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All of the questions i don t understand just need a bit of guidance

 
 

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1.I'm doing a lab on heating hydrates to form their anhydrous compounds. One of the questions on the lab asks ...

ab asks why would the method used (heating) not be suitable for determining the hydration for all hydrates.
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2.Hi, i require somebody with advance knowledge in the following topics and teaching skills. Functions, Cartesian coordinates, graphs, kinematics. Trigonometric functions Exponential and ...

ions, Cartesian coordinates, graphs, kinematics. Trigonometric functions Exponential and logarithmic functions Limits and differentiation Algebra, vector and matrices Combinatorics and Probability This task is divided in 3 stages. each stage will have its own milestone and will be released upon completion and review. Please just bid if you are available for all the tasks, check carefully the times. Complete a questionary with the math questions, approx. 7 pages every answer should be complete and extensive and fully explained in order to be fully understood the process. Approx. time 2 to 2.5 hours. Task 2 will take place on Monday, September 6, 2021 at: 1:00pm / 13:00 Coordinated Universal Time (UTC) This task will include a similar questionary with A B OR C Answers, approx time 1.5 hours to 2 hours, This questions will be provided one by one and requires that we connect by chat live. Task 3 will take place on Monday, September 6, 2021 at: 1:00pm / 13:00 Coordinated Universal Time (UTC) after task2 Upon completion of task 2 a document similar to task 1 will be provided in pdf, this one need to be completed within 4 hours after provided approx. 7 pages every answer should be complete and extensive and fully explained in order to be fully understood the process. For now I will provide task 1 document.
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3.Hi, Is the article below non-fiction or creative non-fiction? What makes it either of these titles? Rose By: Tomson Highway Should ...

Rose By: Tomson Highway Should Only Native Actors Have the Right to Play Native Roles? Deep in my Cree heart of hearts, I had two-millennium projects on the go, though this only in hindsight. One was for the year 2000, the other for 2001, and thus just to make sure I had the right year for actually beginning this brand new, and incredibly exciting, millenium. Those two projects? For the year 2000, an English language production, in Toronto, of the third play in what I call my “Rez Septology,” a play called Rose. And for the year 2001, the Japanese-language premiere, in Tokyo, of the second play in the septology, a play called Dry Lips Oughta Move to Kapuskasing. And this is how the two projects affected me and my life: When it dawned on me, one cloudy day, that my career as a playwright had been destroyed by political correctness, I just about died. I wanted to throw myself under a subway train and just call it a day. I was horrified! After all that work? After all those years of struggle and of hope and of prayer and of pain and of tears and of more struggle, against odds that were impossible to begin with? But how can it be? How can the voice of a playwright be silenced? By a method so brutally effective as political correctness? In a country supposedly as civilized as Canada? Questions like this, and others like them, resounded through my brain over and over and over again. As they do to this day. Permit me, therefore, to start off with the “backdrop” before I go into “the projects,” please: First of all, I don’t happen to have the good fortune of coming from a city such as Montreal or Vancouver or Toronto or Ottawa or New York or any other major city where educational (and employment) opportunities, right from age one, are virtually unlimited (believe me, you can be a movie star by age one in such cities!). And I don’t come from a city where English (or French) is the language of the day. I come, instead, from one of the tiniest, most remote, most inaccessible, most underprivileged and most troubled Indian reserves in the country, Brochet, Manitoba, population 700, one thousand five hundred kilometers directly north of Winnipeg (further than Churchill but on the opposite side of the province). I come from a place where the language spoken is Cree. AND Dene, incidentally; because we are located so far north, we spill over into the land of such sub-arctic peoples as the Dene (linguistically speaking) to the Navajo and other southwest Native nations. In fact, to fly from Toronto (my home until recently) to Brochet costs more than a ticket to Sydney, Australia or to Rio de Janeiro. To fly home to visit my family (which I do regular as clockwork), I could fly from Toronto to London, England and back - three times each way- for the same amount of money, easy. No jumping in a taxi or a car or on a bus or a train or a “seat sale” seat on