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1.ssay 1: Person I Admire Purpose This essay assignment is the culmination of all your previous work in this module. You have ...

in this module. You have already engaged in the beginnings of the writing process of this essay. You have: Brainstormed ideas (see Chapter 11 in SMG) about the essay in the Discussion Board. Condensed your ideas down into manageable points around a working thesis. Displayed knowledge of Description essays from Learning Activities Drafted a Writing Activity (WA2) about this Description essay. Consulted with a writing tutor to find areas of strength and areas of improvement. Finally, you will now compose the final draft of a description essay that: contains a clear thesis identifies clear points to support your thesis engages in critical thought about the subject chosen uses 2-4 main ideas (points) that support your overall essay thesis allows you to expand on your chosen topic This essay assignment represents the first steps in writing any written essay for any academic course. The idea of thesis and support are the cornerstones of all essays. They represent the last part of the writing process. However, you may still revise your essay before final submission. This form of essay writing is the basis for all other academic writing pursuits. This skill translates to almost all careers that require critical thinking, critical reading, and responding in writing. Practicing "how to" write an essay carries over into any field's task of "what" you need to write. This skill will help with all formal writing. Task Write a 900-word essay, in MLA format, about a person or fictional character in whom you have an interest. Select a subject (person or fictional character you admire) Look to your Discussion (D1) and Writing Activity 2 (WA2) for your subject The person may be current or historical Some fictional characters have positive traits that can be identified. Select several (2-4) traits about the person or character that you admire and write about these. These will be the essay's main ideas. Biographical information should be used only to support claims. Your essay should focus on the traits you admire. Do not write a biography or tell a story. Example of what not to do: This person was born in 1979. They were born in middle Tennessee. They went to elementary school is 1985. They graduated in 1998. Instead, follow this example: This person was born in middle Tennessee. Entering elementary in school in 1985 was hard for them. They never felt that they belonged in kindergarten. However, they persevered, learning that school was a place for them to grow and be themselves. Focus on the "why" you admire them instead of a list of traits. In the above example, perseverance and learning to be themselves are the traits the writer of the essay admires. Organize your main ideas to establish the essay's pattern of organization. Your main ideas (traits you have chosen) need to be clearly organized. Decide in what order you wish to discuss these main ideas (traits) This organization needs to be presented in your introduction, preferably as the last sentence of your introduction in the thesis statement. Note: your thesis is generally the last sentence in your introduction, but it not a requirement. Follow this structure throughout the rest of the essay. Always check to see if your main ideas/topic sentences, in each paragraph, relate back to your thesis statement. Compose 5 well-developed paragraphs that support a clear thesis statement that is arguable. 5 paragraph minimum introduction paragraph introduces your essay and presents your thesis three body paragraphs Each paragraph contains one of your chosen admirable traits about your subject expressed in a topic sentence in your paragraph Each trait needs to transition to the next one in the next paragraph look to your chosen pattern of development conclusion paragraph rephrases your traits into one last paragraph reflects the earlier thesis, but with the knowledge of your traits expressed throughout the essay This essay is a basic form of an argument essay. The essay should make an argument such as that the person or character selected is worthy of admiration because of the traits selected. Criteria for Success A successful essay: Meets basic requirements of the assignment Has been written by the student submitting the essay, for this class, and for this semester, Does not contain plagiarism of any kind Academic dishonesty is an offense of the NSCC Student Code of Conduct, punishable by a failing grade or zero Has a clear thesis, main ideas, and pattern of organization Has been carefully edited and proofread to minimize grammatical and other editing errors These can be remedied by editing and with Writing Tutor visits and peer reviewing Follows MLA style and guidelines (spacing, indent, margins, etc. ) The essay will be graded with the Grading Rubric for Essays. Please familiarize yourself with this rubric before you submit your essay. Here is the condensed version of the rubric:
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2.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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3. The following is an excerpt from a letter sent by Henry Wallace to President Truman, July 23, 1946. From the ...

