Quantitative Methods and Analysis Essay Example | Topics and Well Written Essays - 750 words

Quantitative Methods and Analysis - Essay Example 190). where, Z is the value of the normal distribution table at given confidence level ? is the standard deviation and E is the desired precision For AIU, Confidence level is 95%. Z (Confidence level=95%) = 1.96 ? = $700 E = $55 Thus, it implies that the institute needs to sample 623 individuals to meet the original requirements of the sample. The sample size that is determined has a significant impact on the budget of the research. An increase in the sample size will mean that the institute will have to spend more amount for carrying out the research. If the budget of AIU is not enough to cover the entire sample of 623, the institute can reduce the sample size or lower down its conditions in confidence level or desired precision. If we see the normal distribution table, we see that the z value deceases with decease in confidence level (Levin & Rubin, 2007). In order to reduce the sample size, one option that AIU is having is to reduce its confidence level. Confidence level is a repr esentation of the surety of the data received. Confidence level can be defined as the likelihood of the true population parameter lying within the range specified by the confidence interval (Stattrek, 2011). Decreasing the confidence level will lead to decrease of the z value, which will reduce the sample size. ... crease the distance from the mean that is permissible for the mean dollars spent by each card holder to $70 at the same confidence level, the sample size becomes: We can see that a slight increase (from 55 to 70) in the marginal error that is acceptable to the researchers lead to a decrease in the required size drastically (from 623 to 385). References Cohen, L., Manion, L., & Morrison, K. (2007). Research Methods in Education, 6th ill. ed. NY: Routledge. Levin, R.I., & Rubin, D.S. (2007). Statistics for Management, 7th ed. New Delhi: Dorling Kinderseley (India) Pvt. Ltd. Stattrek. (2011). Confidence Level. [Online]. Available at: http://stattrek.com/Help/Glossary.aspx?Target=Confidence%20level [Last accessed on 20th June 2011]. Wrenn, B., Stevens, R.E., & Loundon, D.L. (2006). Marketing research: text and cases, 2nd ill. ed. New York: The Haworth Press. Part 2 Surveys are very useful tool to collect information about a population. In a research using surveys a questionnaire is admin istered on a carefully identified sample of respondents (McQuarrie, 2006). Survey questionnaires are typically aimed at identifying particular respondent’s characteristics, attitudes or perception. Surveys find extensive application in areas such as market research, psychological studies, sociology and human resources. One example of a survey can be a survey in the area of market research, where respondents are asked to respond to their opinion about a particular product or service. Such surveys can be administered through questionnaires written on paper. Another type of survey can be the one used by the HR department of organizations to assess the employee satisfaction levels. These surveys can be administered as web-based surveys. Telephonic surveys can be administered to analyze the

DB #4 Essay Example | Topics and Well Written Essays - 250 words

DB #4 - Essay Example By talking about how he conducted his study by taking care of the sick and terminally ill patients, Christakis uses the rhetoric proof of Pathos to persuade and inform his audience (TED). His storytelling of how he begun to conduct his study evokes emotion among his audience. Christakis employs the rhetoric proof of logos in showing how people become embedded in dense social networks. He uses slides to present a logical appeal of how clusters develop to form dense social networks. He also employs mathematical reasoning to present data to his audience and thus making a further logical appeal to them. Christakis makes a valid argument on the hidden influence of social networks. He argues that social networks help to define individuals’ health, happiness, and overall life goals. He presents his argument on the basis of a scientific research, which he conducted and this makes his argument to tick. He shows how social networks develop and how they get to influence different individuals dependent on their location in the network. His exploration of large-scale and face-face social networks, is able to show the impacts of social networks on a wide variety of traits such as obesity and happiness on people’s lives (TED). Simply put, he affirms the thought ‘show me you friends, and I will tell you your

Stanislavskis System Essay Example for Free

