platform the university provides to roll up pupils ‘ prep online, which ensures timely appraisal. Bing a linguistic communication instructor is a ambitious yet highly honoring undertaking, as a instructor can hold profound impact to a pupil life. I feel of all time so delighted and accomplished whenever my pupils show their aptitude in Chinese linguistic communication or echt involvement towards Chinese civilization. After the past three old ages being a Chinese linguistic communication teacher, there is non a individual uncertainty left in my head that my life will be devoted to this baronial end, that is, to animate pupils to go womb-to-tomb scholars of Chinese linguistic communication.

The Progression of the American Musical

The World Two great writers of American musical theatre, Richard Rodgers and Oscar Hammerstein II, had one common idea. They wanted to present to the American public a new, revolutionary musical that would stand out among the rest. They wanted to make an impact on the societies of the era. They wanted to be creative and do something that was considered rebellious. When they finally combined their ideas together they created an American masterpiece: Oklahoma!.This was the first Rodgers and Hammerstein collaboration, starting the most successful creative artnership in the history of American musical theatre. In the years before Oklahoma! was created, Broadway was dying. New and refreshing musicals were a rare occasion and when an artist tried to create something that he hoped his audience would like, he was sadly disappointed. Broadway was suffering from a lack of what it was revered for: astounding plays and musicals. Its time of glamour and glitz was almost forgotten, and was in need of being saved.That is why Oklahoma! is considered a rebirth of the American musical theatre at the time. It brought Broadway back to life, filling theatre seats with nthusiastic audiences who embraced the changes of this new theatre musical with open arms and made it a legend. Oklahoma! set new standards for classic American theatre by introducing new techniques of presenting the musical to the audience, introducing a new genre of music into the theatre, and strayed away from the usual classic form and structure of a musical that audiences had grown used to.It was a time of change, a time of excitement, and a time of setting standards for the future. Almost from the first performance at the St. James Theatre on March 31, 1943, Oklahoma! has been recognized as a new kind of musical play that denied its Broadway audiences many of their most treasured traditions, says David Ewen in American Musical Theatre: â€Å"There was no opening chorus line, no chorus until midway through the f irst act, in fact. There was rather a serious ballet and other serious overtones, including a killing in act two.The story, which was so simple, seemed to engage the audience in more than mere evening diversion† (248). These changes, far from disappointing to viewers, were upheld by a success that had never been seen in the history of musical theatre. He continued to say that with their first collaboration, Rodgers and Hammerstein shered in a new era for the musical theatre This beautiful folk play realized fully that which the earlier Rodgers and Hart musicals had been striving to obtain: a synchronization of all the elements of the musical theatre into a single entity.At best Oklahoma! could lay legitimate claim to have carefully woven a new element, dance, into the artful fabric of the modern musical. No longer would singers sing and then Dance was not a new element in the theatre realm. It had been used for years as a way of interpretation of feelings of a character that t he writer or director wanted the audience to feel visually. Through movement, expression of those feelings was portrayed and helped the audience to somewhat experience that single emotion of fear, hate, love, or guilt right along with the character on stage.But what was usual was that it was never brought together with the music and singing. The song was usually followed by the decorative dance. A song followed by a dance would usually lost the audience's attention, or even if the dance was too long or did not correspond to the song or story line what so ever. Rodgers and Hammerstein set a standard that incorporated the two elements (music/song and dance) so that the audience would ind more logic in the dance. It would have a meaning and a purpose in the play and heighten the excitement in the musical.And in many instances, it would further the plot or at best help the audience to fully understand the individual character's feelings at that point in the musical. David Ewen uses the example of Agnes de Mille's (choreographer of Oklahoma! ) ballet, which brought to life the heroine's dream and provided her motive for refusing the hero's invitation to a box special. It was part of the story. (248) According to Gerald Bordman, the author of American Musical Comedy, the idea hat integration, something new and desperately needed, took hold of Broadway's thinking.In fact, it became so fashionable to integrate dance into the musical, that it was sometimes injected when it served no dramatic purpose, and sometimes even when it hindered the unfolding of the story. (160) After awhile dance became overused, which seemed to ruin what Rodgers and Hammerstein had set out to do (the incorporation of dance to heighten the meaning of the musical). Other writers or choreographers who