. From the Harry S Truman Papers, Harry S Truman Library, Independence, Missouri. Henry Wallace, a former Vice President of the United States, was a critical observer of US policies during the start of the Cold War. He believed US actions were as much to blame as Soviet actions in the starting of the Cold War. “How do American actions since V-J Day appear to other nations? I mean by actions the concrete things like $13 billion for the War and Navy Departments, the Bikini tests of the atomic bomb and continued production of bombs, the plan to arm Latin America with our weapons, production of B-29s and planned production of B-36s, and the effort to secure air bases spread over half the globe from which the other half of the globe can be bombed. I cannot but feel that these actions must make it look to the rest of the world as if we were only paying lip service to peace at the conference table. These facts rather make it appear either (1) that we are preparing ourselves to win the war which we regard as inevitable or (2) that we are trying to build up a predominance of force to intimidate the rest of mankind. How would it look to us if Russia had the atomic bomb and we did not, if Russia had 10,000-mile bombers and air bases within a thousand miles of our coastlines, and we did not? Our basic distrust of the Russians, … stems from differences in political and economic organization…I am convinced that we can meet that challenge as we have in the past by demonstrating that economic abundance can be achieved without sacrificing personal, political and religious liberties. Our actions to expand our military security system-such steps as extending the Monroe Doctrine to include the arming of the Western Hemisphere nations, our present monopoly of the atomic bomb, our interest in outlying bases and our general support of the British Empire-appear to them as going far beyond the requirements of defense.” Henry A. Wallace, Letter Sent to President Truman, July 23, 1946 Primary Source Document Questions: 1) What is the main idea contained within this document? (4 marks) 2) What is going on in the country/world when this document was written? (3 marks) 3) Is this document a reliable source? Why or why not? (Is there bias?) (3 marks) 4) What are 2 facts that you have learned in class or on your own that you can connect to this document? (2 marks) 5) How does this primary source contribute to our understanding of the time frame and/or history? (3 marks)
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4.help with Citing policies, programs, speeches, and or quotes involving President Theodore Roosevelt, what ways did Theodore Roosevelt transform the ...

what ways did Theodore Roosevelt transform the Presidency, and do you consider these actions as being a positive or negative precedent for the office of the President? It can be possible to be both but MUST be explained how.
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5. Take me as someone who has always had an interest in air pollution, but doesn't have the time to learn ...

earn about it independently. I am hiring you to learn all that you can about it and put together a report that will summarize all the information so that I can learn as much as I can in as little time as possible. Here is what you need to include in your report: An explanation of air pollution. What is air pollution? // Explain 4 causes of air pollution. Explain 2 sources of air pollution. What are the toxins or pollutants that contaminate the air? Explain at least 5 effects of air pollution on human health and/or the environment. Explain 3 solutions to stopping air pollution. What can be done by the government or private organizations? Work cited page should also be included, listing all the sources you used to get your information. THIS REPORT SHOULD BE TYPED AND ORGANIZED IN 5 OR MORE PARAGRAPHS. READ THE RUBRIC BELOW CAREFULLY TO UNDERSTAND HOW THIS PROJECT WILL BE GRADED!! WORKS CITED PAGE General guidelines for citing sources: List entries alphabetically by author (if no author list title first) Separate entries with periods General format: Author, last name first. "Webpage title." Website title. Date published/updated. Organization/publisher. Date accessed. < URL > Example: Landsberger, Joseph. “Citing Websites." Study Guides and Strategies . 12 May 2005. University of X. 13 May 2005. < http://www.studygs.net/citation.htm >. These websites will format your citations for you: http://citationmachine.net/ & http://easybib.com/ **You should use google slides or powtoons to put together your information. You should have a minimum of 6 slides not including the title slide with your name.** DUE FRIDAY, APRIL 3, 2020 Rubric Criteria Points Information Included Three or more required elements are missing (not including additional facts). (20 points) 1 or 2 required elements are missing (not including additional facts). (30 points) All required information is present, but no additional information is given. (40 points) All required information is present, including two additional facts. (50 points) _________ Quality of information Information has little or nothing to do with the main topic OR sections do not provide any supporting detail or explanation. (5 points) Information clearly relates to the topic, but some sections are lacking detail and explanation. (10 points) Information clearly relates to the main topic and all sections include some supporting detail and explanation. (15 points) Information clearly relates to the main topic and all sections include significant supporting details and explanation. (20 points) ________ Format Title page is not present at all AND/OR there are errors in typing, spacing, no picture, etc. (5 points) Product has improperly formatted title page AND/OR no picture or not creative. (8 points) Product has incorrectly formatted title page and has pictures. (12 points) Product has a title page in the proper format, has pictures and is creative. (15 points) ________ Spelling/Grammar 5 or more grammatical, spelling or punctuation errors present throughout the product. (2 points) 3-4 grammatical, spelling or punctuation errors present throughout the product. (3 points) 1-2 grammatical, spelling or punctuation errors present throughout the product. (4 points) No grammatical, spelling or punctuation errors present throughout the product. (10 points) ________ Works Cited Works Cited page not present. (2 points) All sources are documented with 3-4 errors in format OR Works Cited is not done a separate page. (3 points) Works Cited is done on a separate page and all sources are documented with 1-2 errors in format. (4 points) Works Cited is done on a separate, properly headed page with all sources documented in proper Works Cited format. (5 points) ________ Total _____/100
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6.Develop a brief snapshot that you could give to a colleague traveling to these countries outlining the key cultural differences ...