Stanislavskis System Essay All of our acts, even the simplest, which are so familiar to us in everyday life, become strained when we appear behind the footlights before a public of a thousand people. That is why it is necessary to correct ourselves and learn again how to walk, sit, or lie down. It is essential to re-educate ourselves to look and see, on the stage, to listen and to hear. Stanislavski (Konstantin Stanislavski quotes) Realistic drama was said to be born in the late 1800s, however before that, no director or actor trainer had succeeded in creating a method in order to instil believability in a character through the actor. There were some actors and actresses that used their own individual talent to achieve this, but there was not a developed system or method that one could teach or even pass on to the future generation of actors. In the midst of this thirst of authenticity, Konstantin Stanislavski actor and director extraordinaire developed his own system over a lifetime. When we are on stage, we are in the here and now Stanislavski (Konstantin Stanislavski quotes) Due to the fact that he was born into a wealthy family of merchants, Konstantin Sergeievich Alekseiv, had to begin his service to the family business, but soon realized that nothing could overpower his love for theatre. His family too shared some of his enjoyment for theatre and built him an amateur theatre in which he had his first stage appearances. His family also funded expensive vocal and stage movement lessons from Moscows best teachers. However, his love for theatre intensified to such an extent that in 1884, he was forced to adopt Konstantin Stanislavski as a stage name for his first public debut in order to hide his theatre aspirations from his family. In 1888, although he was still being forced to work in the family business, he co-founded the Moscow Society of Arts and Literature. Being the co-founder of the Moscow Art Theatre helped Stanislavski set up a basis for his own system of training actors. This unique system required actors to research the situation provided by the script according to the characters motivations, create a subtext to their script whereby they show the meaning or the imagination beneath the text their script, and bring to mind their own experiences so that they may use the emotions from their own experiences as emotions for their character in order to make their character more believable. Love art in yourself, not yourself in art. Stanislavski (Konstantin Stanislavski quotes) These requirements forced the actors to perform the actions and reactions of their character based, not only on the actors motivation, but also on the actors personal experiences. It also allowed the actor to match his motivations to that of the character in the script. After having already identified the characters motivations, the actor can recall his emotions and experiences whilst playing the character on stage in order to give a more authentic and convincing performance. His new proposed system for acting had eight questions that the actor must answer in order to build and establish the character. These included: I. Who? II. When? III. Where? IV. What? V. Why? VI. How? VII. What do I need to overcome? VIII. Before time? (Stanislavski for Beginners) These questions helped the actor recognize the characters purpose and establish the actors own movement on stage so that they may be able to project the characters purpose to the audience. Stanislavski developed a number of techniques and principles that he considered fundamental in helping the actor achieve a believable character on stage. Stanislavski felt that most actors assumed that believable acting was derived from simply being natural on stage. However, from his observations, Stanislavski concluded that realistic acting on stage was extremely difficult and can sometimes come across as artificial. Bring yourself to the part of taking hold of a role, as if it were your own life. Speak for your character in your own person. When you sense this real kinship to your part, your newly created being will become soul of your soul, flesh of your flesh. Stanislavski (Konstantin Stanislavski quotes) After having memorized my monologue I figured I knew my character quite well she was a young girl who was sad because her best friend just died. I didnt think I needed to know any more than that in order to deliver a good monologue. However, when the time came to answer the questions above for my character, I resented it and I didnt think it would help in any way. I decided that I would perform my monologue for a class mate before and after answering the questions in order to prove my point. The first thing I realized was that answering those questions was no easy feat for me, which proved how much I didnt know my character. After much use of my imagination, I finally managed to answer the questions in depth. Whilst answering the questions I found out things that never even occurred to me about my character. I felt like I was talking about a real life person who had a past, a present, and even a future. Needless to say, the real impact of what I found out about my character did not hit until I performed my monologue post-questions. I found myself really feeling and actually believing that I was that character and not just impersonating someone. After performing my monologue I honestly felt like I had given birth to an actually human being Undoubtedly, I received the most positive feedback about my monologue post-questions. Some of the principles of the Stanislavski System included: * The actor is aware that the play is fiction, but he must question himself about how he would behave if the situation was real. This helps the actor transform the play as if it were real. * The actor must question himself about his character and must understand not only what, but why he is saying what he is saying and doing what he is doing. * The actor must not get distracted by the audience and must concentrate on what is happening on stage. * The actor must learn how to rid his body of muscle tensions and relax himself so that he may call upon his actions with ease in order to reach his goal as the character. The relaxation and observation