a plane from Toronto to Vancouver for the likes of us, not to go have lunch with Mom, not to go to a funeral. Plane ticket prices for Canada’s northerners? Brutal. Brutal, brutal, brutal. And that’s just the distance barrier, never mind the linguistic. For Cree is as different from English as English is from Cantonese; not one shred of resemblance exists. In fact, the two languages are often completely at odds with each other. In one language, for instance, God is male, in the other, female. And that’s just the start… So along comes this little Indian boy from one such remote northern Native community and into the big, big city of Toronto and he dares to dream of a career in the theatre, or, at the very least, in the world of Canadian letters. Fat chance, baby! Forget it. He doesn’t listen. He goes ahead anyway. “No matter how they laugh, let them laugh. I can do it,” he says to himself. And he puts his shoulder to the grindstone, as they say in movies. People always say The Rez Sisters was my first play. That’s not true. It’s not true at all. It may have been my first play to be successful with the general public. But there were five plays that came before that, every one of them self-produced, with money from my very own pocket. And some of these plays were awful, some of them were good, at least two of them were very, very good. But only with The Rez Sisters did my work suddenly, finally get noticed by, as I say, a wider public. By which time, I was almost forty. And what I had to go through to get those first five plays self-produced, you don’t even wanna know! How do you make money standing with your back against the wall in some big city, downtown back alley? Late, late at night? Guess. When it came to that “first” play, however - and I speak here about The Rez Sisters, which, in fact, was my sixth - it was the fall of 1986. In those days, of course, you could count the number of professional Native actors in this country on the fingers on one hand alone. In my wildest dreams - keeping in mind that my work was totally unknown then - I dared to write this play for “them,” meaning for those four or five professional Native actors then in existence. The reason? I adored them. I just absolutely adored these people AND their work. They were my heroes. They kept my dreams alive. So it came to the casting of the show. Finally, my play was going to get done! I was so excited I could hardly sleep at night. So then I approached them, these Native actors, for you see, as always, I was the producer, again, or at least in this case, one of the two co-producers, god bless the other co-producer, may he rest in peace. These Native actors, however, all said “no.” They were all too busy working on other projects, many of them on Native subject matter written by - horrors! - white people! I pleaded with them and pleaded with them and pleaded with them but, still, they said “no.” God bless them and their courageous careers but they made me cry. They made me want to give up and die. So what choice did I have? Either I forget the play and kill myself. OR I go right ahead and hire - horrors! - white actors! Which is what I did, exactly. And these white actors, they were SO generous, they were so kind, so supportive, so confidence generating that, with their help as with that of those Native actors who did say “yes,” god bless them - I simply bloomed. The play opened. The play was successful. And it has never really stopped playing ever since, somewhere in the world, giving continued employment to many, many, many actors both Native and non-Native. As it will do probably forever - your grandchildren will be playing in The Rez Sisters! - something that would NEVER have happened if not for the help of extremely generous people who happened NOT to be Native, actors who happened to be white! Several years later, I experienced a similar situation. This time, it was with a play called Rose. Again I wrote it for Native actors - of which, by this time (1991), there were many more - actors whom I absolutely adored, whose work I absolutely adored. And again, for some strange reason, they said “no.” They were NOT interested. I couldn’t get them interested. If their objective was to make me cry, then they were certainly utterly successful. So then I waited ten years. Ten years! And by this time, I’m almost fifty years old, okay? Until some incredibly generous non-Native person comes along and offers to produce it, albeit, in a university setting, that is, a non-professional (i.e., non-paying) setting. I was thrilled. I was so thrilled I could have danced myself to shreds! So then they went to work on it, this group of “white kids,” none of whom was older than twenty-five. And they worked. And they worked and they worked and they worked and they worked. Never seen such a group of people work so hard. And with so much faith and so much conviction and so much love. It was a blessing from heaven to be sitting there beside them, to be in the same room as them. They glowed, they glowed like