inserted dance were not adding it when it would help the musical. Directors came to believe that dance was a necessity in a musical, for it was ne of the key reasons why Oklahoma! as so successful. So the additions were made, but were not really thought about their purpose when they were added. What was forgotten was the obvious need for the dance at all. Dance was thought to be a want of the audience, not taking into consideration if the musical even required the dance at all. So, this problem developed into a frenzy, adding dance Just for the mere spectacle of it. But in Oklahoma! , everything fit into its place. For the first time, not only were the songs and story inseparable, but also the dances heightened the drama by revealing he fears and desires of the leading characters.According to Bordman, Richard Rodgers once said, â€Å"when a show works perfectly, it's because all the individual parts complement each other and fit together†¦ in a great musical, the orchestrations sound the way the costumes look. That's what made Oklahoma! work†¦ it was a work created by many that gave the impression of having been created by one† (160). collaboration. Joseph Swa in adds that much was made at the time of the hero's killing the villain on stage in Oklahoma!. This too was not new. But while the claim to originality was once again exaggerated, Oklahoma! virtue of its huge popularity, a popularity in no way reduced by an unpleasant scene, did open doors. (74) Oklahoma! was in the genre of Musical Comedy, and many critics felt that villains and murder were not elements that should appear in a comedy. It was thought that such items would turn audiences away from Oklahoma! , having the idea of going to see a comedy and leaving feeling like they had seen a murder mystery, and not laughing at all was not the main objective of comedy theatre. But once again, these elements were a key part of the musical. David Ewen pointed out in The Story of America'sMusical Theatre that the original play had both villains and a murder, and Rodgers and Hammerstein had no intention of removing them from their musical. Ewen quotes Hammerstein saying, â€Å"We realized that such a course was experimental, amounting almost to the breach of an implied contract with the musical-comedy audience. I cannot say truthfully that we were worried by the risk. Once we had made the decision everything seemed to work right and we had the inner confidence people feel when they have adopted the right and honest approach to a problem† (180).But once the doors opened and tickets began to sell and shows eventually became old out, Rodgers and Hammerstein really did not have anything to fear. Their show soon showed itself to be a success, even with a villain and a murder. The audiences were at first disturbed to see these elements in a comedy, but soon came into agreement with these new additions and liked its originality and creativeness. Also if these two elements had been removed, it would have disturbed the synchronization and union of all the other elements of song, dance and plot in the musical, which was what the writers were trying to avoid at all costs .Along with dance and villains, Rodgers and Hammerstein also took on a new pproach to forming the music that they included in the musical. In Gerald Bordman's second book American Musical Theatre: A Chronicle, he stated that long before they wrote their first lyric to â€Å"Oh What A Beautiful Mornin'†, Rodgers and Hammerstein had arrived at an all-important decision. The â€Å"flotsam and Jetsam† of musical comedy would have to be abandoned in translating a sensitive, poetic folk play for the musical theatre. Musical comedies traditionally opened with a big, crowded stage scene. Oklahoma! ould begin simply: a single character would be seen on the stage (a woman churning butter), and from off-stage would come the trains of the first song. Musical comedies usually started with a dazzling line of chorus girls from the stage aprons early in the production, but Rodgers and Hammerstein decided to delay its appearance until halfway through the first act (535). bring a certai n magical and triumphant beginning to a musical, starting with excitement and volume. This was also criticized; many feeling an audience would not stand for their most treasured attributes of a play being taken away.But Rodgers and Hammerstein once again took another risk, and it proved to be a risk that was not too bad to take. Audiences were at first disappointed with the deletion of the opening chorus, but eventually excused it, for they fell in love with the style of musical that Rodgers and Hammerstein were presenting to them. The play grew from a simple opening to a grand finale, which built the excitement of the audience and kept them stimulated and interested in the unfolding of the musical until the final chorus line and curtain call.It built suspense and a burning for more. Rodgers and Hammerstein obviously knew what they were doing, even if the critics thought they did not. Bordman also noted that the show's musical director, Jay Blackton, appreciating he work's nature, d iscarded the common musical comedy practice of having the entire chorus sing only songs' melodies. Instead, he reverted to the tradition of operetta and comic opera by dividing his singers and assigning them various parts, not always the principal melodic line (535).Once again, Oklahoma! was making breakthrough innovations in the musical theatre world. A denial of basic