he key cultural differences and similarities between Australia and Japan. In what ways might these differences reduce message clarity in the exchange between the visitors and their hosts? Using the AIA model of interpersonal communication from chapter 5, explore the communication behaviors between the Australian visitors and their Japanese hosts. What special role did Takeshi play in these dynamics? Based on your assessment of this case, what were the primary clashes in cultures, customs, and expectations between the two groups? While hierarchy was clearly evident among the Japanese executives, it was not among the Australians. How do you think the Japanese made sense out of this? Explain. What cultural assumptions, if any, did each side make about the other in their approach to communicating? Were these assumptions accurate? What can you learn about any culturally mediated cognition (or information processing) involved in this case (see chapter 5)? What can you learn about the use—or lack of use—of communication protocols in this case (see chapter 5)? Women are not allowed in many of the more important dining and drinking establishments because of restrictive customs and traditions. Many of these are ‘members only.’ In view of this, how can women break into these inner circles where critical business decisions are often made? How could Robert and Luke have better prepared themselves for their visit to Japan? What lessons does this case offer for global managers visiting a foreign country? What lessons does this case offer for host managers?
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7.Q2.BMPractice.5th Your email address (npack@myhsa.net) will be recorded when you submit this form. Not you? Switch account * Required Write your FIRST name: ...

Not you? Switch account * Required Write your FIRST name: * Write your LAST name: * 1. Which best describes the difference between single cell and multicellular organisms? * 1 point a. Single-cell organisms can perform all processes in one cell, but multicellular organisms need many cells to do specialized functions together. b. Single-cell organisms need one cell to function, but multicellular organisms need lots of cells who all have the same job. c. Single-cell organisms need many cells to do specialized functions together, but multicellular organisms can perform all processes in one cell. d. Single-cell organisms need multiple cells with similar structures, but multicellular organisms need only one cell. 2. How does your brain move your arm? * 1 point a. The brain sends a message to your bones to move your arm b. The brain sends a message to your nerves to move your arm c. The lungs send a message to your muscles d. The muscles send a message to your brain 3. Which correctly explains the difference between the respiratory and circulatory system? * 1 point a. The respiratory system includes your lungs and the circulatory system includes your heart b. The respiratory system takes in oxygen and the circulatory system breaks down food c. The respiratory system takes in water and carbon dioxide, but the circulatory system does not d. The respiratory system includes the brain and the circulatory system includes to lungs 4. Which of the following is a learned behavior? * 1 point a. Dimples when you smile b. Ability to sing c. Freckles d. Hair color 5. These are all examples of: * 1 point Captionless Image a. Evaporation b. Radiation c. Transpiration d. Percipitation 6. Which of these does NOT make a new material? * 1 point a. Burning a wooden log b. Iron nail rusitng c. Ice melting d. Mysterious color change Explain why: * This is a required question 7. What would you want to put your drink it to keep it cold? * 1 point Metal (good conductor) Plastic (bad conductor) Explain why: * 8. How does the sun play a role in the water cycle? * 1 point a. Heats water and turns it into water vapor gas b. Cools gas to make water droplets and clouds c. Creates strong winds d. Causing it to rain 9. What will happen when a metal chair is left outside in the hot sun? * 1 point a. Increase in weight b. Decrease in weight c. Increase in size d. Decrease in size 10. What would the weight of the lemonade be if the water is 3.0 grams, the ice is 2.5 grams, and the mixture is 0.25 grams? * 1 point a. 5.75 g b. 5 g c. 6.25 g d. 10.1 g
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8.Task 1 You are asked to carry out a study on behalf of a business analytics specialised consultancy on a subsample ...