exercise was quite an experience for me because I was able to tap into emotions so deep that at times I virtually forgot that I was in Drama class. When Ms. Kennedy was declaring the emotions that we had to feel, experiences that never occurred to me popped up in my head. For instance, when Ms. Kennedy declared that we were to feel jealous, an incident that popped up in my mind was one of which I was unaware that I felt jealous at that moment! I presume that it was my mind reminding me that I was subconsciously jealous at that moment. With every emotion that Ms. Kennedy declared, I found my body subtly changing. This change occurred from the tilt of my head to the direction of my toes. What amazed me the most was that it felt as though my body was changing by itself. The changes were so subtle and gradual at first, and then when they got to be a little more intense was when I realized that I was tapping my toes or holding my breath. I presume that it is these subtle movements and actions that make acting more believable on stage. * The actor must consciously perform the small physical actions that people perform unconsciously do in real like in order to make his character look realistic. When Ms. Kennedy told us to stand up and imitate the actions of the members of my ensemble, I realized how unconsciously we perform little actions that make us who we are. For instance, I am constantly running my hand through my hair because of my fringe that comes in my eyes. I am so used to this action that I do it without being aware of what I am doing. When I did so during this exercise I was taken aback when my ensemble started imitating me and I thought to myself, Did I just do that?. I saw similar reactions from the members of my ensemble. Through these exercises I learnt that it is the little actions that make us unique. * The actor must recall his emotional experiences from his emotional memory. This will bring truth to his character. * The actor must establish good communication with his ensemble (i.e. the other actors on stage) by listening to what they are saying and by looking directly at them, unless when the script requires them not to do so. * It is vital for the actor to understand the play and perform his part with determination. He must also feel for his part to such an extent that his portrayal of the character looks nothing but authentic and convincing on stage. * In order to convince the audience, the actor must use the techniques to call upon memories that help him react to other characters in the play as well as act. This makes his character more believable. (The Stanislavski System) Some techniques of the Stanislavski System include: * Objective Words o The actor must understand the objectives of the character behind each and every line that they say. I used this method to first indentify the intentions of my character behind every line, and then match those intentions with an action. This gave every action behind every line a purpose and made it easier for me to recall my emotional memory when I needed it. * Magic If The actor must connect with the character by asking how he would behave if his characters situation was real and was actually happening to him. This helps the actor think like the character and not just impersonate him. Stanislavskis Magic If and As If has really helped me in my monologue as I have to imagine that I am speaking to a corpse of my best friend. Throughout the monologue, I really enjoy that I am forced to use my imagination and make-believe that a table is a casket and boxes are a deceased human being. Although I dont find it that hard pretending that I am speaking to my deceased friend, I really enjoy the challenge of making my audience believe and see what I am seeing. With more practice and more rehearsal of my monologue, I will be able to make my audience feel not only the pain of losing a friend, but also the pain of my own personal experience that I drew out to play this part. * As If o The actor should get in role and as himself what he would do if here was to be in his characters situation. This brings about convincing actions and reactions for the character. Before I first practiced this technique, I immediately told myself that I would imagine that I was at the funeral of my best friend. However, this will be hard to improvise because I just simply cannot imagine my best friend dying. It is unthinkable. Thus, I decided that I would bring back the memory of when I was at my uncles funeral and use those emotions in the context of my monologue. This helped my monologue significantly as it was easier to bring back emotions of things that have already happened. While I was performing my monologue, I really felt as though I was back at my uncles funeral and I was able to use the emotions I felt then to emphasize the lines of my monologue. Although my uncles funeral was some 5 years ago, this technique helped me realize that those feelings are still alive. Although this technique benefited my monologue, it also benefited my life as when I brought those emotions back I felt that I was able to deal with them better than I did those 5 years ago. * Subtext o The actor must know the emotion and meaning that lays underneath his characters lines. The actor does not speak this, but portrays this though choice of action, gestures, posture, pauses etc. Subtext generally increases the audiences involvement in the play as it acts as a secret between the