characteristics of the original musical comedy could have upset the audience, and push Oklahoma! into an area of outcast musicals that all writers fear. But Rodgers and Hammerstein's ideas were undeniably refreshing to the American audiences. Rodgers's music also marked a new direction for the writer in Oklahoma!. He reinvented his style of music from what he knew was popular to the audience to a rugged flatness.Davis Ewen also states in his book The Story of America's Musical Theatre, that most musical comedies expected the music to be written before the lyrics, since the lyrics were something functional tacked on t o the melody. But the writers were so determined to make each word an essential part of the text that they agreed at once for Hammerstein to write the lyrics first, and Rodgers would write the music from the lyrics (180). Bordman reiterates that it is sometimes hard to realize that â€Å"Oh, What A Beautiful Mornin' † is a waltz. The melody of â€Å"The Surry With The Fringe On Top† captures the clippety-clop of a horse pulling the vehicle.Rodgers' long-sustained opening note of his title song coupled with the driving melody that follows was of the freshest inventions of the sort and the impeccable blending of words and music in â€Å"People Will Say We're In Love† Justifiably made it the most popular of the year. Much proclaiming ensued over how well the songs and plot were integrated (535). This coordination of musical rhythm and words was amazing. They were able to catch simple sounds of the actions on stage and incorporate them into the song, as if the lives of the characters could only survive with the music.This combination of audience must be made to believe that the character's life is a song. It is essential that the character make the audience feel like the music is not Just a silly addition to the developing plot, but an existing item that has and will always exist at that point in time. The audience must be pulled into the world of the musical, not Just simply entertained. And once again, Rodgers and Hammerstein had achieved that goal. They ere well on their way to creating a musical that was so seamless that extracting one minor detail of it would throw the whole work of art off.It was a work of complete union and an accomplishment that was in no way easy to create in the first place. One factor in the success of Oklahoma! that cannot be overlooked was the attitude of the American people at the time it was presented. In The World of Musical Comedy, Stanley Green adds that World War II was more than a year old when the musical opened, and those who remained at home were becoming increasingly aware of the heritage they enjoyed as a free people. Seeing the happier, sunnier days that were so much a part of this heritage gave audiences both an escape from daily headlines and a feeling of optimism for the future (212).In American Musical Comedy, Bordman believed that Oklahoma! ‘s importance lay elsewhere. The show made the American musical theatre look at America's own heritage for inspiration (160). Playwrights were beginning to recognize the vast amount of inspiration the American country could provide for the new revolution of musicals. During the time of and after World War II, pride in America was gaining strength and so was the nterest of writing plays and musicals that showed that pride of how great America was. Oklahoma! n turn brought more than Just new innovations of song, music, and dance to the stage, but a love for musicals that showed how beautiful older American culture was. Oklahoma! was a musical of America's expansion into the western front and the western culture. In more ways that one, Oklahoma! was a way for city dwellers in New York City who sat in the audience to find their way to the west without ever leaving the city. Rodgers and Hammerstein had experienced achievement when they could tell a story through song and dance and transport the udience into the setting of the musical.Playgoers would leave the theatre feeling like they had Just returned from an adventure out west, which is a playwright's exclusive objective when creating a play. The audience must be made to believe that they are experiencing the plot right along with the actors on stage. Thus is the main objective of theatre in general: to capture the audience and bring them to a different place and time where the plot of the play is the only struggle in the world at the time. Bordman writes in American Musical Theatre: A Chronicle that what started in 927 was perfected in 1943 when Oklahoma! premi ered.It is considered by many to be the first musical comedy to have a plot, musical score and dances that were necessary ingredients to advance the story line (536). It is only fair to agree with him. Rodgers and Hammerstein added the exact â€Å"ingredients† to create a magical and over the world to this day. Although Oklahoma! premiered 70 years ago, and its style of music and dance have grown old with the passing of time, it still demands respect for its combination and imaginative ideas that revolutionized the musical industry at the time. Rodgers and Hammerstein were the dominant force in musical comedy in the 1940's and 50's.Even their flops had notable songs. Several of their shows became successful films. Oklahoma! ‘s importance in opening a new era in the American Musical Theatre will never be challenged. It has become an American classic that society will forever treasure for its beautiful integration of song and dance.