on a subsample of weekly data from Randall’s Supermarket, one of the biggest in the UK. Randall’s marketing management team wishes to identify trends and patterns in a sample of weekly data collected for a number of their loyalty cardholders during a 26-week period. The data includes information on the customers’ gender, age, shopping frequency per week and shopping basket price. Randall’s operates two different types of stores (convenient stores and superstores) but they also sell to customers via an online shopping platform. The collected data are from all three different types of stores. Finally, the data provides information on the consistency of the customer’s shopping basket regarding the type of products purchased. These can vary from value products, to brand as well as the supermarket’s own high-quality product series Randall’s Top. As a business analyst you are required to analyse those data, make any necessary modifications in order to determine whether for any single customer it is possible to predict the value of their shopping basket. Randall’s marketing management team is only interested in identifying whether the spending of the potential customer will fall in one of three possible groups including: • Low spender (shopping basket value of £25 or less) • Medium Spender (shopping basket value between £25.01 and £70) and • High spenders (shopping basket greater than £70) For the purpose of your analysis you are provided with the data set Randall’s.xls. You have to decide, which method is appropriate to apply for the problem under consideration and undertake the necessary analysis. Once you have completed this analysis, write a report for the Randall’s marketing management team summarising your findings but also describing all necessary steps undertaken in the analysis. The manager is a competent business analyst himself/herself so the report can include technical terms, although you should not exceed five pages. Screenshots and supporting materials can be included in the appendix. Requirements After completing your analysis, you should submit a report that consists of two parts. Part A being a non-technical summary of your findings and Part B a detailed report of the analysis undertaken with more details. Part A: A short report for the Head of Randall’s Marketing Management (20 per cent). This should briefly explain the aim of the project, a clear summary and justification of the methods considered as well as an overview of the results. Although, the Head of Randall’s Marketing Management team who will receive this summary is a competent business analytics practitioner, the majority of the other team members have little knowledge of statistical modelling and want to know nothing about the technical and statistical underpinning of the techniques used in this analysis. This report should be no more than two sides of A4 including graphs, tables, etc. In this report you should include all the objectives of this analysis, summary of data and results as well as your recommendations (if any). Part B: A technical report on the various stages of the analysis (80 per cent). The analysis should be carried out using the range of analytics tools discussed: • SPSS Statistics Ensure that the exercise references: • Binary and multinomial logistic regression • Linear vs Logistic regression • Logit Model with odds Ratio • Co-efficients and Chi Squared • MLR co-efficients • Assessing usefulness of MLR model • Interpreting a model • Assessing over-all model fit with Psuedo R-Squared measures • Classification accuracy (Hit Ratio) • Wald Statistic • Odd ratio exp(B) • Ratio of the probability of an event happening vs not happening • Ratio of the odds after a unit change in the predictor to the original odds • Assumptions • Residuals analysis • Cook’s distance • DfBeta • Adequacy (with variance inflation factor VIF and tolerance statistic) • Outliers and influential points cannot just be removed. We need to check them (typo? – unusual data?) • Check for multicollinearity • Parsimony Write a short and concise report to explain the technical detail of what you have done for each step of the analysis. The report should also cover the following information: • Any type of analysis that might be useful and check whether the main assumptions behind the analyses do not hold or cannot be • Give evidence of the understanding of the statistical tools that you are using. For example, comment on the model selection procedure and the coefficient interpretation, e.g. comment on the interpretation of the logistic regression coefficients if such a method is used and provide an example of • Conclusions and explanation, in non-technical terms, of the main points
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1.AU MAT 120 Systems of Linear Equations and Inequalities Discussion

mathematicsalgebra Physics