lightbulbs. You’ve never seen people so happy, so high. And by the time the show opened, you couldn’t get a ticket; it had been sold out way before opening; hundreds of people were turned away. On virtually no advertising; it all happened by word of mouth. And, to me -as to most people who saw it - the production was FANTASTIC! It was rich, it was beautiful, it was spectacular, it was moving, it was...miraculous! Not perfect, perhaps, but pretty gall-darned good. But these were the things about this experience that most struck me, that most stayed with me: Not one of these actors got paid; they were students; in fact, because they were students of the drama programme at the University of Toronto, they were paying for the experience through their tuition fees which, if I understand correctly, can be as much as $8,000 a year at that particular institution. Pardon me - ONE of those actors DID get paid, a little girl we needed who, of course (being little), came from outside the drama programme. And she, by the way - and god bless her - was the only performer in that production who was Native. But how many Native actors do YOU know who would be willing to pay $8,000 to be in a show? Any show? That question stunned me. All the other performers? Well, we had French-Canadians and Anglo-Canadians and Dutch-Canadians and Polish-Canadians and Ukrainian-Canadians and Jewish-Canadians and Peruvian-Canadians and Lebanese-Canadians and Portuguese-Canadians and god only knows what else! And none of them have even met a Native person, up until then. They pretty well all came from the city of Toronto, or somewhere very close by (such as Barrie, or Sudbury) so they had never, ever been privy to any even remotely “Native experience” in their lives. Now, for the first time, in their third year of university, at ages 21-25, here they were getting this heavy-duty immersion course in “Native Studies,” meaning Native culture, Native history, Native spirituality, Native language - they were learning to speak Cree for god’s sake, something you can’t get Cree kids to do these days! - Native art, Native music, and just generally, Native life in this country, today. And you know what? They all fell in love with it. Now, as the direct result of such an experience, what they have for Native culture and people and languages is endless respect, even awe. And love. And what’s more, they will pass on that knowledge and that love and respect - and wisdom - on to their children and their grandchildren and their great grandchildren, etc., etc., etc…. The experience changed their lives. And both communities - Native AND non-Native - will benefit from it, both in the long term AND permanently. The experience certainly changed MY life. It shocked me. The shock? That generosity and kindness and love know no racial boundaries. And that, contrariwise, UN generosity and lack of kindness and just plain cruelty ALSO know no racial boundaries. Coming out of Rose, I ended up with the immense gift of, minimum, 30 gorgeous, fantastically kind new friends, people whose friendship and generosity - and laughter - I will cherish right up until the day I die. And the icing on the cake? A show was born that otherwise would never have been born, that otherwise would have died forever. A show was born that will give useful, meaningful, enriching employment - and enjoyment - to many, many people for many, many years. Like, I say, the whole thing was a shock. And it took ten years! One more story before I close off on my point, the story, that is of my second “millennium project,” so-called. As it turns out, I’m writing this from Japan, specifically Tokyo, where the Japanese-language production of another play of mine, Dry Lips Oughta Move to Kapuskasing, just opened. It was awesome. And, again, it wasn’t so much the production - which was absolutely stunning! Imagine, if you will, the Seven Samurai doing Dry Lips.. - that move me so much as the generosity of the cast and crew, Japanese every one of them. That generosity, that kindness, that largeness of heart, just astonished me. It made me cry. To be the beneficiary of kindness on that scale is a gift one could easily die for. As a result of just that one project, I now have a hundred friends, easy, in Japan. For the rest of my life! I LOVE Tokyo! And again, none of these people had ever met a Native person - well, two had, but…- much less knew anything about Native culture first hand. By the end of the six-week rehearsal process, however, some of them were speaking Cree AND some Ojibway. And let me tell you, to hear your own Native tongue being spoken with a Japanese accent is a bittersweet experience indeed. (I mean, come on, folks! To be unilingual in a language that’s not even your own? If the Japanese can learn Cree, YOU can learn Ojibway!) And, again, these people will pass their respect for Native people and culture on to their children, their grandchildren, their great great grandchildren etc., etc., etc…. The experience changed their lives. It changed mine. The one question I kept being asked over and over? How does it feel to have Japanese actors playing Native parts? (In the aforementioned Canadian production of The Rez Sisters, it was more like, “how dare these two white women STEAL Native parts from Native actors!” Well, good grief! The show would never have been born without them in the first place!) Anyway, my answer to the question in Japan was this: 1) These Japanese actors, they’re human beings, for god’s sake. What they are, first, foremost and last, is real-life, flesh-and-blood human beings with feelings, human beings who happen to be incredibly talented. And incredibly generous. If they hadn’t agreed to do it, it would never, EVER have happened. 