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1.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 need help in summarizing this article: The air we inhale could be changing our conduct in manners we are just ...

we are just barely starting to understand.In the future, police and wrongdoing counteraction units may start to screen the degrees of contamination in their urban communities, and convey assets to the spaces where contamination is heaviest on guaranteed day.This may seem like the plot of a sci-fi film, however ongoing discoveries recommend that this likely could be a beneficial practice.Why? Arising contemplates show that air contamination is connected to disabled judgment, emotional well-being issues, more unfortunate execution in school and most worryingly maybe, more elevated levels of crime.These discoveries are largely the really disturbing, given that more than a big part of the total populace now live in metropolitan conditions – and a greater amount of us are going in blocked regions than any time in recent memory. However, perhaps, he thought, there could be other unfavorable impacts on our lives.To start with, he led an investigation seeing whether air contamination had an impact in psychological performance.Roth and his group saw understudies taking tests on various days – and furthermore estimated how much contamination was noticeable all around on those given days. Indeed, even a couple days prior and a couple of days after, they discovered no impact – it's truly upon the arrival of the test that the grade diminished altogether. To decide the drawn out impacts, Roth followed up to perceive what affect this had eight to 10 years after the fact. In this way, he daid that regardless of whether it's a present moment impact of air contamination, on the off chance that it happens in a basic period of life it truly can have a drawn out impact. In 2018 examination, his group broke down two years of wrongdoing information from more than 600 of London's discretionary wards, and tracked down that more insignificant violations happened on the most dirtied days, in both rich and poor areas.Although we ought to be careful about reaching determinations about connections, for example, these, the creators have seen some proof that there is a causal link.Wherever the haze of contamination ventures, wrongdoing increments. As a feature of a similar report, they thought about unmistakable regions over the long haul, just as following degrees of contamination over the long haul. This implies that an intercession at an early age ought to be a priority.Exposure to different poisons can cause aggravation in the cerebrum. There are numerous potential components that may clarify how air contamination influences our morality.Lu, for example, has shown that the simple considered contamination can impact our brain science through its negative associations.Naturally, the scientists couldn't truly uncover members with contamination, so they took the following best (morally supported) venture so they asked them to truly envision living around here, and how they would feel and how their life would be living in this climate, to make them mentally experience air contamination versus a perfect climate. He tracked down that the member's tension expanded, and they became more self-focussed – two reactions that could increment forceful and flippant practices. Along these lines, by raising people groups' tension, air contamination can detrimentally affect conduct. at the point when we are restless we are bound to punch somebody in the face, than when we are quiet. Lead analyst Joanne Newbury, from King's College London, says she can't however guarantee that her outcomes are causal, yet the discoveries are in accordance with different investigations proposing a interface between air contamination and psychological wellness. "It adds to confirm connecting air contamination to actual medical conditions and air contamination connect to dementia.
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4.It has been argued that of the two types of authoritarianism, left-wing has more in common with totalitarianism. To begin ...

litarianism. To begin with, provide a full description of left-wing authoritarianism. Then identify two traits of totalitarian syndrome and explain why you believe they support the assertion that left-wing authoritarianism is more similar to totalitarianism. There are different understandings as to the nature of representation in an indirect democracy. Name and describe each type. Finally, explain which of these you could expect to find in the parliamentary system and why. What, in the parliamentary context, is confidence? Why is it important, how might it be lost, and what happens if it is lost? The Canadian and the US political systems each contain a Senate. In one of the regimes the Senate is the dominant chamber, in the other it is not. Identify which is which and explain why. Provide a full description of the characteristics of a federal state. In your view, how would Plato and Aristotle classify this type of governmental system?
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5.11. In a game, you draw thirteen cards with replacement from a deck of playing cards. If you draw any ...