audience and the character with the subtext as opposed to the other characters present on stage. o Inner Monologue * The actor must know all the thoughts that are going through the characters mind not only while he is speaking his dialogue, but also while he is listening to the other characters on stage. o Mental Images * The actor must bring together all the pictures that he sees in his mind as the character and communicate this to the other actors on stage. This method really taught me how to break down the text of a script and read in between the lines in order to fully understand my character. After I had determined what was going through my characters mind at every line in the play, * Given Circumstances o Whilst building his character, the actor must take into account all the information the playwright has given the actor through the script. This technique helped me exert all the circumstances that my playwright had given me, and with this information I was able to establish my character and her personality more. This technique also taught me how to apply the emotions that I derived from the previous techniques like As If. * Imagination o The actor must work really hard in order to use imagination to fill in the gaps of his characters life where the playwright hasnt given enough information. Imagination was my key component in any Stanislavski technique that I attempted and applied to my monologue. However, Imagination was most useful to me when I first began creating my character and her personality. I used my imagination to first answer my WHERE, WHEN, WHAT, WHY, WHENCE, BEFORE TIME questions which in turn helped me create a really descriptive and in-depth character analysis. Imagination also helped me be less mechanic and more authentic on stage. I used imagination to give life to the words on paper and give life to a real character. This process is really similar to giving birth. * Circles of Attention o Although they are in public and in front of an audience, the actor must feel as though they are alone on stage and they must throw circles of attention on their actions in order to really concentrate. The actor must be able to draw into a small circle of attention, if they need arises, even though he may be performing in front of thousands. It is difficult for the actor to take in whole spaces at once and therefore must focus on the space bit by bit. This will increase the actors attention because as one could have a small, medium or large circle of attention. As the circle grows larger and larger, your concentration it tested at its limits. Thus it is recommended for actors to withdraw to a small circle of attention if they find their attention wavering in order to rebuild into their larger circle of attention. * Perspective o Perspective requires the actor to see their role as a whole. It requires them to sustain their concentration, focus on their objectives and also watch for any problems that could possibly occur on stage. They must develop a pace for their acting as the play unfolds on stage. Funnily enough, Perspective really helped me develop my costume and what message I was wanted to portray with my costume. I was debating to either wear boyish clothes that showed off my characters tom boyishness and establish her to the audience in that manner or to wear girly clothes and emphasize my characters uncomfortable feeling. I chose to go with the second choice to really show how isolated and uncomfortable my character feels in the situation that life thrust her in. For my costume I decided on an off-white skirt with black flower embroidery, topped with a black t-shirt-like blouse and black boots. Although my character hates skirts and anything girly, I am wearing a girly outfit to show that my character is uncomfortable with not only what she is wearing, but where she is, what she is about to do and the situation as a whole. My costume consists mainly of the color black because she is attending a funeral and black is the code mourning color. I am accompanying my outfit with boots to show that my character, although caved in into wearing a skirt and blouse, refused completely to wear high heels or sandals. The boots keep some of my characters personality alive. * Tempo-Rhythm o Tempo * Actors must realize that every action that they have planned will take time and they can either chose to decelerate the tempo whereby they will be giving themselves more time to speak and perform or to accelerate the tempo which would have the opposite effect. o Rhythm * The actor must know how and what to stress while he is on stage in order to portray the message that he is trying to portray. (The Stanislavski System Growth and Methodology) These techniques and principles of the Stanislavski System helps the actor develop an interior monologue for the character, so that each action that the actor takes as the character comes across as spontaneous to the audience. In addition, Stanislavski also believed highly on the use of costumes, sets and props contributing to the realism of the character. He believed that every prop must serve a purpose, and if a prop was placed on stage, then the actor must know the history of the prop in relation to the play (where it was bought, who it was bought by and how it came to be in this particular location). Stanislavski also worked on something called The Method of Physical Actions whereby he focused on physical action encouraging truthful emotion. The