2)To me, saying that only Native actors have the right to play Native roles - on stage, anyway, as opposed to film, which another thing entirely and not at all what I’m talking about here - well, that’s like saying only Italian actors have the right to play in Romeo and Juliet, or only Danish actors have the right to play in Hamlet, or only Spanish actors have the right to play in Blood Wedding. It would be like saying to someone like Canadian film-maker Atom Egoyan, “you have the right to work with Armenian actors only,” which, of course, would automatically bring his career to a standstill; it would destroy it, it would kill it, right there on the spot. Or as I asked, one sunny day, a respected, much admired Jewish theatre artist, “how would you like to work with no but Jews for the rest of your life?” You could almost see his hair stand on end; the very thought horrified him. My argument with someone else at that same summer gathering? “Theatre is about illusion, the better the magic, the more profound the experience.” Besides, working in a situation of cultural, ethnic and linguistic diversity can be the most empowering, most liberating, most exhilarating experience in anyone’s life. Working in a pressure cooker environment by comparison? Working in the context of a “ghetto” of any kind whatsoever, be that “ghetto” Native or black or French or English or Jewish or female or male or gay or…? Remember the expression, “familiarity breeds contempt”? Well, only too frequently, such a working environment can only mean THAT kind of disaster. Or one of plain, out-and-out hatred. And hatred, as who doesn’t know, kills and kills completely. It kills relationships, it kills communities, it kills love. Look at what the Argentinians did TO EACH OTHER during the so-called “dirty war” of the 1970s. Look at what the Spanish did TO EACH OTHER during the Spanish Civil War. Look at what the Chileans have done TO EACH OTHER. Look at the Irish in Northern Ireland. Look at the Balkans, at Cambodia in the ‘80s, at Haiti, at Rwanda, etc., etc., etc…. Does anybody out there actually want to live like that? Internally directed hatred, internally directed violence - which, in essence, is what civil war is - well, there is nothing more destructive, we all know that. Diversity! What we all need is diversity! What we all need, desperately, is room to breathe! That’s what makes Canada work as a society; precisely its diversity. If we - all of us - were Cree, I would have had my head macheted off a long, long time ago! All by way of saying the following: “Only Native actors have the right to play Native roles?” Music to Native actor’s ears, perhaps, yes, god bless them. But death to a Native playwright’s career. Because chances are that the show will NEVER, ever get done. No producer in the country has balls that size, balls big enough, that is to say, of going against the political grain. Not today. Not tomorrow. Stop it, you people! It’s killing us! Myself, I had to move out of the country, finally. I could no longer live there, not really. I kind of live, well...all over the world now. I do where I can find work. Because I certainly am NOT finding it in my own country. I go where I can find the kindness, I go where I can find the generosity, I go where I can find the friendship and support. The working situation in Canada, for someone like me? Well, it has simply become unworkable. I find it stultifying, asphyxiating. I CAN’T work under such artificial constraints. No one can. Sooner or later, it will drive you crazy. Not to mention kill your imagination. AND your career. All as you watch, with envious eyes, the careers of your non-Native playwright colleagues (whom you love) bloom like a garden everywhere around you… It seems to me that what we have here are two distinct choices: a) either we cast a show politically correctly (meaning only Native actors play Native parts) and the show never, ever gets produced (trust me; I waited ten years for Rose to happen, more for others which will NEVER get done), or b) cast it any way you want, in whatever way you can afford it budget-wise (plane tickets are a waste of money, trust me), let the show be born, let the show become successful, and THEN it will live on forever to employ many, many, many more actors, Native and