y aces or twos, you lose the game immediately. You also lose if you draw picture cards(J,Q,K) more than twice. In this question, you’ll study the probability of winning this game.(a) What is the probability of drawing no aces or twos after thirteen draws?(b) Given you have drawn thirteen times, none of which is aces or twos, what is the probability that you draw at most two picture cards?(c) What is the probability to win this game? 12. Suppose you are tossing an unbiased coin for100times.(a) What is the probability of getting50heads and50tails?(b) LetXbe the random variable counting the number of heads you observe in this exper-iment. What is the expected value ofX? What is the variance ofX? What is thestandard deviation ofX? 13. The following are probability distributions for two random variablesX,Y. kPr(X=k) 0,0.4 1,0.3 2,0.3 kPr(Y=k) 0,0.5 1,0.3 2,0.2 (a) Construct the probability distribution table for the random variableXY.(b) Find E[X],E[Y] and E[XY]. Is is true that E[XY] =E[X]E[Y]?(c) Find the variances σ2X,σ2Y,σ2XY of X,Y and XY. Is it true that σ2XY=σ2Xσ2Y? 14. The aliens who are fond of gambling came back to play another game with you. In this game, you first toss a coin5times. If you observe3or fewer tails, you roll a die3times. If youobserve4or more tails, you roll a die20times. What is the probability that you end up with at most two6’s in your dice rolls? 15. (Challenge question, worth2points) You have two bags, each of which contains10marbles.Each time you remove a marble from a random bag. What is the probability that after one of the bags is emptied, there are still exactly3marbles in the other bag?
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6.1) Which of the following statements about scientific methods / theories is correct? (1/0/0) a) A scientific theory must be able to ...

a) A scientific theory must be able to be proven. b) A scientific theory has been derived from known facts and always applies. c) A scientific method should give different results depending on who performs the method. d) Knowledge of our surroundings usually emerges through an interplay between theory and experiment. 2) The sides of a straight block are measured to 3,202 cm; 0.0012 cm and 11.2 cm, respectively. Calculate the volume of the straightening block and enter it with the correct number of value digits. (2/0/0) Number of words: 0 3) A 9.2 dm long and evenly thick rod rests on a support. 0.55 dm from one end, a dynamometer is hung so that the rod will hang horizontally. Then the dynamometer shows 4.4 N. How much does the bar weigh? (1/1/0) Number of words: 0 4) A bar AB that is homogeneous and evenly thick has a length of 2.70 m and is rotatable about an axis at A. The bar weighs 25 kg and is kept in equilibrium by a force F which has its point of attack in B. is 45 degrees. How big is the force F? (1/1/0) Saved! 25 * 9.82 = 245.5 N Number of words: 6 5) A trolley rolls at a constant speed to the right. On the cart is an upward cannon that suddenly shoots a bullet. The carriage continues to the right with the same speed as before. Where does the bullet end up when it falls? For a detailed reasoning. (1/1/1) Number of words: 0 6) A river is 200 m wide. The water in the river flows at a speed of 2.5 m / s. A motorboat steers across the river at its maximum speed, which in stagnant water is 5.0 m / s. The boat is constantly heading perpendicular to the banks of the river. Where does the motorboat land on the other shore? (2/0/0) Number of words: 0 7) A ball with a mass of 2.0 hg moves at a constant speed in a circular path. The radius of the track is 1.5 m and it takes the ball 3.0 seconds to move one turn. How big is the centripetal force? (1/1/0) Number of words: 0 8) A bullet moves at a constant speed. Can we then safely say that the resultant of the forces acting on the bullet is zero? Motivate and discuss your answer. (0/1/1) Number of words: 0 9) A conductor is located between the poles of a permanent magnet. The current in the conductor goes in the direction of the plane of the paper (away from the reader). How is the force acting on the leader directed? (1/0/0) a) To the right of the figure b) To the left in the figure c) Downwards in the figure d) Upwards in the figure 10) Protons enter horizontally from the left between two large metal plates at a speed v = 0.80 Mm / s. The plates are connected to a voltage source with the pole voltage U. Between the plates there is a homogeneous magnetic field with a flux density of 38 mT directed perpendicular to the plane of the paper. The distance between the plates is 1.5 cm. They want the protons to continue with unchanged direction and speed between the plates. Which of the plates should be connected to the positive pole of the voltage source and how large should the voltage U be? (0/2/0) Number of words: 0 11) The magnetic flux Φ through a 700-speed coil decreases linearly with time according to the diagram below. Calculate the voltage across the coil at time t = 1.0 ms. 12) The current in a coil with an inductance of 35 mH has a growth rate of 6.2 A / s at a given moment. What is the instantaneous value of the ems induced in the coil?
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7.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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8.Please help these two big questions! 1) DVB claims that non-polar solutes such as hexane do not dissolve in water because ...

solve in water because there are no intermolecular forces that act between hexane and water. A) Explain why this statement is incorrect. (1 mark C) B) Explain the correct reason why non-polar molecules dissolve better in other non-polar molecules as oppose to polar molecules. (2 marks C)
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1.AU MAT 120 Systems of Linear Equations and Inequalities Discussion

mathematicsalgebra Physics