main aim was to reach the subconscious mind through the conscious mind. (Method Acting) Due to the fact that the theatre held great social and educational significance for Stanislavski, he found it difficult to separate the social context that was attached to his theatre. He was known to use the stage to reflect the social issues that were occurring during the civil unrest that lead to the Russian Revolution in 1905 and the Soviet Union being established. However, even though he responded to criticism saying that he never staged contemporary Communist plays by directing several plays of revolutionary significance, he was still criticised for catering to progressive middleclass audiences. Thus he refused his company to produce plays that were undeserving of its traditions and high standards in order to maintain his integrity and dignity. Fortunately for Stanislavski, he was caught in the midst of the violence of the revolution and needed to be protected by Lenin from being eradicated alongside the Czar Dom. The communists had elected his system and made the Moscow Art Theatre the fountainhead of social realism. (Stanislavski, Konstantin) His theatre quickly began producing Soviet propaganda due to an allegiance that was being maintained between the USSR and Stanislavskis socially conscious method of production. Needless to say, Stanislavski survived both Russian Revolutions of 1905 and 1917. The Stanislavski System is known to only be as good as the person who uses it. It is not something that will immediately turn a bad actor into a good one, nor will it guarantee success. The Stanislavski System is simply a serious of developments, techniques and ideologies that help the actor make use and develop his skills and talents and to gain control of his gift in order to become a better actor. Using the system requires time and understanding that are not so easily summoned up these days. However, who so ever have studied and have been trained in the Stanislavski System know that it is a diligent method that requires a lot of work, but also makes seem more effortless and believable. Stanislavski always told his actors to leave your ego at the stage door as you come in and those who intend to follow the Stanislavski System must know that it is not solely based on the actor himself. The actor must not only develop his own talent, but must also develop a bond with his ensemble and know that a performance can only be put on when there is trust and dependence among the actors. (Stanislavski and the Actor, 149) Thus I will end with a quote from the master himself, In the creative process there is the father, the author of the play; the mother, the actor pregnant with the part; and the child, the role to be born. (Konstantin Stanislavsky quotes) and say that one must commence on the journey that is the creative process in order to realize the true value of Stanislavskis teachings. Bibliography Allen, David. Stanislavski for Beginners. New York City: Writers Readers Publishing, 1999. Benedetti, Jean. Stanislavski and the Actor: The Method of Physical Action. New York: Theatre Arts Book, 1998. Jones, Trevor, and Bradley W. Bishop. Stanislavski. Untitled Document. 22 Feb. 2009 http://www.kryingsky.com/Stan/Biography/bot.html. Konstantin Stanislavsky quotes. Find the famous quotes you need, ThinkExist.com Quotations.. 22 Feb. 2009 http://thinkexist.com/quotation/love_the_art_in_yourself-not_yourself_in_the/166692.html. Method Acting. Moderntimes: Classic Film Pages. 22 Feb. 2009 http://www.moderntimes.com/palace/method.htm. Stanislavsky, Konstantin: Biography from Answers.com. Answers.com Online Dictionary, Encyclopedia and much more. 26 Feb. 2009 http://www.answers.com/topic/konstantin-stanislavski. Sawoski, Perviz. The Stanislavski System Growth and Methodology. Homepage. 22 Feb. 2009 homepage.smc.edu/sawoski_perviz/Stanislavski.pdf. Stanislavski Quotes. Free Website Hosting Tripod free website templates to make your own free website. 22 Feb. 2009 http://members.tripod.com/~Jim_68/stan.htm. Stanislavskis system Wikipedia, the free encyclopedia. Wikipedia, the free encyclopedia. 22 Feb. 2009 http://en.wikipedia.org/wiki/Stanislavskis_system. The Stanislavski System. Teachit. 19 Feb. 2009 www.teachit.co.uk/attachments/stanis.pdf.

DNA Structure: DNA Replication RNA Synthesis Protein

DNA Structure: DNA Replication RNA Synthesis Protein DNA, or deoxyribonucleic acid, is the genetic material of a cell. It contains information about an organisms cell structure, function, development and reproduction. DNA must be able to replicate quickly and correctly so that the daughter cells have the same genetic information as the parental cell. DNA must also be capable of change. This provides variation among different generations and was the key factor for evolution to occur. DNA is a polymer (made up of many units) of nucleotides. Each nucleotide contains a five-carbon sugar (there is an extra hydroxyl group in the sugar for RNA), a nitrogenous base, and a phosphate group. There are two classes of nitrogenous bases, purines and pyrimidines. Each purine pairs up with one pyrimidine. Adenine and guanine are purines (double ring structures), while cytosine, thymine (DNA), and uracil (RNA) are pyrimidines (single ring structures). Nucleotides are linked together by a covalent bond between the phosphate group of one nucleotide and t he 3carbon of the sugar of another nucleotide. These 5-3 linkages are called