otherwise, for many, many, many more years. And the upshot of the latter arrangement? Having Native and non-Native actors working side by side like that? There is no better healing agent for bringing two only-too-frequently disparate, disharmonious communities together. And, in the process, making our country an even better, richer, healthier country than it is already. The life of an artist is so incredibly challenging, after all, a Native artist’s most especially, in Canada today, or anywhere in the world. Everywhere you turn, insurmountable obstacles meet you square in the face. Everywhere you turn, events, or people, conspire to bring you down, to destroy you. What those artists need, and need most desperately, is as much breathing space as you can give them, the freedom to create, the freedom to employ, the freedom to fly with their souls and imaginations. Don’t hold them down. Don’t shoot them down. You will kill them. Or drive them away. They need all the help they can possibly acquire. They’ve already almost killed themselves just to get to where they are today. Someone said to me one day: “Artists are here to break down barriers, not to create them.” So, myself, I’ve moved away. I’ve left my own country, to continue helping to break down barriers in whatever way I still can, at my age, in the only way I know how, and to have a good time doing it. The thing is, I can do that. I can take it. I’ve had, as they say in the business, my “fifteen minutes of fame.” Enough already. I’ve been very, very lucky (not to mention being the beneficiary of extraordinary teachers, absolutely extraordinary parents and many dear, dear friends). And I’ve moved on, to other things. I have had, after all, no choice. The sad thing is this: what about the next generation of Native playwrights? Will they, too, one day find themselves standing on that subway platform - late, late at night, stoned, drunk out of their skulls, not a penny in their pockets, no future in sight - and those long, silvery tracks down below gleaming up at them in a manner most, most enticing?
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4.WORD BANK USE WORD BANK FOR 1-17 ONLY!! Longitude Political Map Prime Meridian Latitude Location Equator Caucasus Mountains Apartheid Nationality ...

ator Caucasus Mountains Apartheid Nationality Physical Map Relative Location Geography Human-Environment Interaction Region Absolute Location Movement Place 1. “What is it like there?” 2. What is 0 degrees’ latitude? 3. What is 0 degrees’ longitude? 4. What is the exact position of a place on the earth? 5. “Where is it?” 6. What are parallel lines that measure north and south? 7. What is the study of the earth and the people on it? 8. What kind of map shows mountains, rivers, plains, etc.? 9. “How does the environment affect man?” 10. What are lines that measure east and west? 11. What is the position of a place in relation to another place? 12. What is the mountain range that separates Europe and Asia? 13. “An area with similar characteristics.” 14. What kind of map shows boundaries and countries? 15. What is the term used to describe segregation of Blacks and Whites in South Africa? 16. “How are people and places connected?” 17. Belonging to a particular nation by origin, birth or naturalization: For 18-20 Please CIRCLE all Answers that Apply 18. Desert: a. Rainy b. Cold c. Hot d. Humid 19. Tundra: a. Rainy b. Cold c. Hot d. Humid 20. Rain Forest: a. Rainy b. Cold c. Hot d. Humid Multiple Choice For Questions 21-31 Please Choose the Letter of the Correct Response 21. What is the longest river in N. America? a. Mississippi b. Ohio c. Missouri d. Colorado 22. What is the longest mountain range in N. America? a. Appalachian b. Rocky 23. What are the oldest mountains in N. America? a. Appalachian b. Rocky 24. What mountain range is over 4,000 miles long? a. Rocky b. Himalayan c. Appalachian d. Andes 25. Where is the world’s largest rainforest? a. Africa b. North America c. South America d. Asia 26. Who colonized most of Africa? a. North America b. Asia c. Europe d. South America 27. What is the largest desert in the world? a. Sahara b. Arabian c. Mojave d. Kalahari 28. What is the longest river in the world? a. Rhine b. Amazon c. Mississippi d. Nile 29. What is the capital city of the U.S.? a. Atlanta b. Washington, D.C. c. Detroit d. Los Angeles 30. What is the largest continent? a. North America b. Africa c. Antarctica d. Asia 31. What is Asia’s most heavily populated country? a. China b. India c. Pakistan d. Thailand Map Practice For Questions 32-40 Please Use the Map Below to Match the Locations to their Letters on the Map. For Example: 32. Rocky Mountains = B 32. Rocky Mountains 33. Appalachian Mountains 34. Georgia 35. Washington, D.C. 36. Great Lakes 37. Mississippi River 38. Gulf of Mexico 39. Atlantic Ocean 40. Pacific Ocean
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6.students are expected to research and compose a paper based on the application of concepts and theories examined in class. ...