Advertising media industry Essay Example for Free

Advertising media industry Essay ? I am student in a work placement agency called STG Media Corporation, a company which dedicates their mission and vision in providing accountable advertising solutions. In my 7 week placement here in the corporation, I learned a lot and discovered that nothing beats on-hand experience in working. Week One (provide date) It was a week of anticipation, stress and learning. How does one person deal with work placement? The first day was dedicated with meeting the executive staff, the working staff, and introduction to what the company is. STG Media Corp. is an interesting work placement agency. I learned about the company through one of my friends and I thought that working for a media company will be so great; little did I know that it is a lot difficult. The first thing that came up in my mind when STG Media Corp. was mentioned is that it is just an advertising company. But it is different. The company details their service in the concept of accountable advertising, in which they refine print advertising media in context of the 21st century need. As a communication student, this was beginning to worry me. After the primary day of introduction, I get to know more about the company and the thought that it is not the conventional type of advertising agency made me overwhelmed with the job and the condition in the work place. This week, I was designated to the Print Media Research, print Media Planning and Market Analysis of one of the company’s client. The company of a branded sports drink is asking STG Media Corp. to help them with the advertising promotion in one of the new products they will launch in about 5 months time. The first thing I did was to interview the sports drink company representative about the nature of their company. I went to their office was so anxious to do the interview that I forgot to bring my recorder, which is considered as one of the great mistakes before doing an interview, coming unprepared. But the good thing is, I did the interview well. I was given the set questions of STG Media Corp., questions that are required to be asked to the client, and throughout the interview, I inserted some of the questions I thought myself to be able to get a good amount of fact for the company. As inexperienced as I am in working for the company, one of the greatest skill I learned is to communicate effectively and luckily I am able to do that with this interview. During the week, one of the great challenges I faced was inputting the vital information of the company’s client to their database called the Print Media Buying System. The PMBS which is the company’s own database generates detailed market research, analysis reports accounting for all aspects such as demographic information, buying trends and other print media recommendations. I really asked for help this time as since I was not acquainted with the kind of technology they used in the particular system. But later I got the hang of it and was commended for a job well done in collecting information from the client. Week 2 (provide date) Before the work placement began, I was told that I will be working full time in one of the company’s venture with a famous sports drink brand. I thought that would be easy since I don’t have to do all the other work, but the challenged I soon found out during the second week is that the process of STG Media Corp. as an advertising consultant is a process to which many steps are taken. This week I am part of the Creative Team designated by the company to help the sports drink brand. Although I must be clear that I was just a part of the team, doing menial job that the professionals are tasked to do. I learned one great thing about the print media industry, 75% of advertisement fail because of weak creative and non-compelling ad copy. It’s true that one of the strengths of a great brand is not just with its quality, but through rigorous and effective advertising that they create. Before working here, I thought that companies only advertise for the sake of advertising, but companies do take this strategy very seriously. On the third day of this week, I was asked to look at one print ad for five seconds during one of the meetings of the Creative Team. They asked me questions rigorously, whether it be based on the appearance or the content. I answered them frankly and mention the things that I would personally think about the ad if I was just a normal consumer looking at the advertisement. Several times, the Team will press and argue their points with me, but all was attributed to presenting a better advertisement for the client. During this week, as unprofessional to assume the role of being a advertiser consultant, I was placed in the position of the consumer, the Team’s viewpoint on the things they realize about the brand and how they can effectively approach working for the client. I really felt like my ideas were respected and included to the Creative Team’s analysis of the product. This week, I also was comfortable with the workplace. I am familiar with the different employees and get to have small talks with them through several breaks. Its interesting how some of them had assumed I am part of the Creative Team when in fact; I am just a student on work placement. Advertising media industry. (2017, May 26).