phosphodiester bonds. These bonds are very strong and provide a good backbone for the structure of DNA. Experiments were done by Watson and Crick, and Franklin and Wilkins provided a three-dimensional model of DNA- the double helix. It is composed of 2 chains that are anti-parallel to one another (rope ladder that is twisted). Each step of the ladder is composed of one purine, ad one pyrimidine (adenineÆ’Â  thymine, guanineÆ’Â  cytosine). The central dogma of biology is DNAÆ’Â  RNAÆ’Â  protein. DNA, which contains the genes that are expressed, has to be transcribed and translated first. DNA is transcribed into mRNA, which codes for a specific protein and is assembled through ribosomes. Proteins are synthesised by amino acids. The order of nucleotides in DNA determines the amino acids used in synthesising a protein. Three nucleotides (codon) code for one amino acid; there are 64 different pos sibilities of codons. There is a total of 20 amino acids, which means that more than one codon codes for the same amino acid. There are also start codons to begin protein synthesis and stop codons to terminate protein synthesis (Russell, 9-19). Hypothesis: I predict that we will be able to understand the structure of DNA and RNA after this experiment. I predict that I will achieve a better understanding of protein synthesis after this experiment. Methods: We obtained 60 white beads (deoxyribose sugar), 60 red beads (phosphate group), 15 orange beads (adenine), 15 green beads (guanine), 15 blue beads (cytosine), 15 yellow beads (thymine), and 30 clear connectors (hydrogen bonds). We assembled 60 nucleotides by attaching a red bead (phosphate group) to the white bead (deoxyribose sugar) in a 5 position. We attached a nitrogenous base bead (orange/green/blue/yellow) to the 1 position of the deoxyribose sugar (white bead) We constructed a single-stranded polynucleotide chain by attaching the phosphate group of one nucleotide to the 3 end of another deoxyribose sugar (this strand contained 30 nucleotides- remember to add the nitrogenous bases in a random order). To form the typical double stranded DNA molecule, an antiparallel single strand must now be constructed to bond with the initial strand. The remaining 30 nucleotides were attached in the same manner as mentioned above. They were placed antiparallel to the other strand, but we made sure that the nitrogenous bases across each strand were complementary (A bonded with T, and G bonded with C). Connectors were placed between the bases to represent hydrogen bonds. We then simulated DNA replication by first forming an origin of replication. Beads were obtained and attached in a 5Æ’Â  3 direction. 2 DNAs were synthesised (each with one parental strand and one new complementary strand), which showed the semiconservative model. We then simulated RNA synthesis (transcription). We obtained 24 pink beads (ribose sugar), 24 red beads (phosphate group), 6 orange beads (adenine), 6 green beads (guanine), 6 blue beads (cytosine), and 6 purple beads (uracil). We also obtained a template DNA strand. We constructed the RNA nucleotides in a similar fashion that we made the DNA nucleotides. We followed the DNA strand and attached the RNA nucleotides accordingly (complementary to the template strand of the DNA). We then simulated protein synthesis by encoding the mRNA (translation). We positioned the RNA horizontally in a 5Æ’Â  3 fashion and uncoded the RNA. 3 nitrogenous bases make up one codon. We wrote down the different codons and using a table, figured out the amino acids required to make the protein. Lastly, we constructed the polypeptide by connecting the different amino acids. The chain kept building as the chain moved from the A site to the P site to the E site. Results: DNA Strand- 5-ATGGCTAGTATAGGTTGCCATCGATGGCAG-3 3-TACCGATCATATCCAACGGTAGCTACCGTC-5 RNA Strand- 5- AUG-GUC-UAC-CUA-ACG-CCG-GAU-UAG-3 Coding for- f-Met-Val-Tyr- Leu-Thr-Pro-Asp-termination Conclusion: DNA is very important for life. It can replicate well, which means that the next generation will retain the characteristics of the parents. It is capable of change, which means that it provides for variation and was crucial for evolution to occur. It also codes for proteins that help express genes and traits of the organism. In this lab, we simulated DNA structure, replication, RNA synthesis and protein synthesis. Each one of these processes is essential to human life and a mutation in any one of the processes could lead to death. In DNA, adenine bonds to thymine via two hydrogen bonds, while guanine bonds to cytosine via three hydrogen bonds. In all DNA, the amount of adenine should equal the amount of thymine, and the amount of guanine should equal the amount of cytosine (1:1 ratio of A:T and G:C). However, the differentiation in the ratio of the adenine/thymine pair to guanine/cytosine pair varies greatly among organisms. DNA replicates semi-conservatively. This means that during replication, the strands separate, replication occurs and when the two daughter DNAs are formed, each one contains one parental strand and one new strand. Lastly, in this simulation, we did not have post-transcriptional editing where introns are excised. Each gene codes for a polypeptide which could have various function depending on the amino acids that synthesised it. This experiment was very helpful in the sense that it helped us realise how complex the processes of replication, transcription and translation are.