ies examined in class. This paper is not a literature review, though a literature review is part of your work. As this course takes place in a compressed timeline, I provided some suggestions for research topics. Feel free to use one of these as a springboard or propose your own. At the end of the second week of class, students submit a three-page research paper prospectus. A research prospectus is a preliminary plan for conducting a study. This is not a detailed and technical research proposal, but rather, an analysis of the issues likely confronted in such a study. In essence, it is a preliminary proposal of work. Research Paper Prospectus Elements To complete the Research Paper Prospectus, consider the following elements. While the prospectus is limited to three pages of body content, remember, students must cover each of these areas as relevant to the plan for research: Research Problem. What is the research problem? A problem is a situation when left untreated, produces a negative consequence for a group, an institution, or a(n) individual(s). What makes it a problem? For whom? Who says so? Assumptions. On what assumptions is the work based? Which assumptions are verifiable in literature? Which assumptions are speculative? Theoretical Issues. What theoretical issues arise from the study? For example, "theoretically," how is the problem and suspected results explained to other scholars? Is there a behavior view? A social systems view? Are there other theoretical orientations to consider in the study's design? Literature Review. What, in general, does the literature say about the topic? While more development is expected for the final paper, a review of major theories, research, and writers in the field is needed. Research Questions. Based on the problem, what are the research questions to be answered? How and why will answering the questions contribute to solving the research problem? Remember....a research question can only be answered with empirical data or information. General Research Plan. In general, what research is necessary to answer the research question. What kind of data is needed? Specify the type, such as surveys, observations, or interviews. Who is to be studied and why? How is the data reduced and made sense of? How is the quality of the data assured? Anticipated Difficulties and Pitfalls. What kind of difficulties and pitfalls are expected in a study of this nature? What can be done to prevent them or minimize their effects? Anticipated Benefits. Who will benefit from the fact this research is undertaken? How? Why? Who might be disturbed by this proposed study? How? Why? Paper Format Requirements The Research Paper Prospectus is presented in standard APA 7 format, with a cover page, running head, body, and references list. The cover page and references do not count toward the three-page requirement. The body uses headers and in-text citations in the manner prescribed by APA. Students should include any references they know at the time they submit the prospectus, though it is expected the references may change or increase in number. Full and complete adherence to APA is required. APA Basics As APA format is the rule, remember the formatting rules shown on the Sample Paper (Links to an external site.): Times New Roman, 12pt 1" margins on all sides Double spaced, with extra line spaces removed (see below) Page numbers in the upper right Two spaces after concluding punctuation 150-250 word abstract with keywords APA-style in-text citations and quote format. Use the Purdue OWL in-text citation information (Links to an external site.)to help you. Alphabetical (by author) reference page with correct reference format. DO NOT trust the reference generator in your word processing program. It is WRONG! Use the Purdue OWL references information (Links to an external site.)to correctly structure references and do so manually.
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7.Question 1: What is a player’s « reaction function » in a Bertrand game ? Question 2: What is a subgame ...