Stress in Psychology Research Paper Example | Topics and Well Written Essays - 750 words

Stress in Psychology - Research Paper Example â€Å"Even as modern suburban living offers an environment conducive to family lifestyle: ample living space, good schools, and relative safety, the suburban lifestyle is accompanied by substantial amounts of stress† (Cappell, Et al, 2001). The study investigates levels of stress for over 500 residents living in suburbs of Chicago, by measuring various demographic factors, such as gender, age, age of children, employment, number of hours worked each week, amount of time spent caring for the home, amount of time spent caring for children and number of hours of sleep each night. Levels of stress are measured by the number of stress related symptoms survey respondents report, for each factor. Overall, married males with families, living in the suburbs, who work reasonable hours and contribute little to household chores experience lower levels of stress, according to Cappell, et al (2001). Brown, D. & James, G. (2000). Physiological stress responses in Filipino-American immigrant nurses: The effects of residence time, lifestyle and job strain. Psychosomatic Medicine, 62: 294-400. Retrieved from http://www.hawaii.edu/hivandaids/Physiological_Stress_Responses_in_Filipino-American_Immigrant_Nurses.pdf. The study investigates blood pressure levels among immigrants to Hawaii, of Filipino origin. Blood pressure is assumed to be a predictor of physiological stress. Respondents in the study are nurses and nurse aids, who are Filipino immigrants. The use of blood pressure as a stress response shows a pattern that the authors believe cannot be accounted for, by physical demands of work. Results indicate that respondents who have lived and worked in the United States longer, have higher average blood pressures, than those who have been in the country a shorter period of time. â€Å"Women who resided in the United States longer had significantly smaller dips in their blood pressure during sleep† (Brown & James, 2000). Blood pressure normally dips during sleep. Th e assumption is that those with smaller dips in blood pressure are suffering from a higher level of stress. Respondents were also given questionnaires to measure their perceived lifestyle, compared to both Filipino and American lifestyle, using a scale. Respondents rated themselves as generally having a lower perceived American lifestyle. The implication for results of this research, is that acculturation brings about higher levels of physiological stress response. Steckel, R. (2005). Young adult mortality following severe physiological stress in childhood: Skeletal evidence. Economics and Human Biology, 3: 314-28. Retrieved from http://web.econ.ohio-state.edu/rsteckel/VITA/2005%20Young%20Adult%20Mortality.pdf The author uses skeletal remains to suggest a link between childhood physiological stress and adult heath. The research conducted is an investigation of skeletal findings presented by groups of anthropologists. Steckel bases his research on previous studies that link childhood health to adult success and growth (stature) to adult wellness. Femur length is a proven method among anthropologists, for determining stature. â€Å"In a large collaborative study that investigated skeletal health over the past several thousand years, these included three indictors of health during childhood (stature, linear enamel defects, and skeletal signs of anemia)† (Steckel, 2005).. Stature is also included as an important

Materials and Hardware Essay Example | Topics and Well Written Essays - 2500 words - 1

Materials and Hardware - Essay Example Aircrafts can be of fixed wing construction or rotary wing construction. The fixed wing construction consists of the Fuselage, wings, stabilizers, flight control mechanisms and the landing gears while the rotary wing aircraft consists of a main rotor assembly, tail rotor assembly apart from the fuselage and landing gear. (Sun.C.T, 2006) The main properties that are relevant to the maintenance cost and the performance of the aircraft are 1. Density of the material used 2. Stiffness (Young’s Modulus) of the material. 3. Strength (Ultimate and Yield strength) of the material. 4. Fatigue strength of parts which is the ability of a structural member to absorb sustained loads. 5. Toughness to resist fracture and prevent crack propagation. 