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1.THINK: WHAT NEW LIT THEORY LENS DO YOU THINK SHOULD EXIST? When preparing for this assignment, ask yourself the following ...

yourself the following to start planning your new theory: Is there a theory we studied that you disagree with? What about it do you dislike or wish to change? Why? Which theory would you want to expand further or alter to make it more inclusive of a certain group/culture/trend etc.? What topics in the media angers/upsets/excites/confuses you the most? While reading The Immortal Life of Henrietta Lacks and/or an essay from The Anthropocene Reviewed, were you particularly drawn to certain events/characters/settings/symbols etc.? What is your favourite genre of media? (i.e. novels, films, short stories/films, articles, TV shows, poetry, advertising, social media etc.) CREATE: Now use your brainstorming and knowledge of literary theories to create a new school of literary criticism and apply it to either Henrietta Lacks OR The Anthropocene Reviewed, and one other text of your choice. PRESENT: Design and create a multimedia presentation that incorporates words and images/graphics presenting your new theory. What kind of multimedia presentation should I create? E.g. a slideshow of 10-15 slides, a video no longer than 2 minutes, an infographic, an annotated painting/graphic design, magazine article/issue Your multimedia presentation must include the following: a unique name for your new theory a brief definition for your theory - types of questions to ask yourself when using your lens a brief rationale statement for your theory (rationale is basically why you believe this theory needs to exist and how it was inspired) an application of your theory to any piece of literature (novel, play, short story, fairy tale) or alternate media text (TV show, comic, advertisement, painting, film clip) **Note: You will have to summarize/introduce your choice of text (e.g. film clip, fairy tale, comic, painting etc.) before you apply your theory an application of your theory to one passage approx. 250 words long from The Great Gatsby. (not the passage you chose from Lit Theory Assignment #1) Complete the “Student Comments” part of the rubric (see below) evaluating your final piece Check out some Level 4 examples to get an idea of what a new theory and its application could look like for student selected texts. You will upload your final presentation to GC on the due date as shown on the class calendar. You will NOT have to present your final product to the class.
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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.I want help with questions 2 and 3 b, so for question 2, I want to know what all ...

ll marks, and for question 3 b I want to know how to write a perfect summary.
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6.Please check options and pictures within the file attached. If the questions can be answered within a free demo session ...

hin a free demo session as I have my answers, but just want to confirm them, that would be greatly appreciated. Question 1: A block of mass M = 0.10 kg is attached to one end of a spring with spring constant k = 100 N/m . The other end of the spring is attached to a fixed wall. The block is pushed against the spring, compressing it a distance x = 0.04 m . The block is then released from rest, and the block-spring system travels along a horizontal, rough track. Data collected from a motion detector are used to create a graph of the kinetic energy K and spring potential energy Us of the system as a function of the block's position as the spring expands. How can the student determine the amount of mechanical energy dissipated by friction as the spring expanded to its natural spring length? Question 2: The Atwood’s machine shown consists of two blocks connected by a light string that passes over a pulley of negligible mass and negligible friction. The blocks are released from rest, and m2 is greater than m1. Assume that the reference line of zero gravitational potential energy is the floor. Which of the following best represents the total gravitational potential energy U and total kinetic energy K of the block-block-Earth system as a function of the height h of block m1? Question 3: A 2 kg block is placed at the top of an incline and released from rest near Earth’s surface and unknown distance H above the ground. The angle θ between the ground and the incline is also unknown. Frictional forces between the block and the incline are considered to be negligible. The block eventually slides to the bottom of the incline after 0.75 s. The block’s velocity v as a function of time t is shown in the graph starting from the instant it is released. How could a student use the graph to determine the total energy of the block-Earth system? Question 4: A block slides across a flat, horizontal surface to the right. For each choice, the arrows represent velocity vectors of the block at successive intervals of time. Which of the following diagrams represents the situation in which the block loses kinetic energy?
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7.Macroeconomic powerpoint presentation on Inflation vs deflation. Below is the Assignment description: This course has a Final Project which is ...

: This course has a Final Project which is in the form of a PowerPoint presentation (you may also use Google Slides). You can choose a topic from this semester or something you come up with yourself, but your presentation must be about economics and be original (i.e. not just material verbatim that you have pulled from your text/readings or off the internet). Of course, you can still insert charts, graphs, videos, graphics and excerpts from outside sources (as long as you cite those sources!) I want to see your commentary and analysis, in your own words. IMPORTANT: Copying the work of others and representing it as your own (ex. copy and paste off of the internet or your text, OR using someone else's work and just changing a few words) is Plagiarism, a serious academic offense. I have enabled the Turnitin plagiarism checker for this assignment, to help you identify potential areas of plagiarism. Papers that are substantially plagiarized will NOT be accepted for grading. Although the format is a Power Point, I want to emphasize that this is NOT like your typical Power Point, which is basically an outline for a live presentation. Your project must be substantially loaded with content. The first slide should be your Introduction slide, the next 10-15 slides should be informational slides, the second to last slide should be your conclusion (which summarizes your presentation) and the last slide should be the reference slide. Make sure you review the rubric below BEFORE you start your project, so that you are clear on how your project will be graded. NOTE: The due date is Wednesday, 12/16. A 20% late penalty will be assessed every day for assignments submitted past this date. PLEASE contact me if you have any questions about the requirements of this project, plagiarism, citations...or any other concerns! Rubric: Final Project Presentation Criteria Ratings Pts Introduction 5.0 pts Excellent/Good 3.0 pts Satisfactory/Needs Improvement 1.0 pts Unsatisfactory 5.0 Content 35.0 pts Excellent/Good 25.0 pts Satisfactory/Needs Improvement 15.0 pts Unsatisfactory 35.0 Conclusion 5.0 pts Excellent/Good 3.0 pts Satisfactory/Needs Improvement 1.0 pts Unsatisfactory 5.0 Organization 15.0 pts Excellent/Good 10.0 pts Satisfactory/Needs Improvement 4.0 pts Unsatisfactory 15.0 References and Citations 10.0 pts Excellent/Good 7.0 pts Satisfactory/Needs Improvement 3.0 pts Unsatisfactory 10.0 Total points: 70.0
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8.I have an exam in an hour and I want someone to solve it for me. Statistics including normal distribution, ...

ution, regression, decision trees Past paper has 5 questions (attached), we will have 4. Complexity of questions will be reduced slightly for decision trees and regression. Visualisation question – written in word file or hand-written and scanned or photographed. Normal distribution: Sketch using online normal distribution visualisation applet (add notes around this to discuss if necessary) or sketch by hand and scan or photograph. For mathematical workings, use formulae sheet, copy, paste and adapt, or scan / photograph your workings and upload. Decision tree – use Office smart shapes, or sketch by hand and scan or photograph. If formulae are required, then use formula sheet, copy, paste and adapt. Regression – written in word file or hand-written and scanned or photographed. MCDA – written in word file or hand-written and scanned or photographed. Remember if they appear, decision trees and regression will be a little less technical than they have been in the past. (To allow more of a buffer with regards to time available to complete and upload). Visualisation and MCDA questions will be more general (strengths and weaknesses, key messages, make some recommendations). Exam questions will be set so as to minimise practical and logistical difficulties in uploading answers.
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1.AU MAT 120 Systems of Linear Equations and Inequalities Discussion

mathematicsalgebra Physics