subgame perfect Nash equilibrium? Question 3: In which situations should we need the mixed extension of a game? Question 4: Find, if any, all Nash equilibria of the following famous matrix game: L R U (2,0) (3,3) D (3,4) (1,2) Question 5: What is the difference between a separating equilibrium and a pooling equilibrium in Bayesian games? Question 6: Give another name for, if it exists, the intersection of the players’ best-response « functions » in a game? Question 7: assuming we only deal with pure strategies, the Prisoner’s Dilemma is a situation with: No Nash equilibrium One sub-optimal Nash equilibrium One sub-optimal dominant profile No dominant profile Question 8: If it exists, a pure Nash equilibrium is always a profile of dominant strategies: True False Question 9: All games have at least one pure strategy Nash equilibrium: True False Question 10: If a tree game has a backward induction equilibrium then it must also be a Nash equilibrium of all of its subgames: Tr 2/2 Question 11: The mixed Nash equilibrium payoffs are always strictly smaller than the pure Nash equilibrium payoffs: True False Question 12: Which of the following statements about dominant/dominated strategies is/are true? I. A dominant strategy dominates a dominated strategy in 2x2 games. II. A dominated strategy must be dominated by a dominant strategy in all games. III. A profile of dominant strategies must be a pure strategy Nash equilibrium. IV. A dominated strategy must be dominated by a dominant strategy in 2x2 games. I, II and IV only I, II and III only II and III only I and IV only I, III and IV only I and II only Question 13: A pure strategy Nash equilibrium is a special case of a mixed strategy Nash equilibrium: True False Question 14: Consider the following 2x2 matrix game: L R U (3,2) (2,4) D (-1,4) (4,3) The number of pure and mixed Nash equilibria in the above game is: 0 1 2 3 Exercise (corresponding to questions 15 to 20 below): assume a medical doctor (M) prescribes either drug A or drug B to a patient (P), who complies (C) or not (NC) with each of this treatment. In case of compliance, controlled by an authority in charge of health services quality, the physician is rewarded at a level of 1 for drug A and 2 for drug B. In case of noncompliance, the physician is « punished » at -1 level for non-compliance of the patient with drug A and at -2 level for non-compliance with drug B. As for the compliant patient, drug A should give him back 2 years of life saved and drug B, only 1 year of life saved. When noncompliant with drug A, the same patient wins 3 years of life (due to avoiding unexpected allergic shock for instance), and when non-compliant with drug B, the patient loses 3 years of life. Question 15: You will draw the corresponding matrix of the simultaneous doctor-patient game. Question 16: Find, if any, the profile(s) of dominant strategies of this game. Question 17: Find, if any, the pure strategy Nash equilibrium/equilibria of this game. Question 18: Find, if any, the mixed strategy Nash equilibrium/equilibria of this game. Questions 19 and 20: Now the doctor prescribes first, then the patient complies or not: draw the corresponding extensive-form game (= question 19) AND find the subgame perfect Nash equilibrium/equilibria (=
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8.Answer all of the following questions as fully and succinctly as possible. YOUR RESPONSES SHOULD BE BASED ON POSTED NOTES ...

BASED ON POSTED NOTES AND CLASS LECTURE ONLY. IF YOU USE/CITE OTHER SOURCES, POINTS WILL BE DEDUCTED. Most responses should be at least four sentences. 1. Summarize the "Solitary Confinement" video. After watching this video, do you believe that this form of punishment is appropriate and/or effective in rehabilitating criminals? 2. Based on class lecture/notes, summarize Ross Chambers theory regarding “unexamined" individuals in society. 3. How are gender, race and aging interrelated? 4. What are the strengths and drawbacks of capitalism? What are the strengths and drawbacks of socialism? How are politics and economics interrelated? 5. Summarize any section of the class lecture/notes that resonated most with you (and that you were not asked about on any formal assessment such as the mid-term examination or other assignment).
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1.AU MAT 120 Systems of Linear Equations and Inequalities Discussion

mathematicsalgebra Physics