Wealth of the United States Essay -- essays research papers

Wealth of the United States   Ã‚  Ã‚  Ã‚  Ã‚  There is a problem in the United States that is growing and is causing issues in our country, but not everybody knows about it. The problem is the distribution of wealth in our society and the world as a whole, and how it is getting worse. Some people would say that it is an inequality due to the needs of the society, while others would say it is to the needs or individuals. This causes even more problems because of there being more than one supposed reason for the issue at hand. The problem is that the distribution of power is possibly starting to be lopsided, and for many reasons. There are two main views of why this is happening, the functionalist perspective and the conflict perspective, and they differ in many ways on what is wrong, why it is wrong and what to do about it.   Ã‚  Ã‚  Ã‚  Ã‚  One of these groups, the functionalists, view that the uneven distribution of wealth is due to the fact that the cream rises to the top and the people who have money and prestigious positions are the ones who are capable of getting the job done. Functionalists see that there are 3 things that are intertwined with each other; wealth, power, and prestige. These three things are rewards for people who are of good character, eg: people with advanced knowledge, hard workers, and people who can take on responsibility. This whole perspective is more merit based than anything and tells people in the society that they get w...

Beowulf - Pagan or Christian Epic? Essay -- Epic of Beowulf Essays

Beowulf Pagan or Christian Epic Beowulf: Pagan or Christian Epic? Although the story of Beowulf is filled with references to religion and faith, many discrepancies occur throughout the story that suggest that Beowulf is not a Christian epic. The character of Beowulf frequently speaks to God and obviously believes in His existence. However, pagan practices are mentioned in several places. Beowulf often refers to another being rather than the Christian God. Pagan practices of cremation and blood-drinking are included in the epic. There are also frequent allusions to the power of fate, the motive of blood revenge, and praise of worldly glory. All of these aspects make Beowulf a pagan tale with a few Christian elements. A key pagan reference in Beowulf is the entity Wyrd. â€Å"Now if Wyrd, Ruler of All, will permit, my stout sword will sing its greedy war-song....Wyrd always weaves as it must†. The Christian tradition clearly states the existence of only one supreme entity. It also states that anyone worshipping â€Å"false idols† is subject to punishment. If Beowulf was truly a Christian, he would not call to Wyrd for any type of assistance. One might argue that referring to Wyrd as â€Å"Ruler of All† suggests that this entity is the Christian God. But â€Å"God† is referred to throughout the epic. â€Å"For Grendel bore God’s anger...Mighty God rules mortals forever!†. These are two separate entities that serve different functions throughout the epic. A true Christian tale would not include any other â€Å"God† or all-powerful being rather than the one true God of the Christian teachings. The story also mentions that Hrothgar and his people mak e sacrifices to idols in an attempt to overcome the monster Grendel. â€Å"And so it came to pas... ... wealth. In conclusion, the epic tale of Beowulf is a pagan tale with a pagan hero. Although there are Christian images throughout the tale, the story is clearly pagan in nature. The Beowulf poet portrays the culture and people by separating the main ideas like a prism does with light. Although there are the Christian references surface throughout the tale, a look at the epic as a whole clearly shows its true pagan nature. No matter which end of the spectrum you are looking from, all the ideas prove that pagan concepts and principles prevail over the values of Christianity. It is shown on countless occasions through the material rewards, earthly fame, false idols, and burial practices. In the end, the separated lights in the prism come together and become one. This array of light in Beowulf is ultimately the strong presence of a pagan hero and a pagan culture.

Chapter 8 Solve This Problem Essay

Choose from the list of problem scenarios below. Using the steps involved in problem solving that were discussed in this chapter, describe how you would go about solving this problem. 1. Mrs. Smith’s daycare provider is closing in four weeks. Both Mr. and Mrs. Smith work full-time during the day and need daycare for their child. They have only a short period of time, however, to find a new, safe, reliable daycare provider. : I would start looking or asking people where they take their children and maybe take a look at thier daycare and see how it works out for me. Also if I didn’t find a daycare within the short time of period I would quit my job for that short time that daycare is close and look after my children/ child until the daycare re-opens up again. 2. Tim is planning a summer vacation for his family of five to Disney World in Florida. He lives in Pennsylvania and is trying to figure out whether it could be more cost effective to drive to Florida or to fly there .: I think flying and driving to florida would be less cost effective but at the same time I’m thinking flying would be the less cost effective because you can buy 5 round trips: one that takes you and brings you back with one airplane ticket. Because if you drive you’d have to stop for gas and food for the road-trip and it would cost more. 3. Sarah has a 20-page paper due in six weeks and has not yet started to work on it. She is feeling overwhelmed, because she works a full-time job during the day and has three children at home in the evening. She knows she should started working soon on the paper but is not sure where to begin.: Between the children and the job and I’d start working on it little by little on my free times I have and if I finish before the six weeks I would revise it and made it better. 