6. Resistance to corrosion. Use of light alloys in aircraft construction. The different parts of an aircraft that are critical to its functioning include fuselage and the wings, landing systems and stabilizing equipment that form part of the aerosp ace system. Source: Quilter Adam, Composites in Aerospace Applications, Viewed on 28th February 2011. Fuselage is the body of the aircraft and is the space which houses the cargo shipment and all human personnel. This usually employs the monocoque or semi-moncoque construction and uses frames and bulkheads to define the shape of the fuselage. It is however the skin that would bear the entire load of primary stress. (Sun.C.T, 2006) Steel alloys, Aluminium alloys and Titanium alloys are generally used in aircraft construction. Steel alloys have the largest densities and are used generally where high strength and yield strength are of importance. Landing gear units especially employ steel alloys of grade 300M. This has strength of 27000psi and yield stress of 220000 psi. (Sun.C.T, 2006) Alumunium alloys have excellent mechanical properties with low weight to volume ratio. The commonly used aluminium alloys include 2024 and 7075 alloys. Of the 2024 alloys, 2024-T3, T42 have superior fra cture toughness. These alloys are also resistant to fatigue failure with a slow propagation of crack rate. T3 and T42 indicate the heat treatment process that has been used. These are generally used in the construction of aircraft skins due to its shiny and excellent finish characteristics. Ultimate strength of 2024-T3 is around 62000psi with an allowable shearing stress of 40000psi. (Experimental Aircraft Info , 2006) 6061-T6 has good welding characteristics and can be fabricated with the commonly used manufacturing methods. Source: Fuselage of Boeing 777 under construction, Boeing Company, Viewed 28th Feb, 2011 These have an ultimate strength of 45000 psi with an allowable shearing stress of 30000psi and are typically used in aircraft landing mats. 7075-T6, T651 on the other hand have greater strength but has low resistance to fracture. (Engineering studies, 1999) Different aluminium alloys are used in different locations on the aircraft. Since the upper part of the wing is expose d to compressive stress these parts are made of 7075-T6 whiles the fuselage and lower wing sections that have tendencies to fail by fatigue due to the cyclic nature of the stress involved, are made of 2024-T3. (Sun.C.T, 2006) 7075 alloys typically have an ultimate strength of 33000 psi and an allowable shearing stress of 22000 psi. 5052-H32 aluminium alloys

Evaluating Research Essay Example | Topics and Well Written Essays - 1250 words

Evaluating Research - Essay Example Yes, since the research problem concerns with the influence of stimulating tasks on motivation and reading comprehension, then the findings of the study must therefore be quantified using a quantitative approach. Yes, in fact, the author stipulated the following line at the end of the study: â€Å"finally, researchers should continue to explore reading comprehension and reading interest to identify their reciprocal relationships† (Guthrie et al., 2006, p 244). Yes, the research study definitely employed the APA Referencing Style in their in-text citations and references’ page. In fact, here is an example of the entry in their reference page that typified the use of APA: Yes, the authors stated the purpose of their study, which is to give light to one particular research inquiry that receives little attention, that is, the use of stimulating tasks to arouse reading interest (Guthrie et al., 2006, p. 233). Yes, the assumptions and hypotheses were both expressed in the study. The assumptions regarding the stimulating tasks were written prior to the statement of hypotheses. Moreover, the hypotheses of the study are as follows: (a) Students who were given a high number of stimulating tasks related to reading would have higher reading comprehension scores than would students given a low number of stimulating tasks related to reading, controlling for prior comprehension and quality of task performance; (b) Students who were given a high number of stimulating tasks related to reading would have higher reading motivation scores than would students who were given a lower number of stimulating tasks; and Yes, the authors were able to identify and provide an explanation prior to presenting their hypotheses. In this regard, the phrase ‘stimulating task’ was employed to embody their theoretical framework, which was proposed by Nolen and Nichols (1994) that refers to classroom activity that elicits