4. Mr. Jones’s parents are growing older and are finding that they can no longer live in their big three-bedroom house. They want to sell their home and move to either a smaller house, a retirement community, or an assisted-living facility. Mr. and Mrs. Jones said they would help his parents find an appropriate place to live but are not sure where to begin. I would look at my budget and start narrowing down the houses that are out of my range. Also I would look at rooms the house has and look at the neighbor until I find the house that has 1-2 rooms and is between my budget and also  the neighbhood. 5. Sally found out through a friend that her current boyfriend has been cheating on her with another woman. She is very distraught and is not sure what to do about the situation. :I would talk to him and if he lied I would of break-up and move on with my life, but also I would need to have proof if he was cheating or hire a detective to follow him to all the places he went to. Because sometimes friends lie to see you down, and sad and maybe their the other woman that your boyfriend is seeing. Activity Handout 7.2 How Do You Think This Invention Came About? Think of an invention such as television, the electric razor, the toaster, or the blender and describe how you think this invention came about. Discuss the various steps involved in creative thinking that were outlined in this chapter. Originality- seeing unique or different solutions to a problem (After noting that electricity passing through a conductor produces a glowing red or white heat, Edison imagined using this light for pratical uses. ) Fluency- Generating a large numbers pf possible solutions (Edison tried literally hundreds of different materials to find one that would heat to the point of glowing white heat without burning up.) Flexibility- Shifting with ease from one type of problem-solving strategy to another (When he couldn’t find a long-lasting material Edison tried heating it in a vaccum- thereby creating the first lightbulb.) Activity Handout 7.3 Which Type of Intelligence Is It? Read through the scenarios below and identify what type of intelligence—analytical, creative, practical, verbal, mathematical, spatial, bodily-kinesthetic, musical, interpersonal, intrapersonal, or naturalist—you think the individual has. 1. John spent years trying to come up with a solution to how to water a Christmas tree without having to do it himself every day. Type of Intelligence: Naturalistic 2. Susan has always been interested in building things. At a young age, she built model airplanes with great enthusiasm. She went to college and graduate school and earned a degree in architecture. She is now the CEO of her own architectural firm. Type of Intelligence: Spatial 3. Jim started taking ballroom dancing classes as a child. He became the Younger U.S. Champion at age 12, has continued dancing, and is now competing for the World Champion title. BopType of Intelligence: Bodily/Kinesthetic 4. Lee Ann Rimes earned her first Academy of Country Music Award at the young age of 12. She has sold millions of albums and continues to hit the charts with top-selling records. Type of Intelligence: Musical 5. Cecil wrote his first novel at the age of 16 and, just recently, his third novel made the New York Times best-seller list. Type of Intelligence: Linguistic 6. Jane has always loved working through math problems and excelled in her math classes. She can work through sudoku puzzles in little time and finds math very challenging. She is the senior accountant at her accounting firm. Type of Intelligence: Logic/Mathematical 7. Jeremy has always had a green thumb. He grew up on a tree farm and learned at a young age about plants and flowers. He went on to earn a graduate degree in the agricultural sciences and recently found a way to cross-pollinate watermelons with cantaloupes to make a delicious new fruit. Type of Intelligence: Naturalist Activity Handout 7.4 The Structure of Language List five examples of structures of language. Use the various language structures discussed in this chapter. Prelinguistic Stage – Birth to 12 months Crying ( reflexive in newborns) becomes more purposeful Examples: Hunger Cry, anger cry, pain cry Cooing (vowel-like sounds) (2-3 months) â€Å"ooooh,† â€Å"aaaah† Babbling (consonants added) (4-6 months) â€Å"bahbahbah,† â€Å"dahdahdah† Linguistic Stage – 12 months to 5 years Babbling resembles language of the environment, and child understands sounds relate to meaning Speech consists of one-word utterances – â€Å"Mama,† â€Å"juice,† â€Å"Daddy,† â€Å"up† Expressive ability more than doubles once child joins words into short places – â€Å"Daddy milk,† â€Å"no night-night!† Overtension(using words to include objects that do not fit the word’s meaning) – all men = â€Å"Daddy† all furry animals = doggy Telegraphic speech(like telegrams, omits nonessential connecting words) – â€Å"Me want cookie† â€Å"Grandma go bye-bye?† Vocabulary increases at a phenomenal rate.  Child acquires wide variety of grammar rules – adding -ed for past tense adding s to form plurals Overgeneralization(applying basic rules of grammar even to cases that are exceptions to the rule) – â€Å"I goed to the zoo† † Two mans†