Project work, Quantitative methods Assignment Example | Topics and Well Written Essays - 1000 words

Project work, Quantitative methods - Assignment Example In fact this is the standard mathematical treatment, especially for mathematical software that does not have input filtering capacity. As the code is presented, users can extend it to suit their individual needs (Wright 2007). 3) Yes. From the values on confidence intervals obtained in section (3) regarding the proportion of subscribers with home broadband, 62% of the respondents answered in the affirmative. At least 57% of all the subscribers have home broadband, and it could be as high as 67%. These are favorable statistics for the venture. Yes. To make the conclusion we refer to the confidence intervals gotten from section (3). The percentage of subscribers who have children, who would in turn require the educational software is 53.4%, with a lower confidence value of 48.6% and an upper limit of 58.2%. this is approximately at least half of the number of subscribers, a favorable percentage. Proportion of men among the subscribers is: 229/410 = 55.85%. The ratio of men to women among the subscribers is 56: 44, which would suggest a fair distribution of articles relating to each gender group. The average age is 30.11 according to the sample, a value that could fall lower to 29.72 years, and a high of 30.5 years for the entire population. This shows that the majority of the subscribers are in the youth

Characteristics of Tabloid Newspapers

Characteristics of Tabloid Newspapers What is common between Bill Clinton and Monica Lewinsky, Paris Hilton, Poonam Pandey and Rakhi Sawant. If one has to answer this question from a mere factual point of view, he might falter. This is due to the fact that all these people (and many more like them) strike the common chord of the term Tabloidization. Defining tabloidization might be a little difficult, but if we want to check it out from a birds eye view, it will be the massive changes that have taken place in mainstream media over past few years. The factual meaning, however, comes from the word tabloid, which refers to a particular size used by the British newspapers (23.5 in by 14.75 in). Because of the extensive use of such sized newspapers, we can say that the British print media is tabloidized, quite literally. The typical form of tabloid is marked by two major and distinct features: it devotes relatively less importance to issues of economics, politics and society and focuses more on diversions like sports, scandals and popular entertainment. This new category of journalism and media is believed to be of great consequence, atleast to the practice of journalism at large and it is important to understand the reasoning behind it. In this article we will try to understand how the tabloids function, the historical background and the effect it has on the serious media and on the society. Historical background: The existence of tabloids can be traced back to the first part of the 20th century in Britain. United States and rest of the Europe were a little late to catch up but during the late 30s and post world-war 2 eras, tabloids started to grow here as well. The Daily Mail and Daily Mirror, published by Hammersmith and Rothermere, were the first tabloids in Britain, which were soon followed by the likes of The Sun, published by the Murdoch group and currently Britains highest selling tabloid. In other developing countries, like China and India, the tabloid movement is growing and the growth has been especially rapid in last 10 years or so. Historically, tabloids have existed alongside other quality papers, so to say. But, in recent years, we have been experiencing a glaring gap between serious media and tabloids. We will be using the term serious media only as to be able to emphasize tabloidization as a phenomena which is not looked upon in a very positive manner, specially because of the features mentioned above. Characteristic features of tabloids: One of the main characteristics of tabloids have been that they have always been brash and loud, they have used sensationalism as a medium to engage the readers and give preference to anything and everything that arouses and titillates public interest. The most interesting part about tabloids is that the journalism covers the nuances of the fantastic and the crazily invented which the consumers are not only aware of but also accommodate the same in their reading strategies. Sex, scandals, celebrity, nightlife, glamour, horror, sting operations and probing into the personal lives of people are the areas frequented by the tabloids. Another common aspect across all tabloids is the extensive use of posters and photographs, and usually the reporting lines are used as fillers. Most of the tabloids publish pictures of naked/semi-naked models on page 3 or 5 (Mid-day have them on page 2, known as the Mid-day mates). And other prominent stories include crime, sex, sensational news items, parties, celebrity remarks etc. however, it is wrong to assume that they dont carry other serious news such as politics, economics and other news of national interest, but the tone used is highly personalized and the reporters are opinionated. Such reporting does not provide any scope of objective and analytical reasoning being reported and fostered. Probably the only thing it efficiently does is to teach people to take sides. During the times when a media agenda needs to be set, tabloids will usually do the most myopic possible job. And it doesnt end there; tabloids also have the tendency of juxtaposing reality and fantasy in order to arouse interest and even at times, mislead their readers. There are recorded instances of these tabloids carrying reports of alien attacks etc. The Sun went as far ahead declaring the first inter-galactic treaty being made when they carried a cover page picture of ET shaking hands with President Clinton. Reasons, Consequences and Effects: If we analyse tabloidization from a simple perspective, we will see that it is actually a very simple phenomenon. It is only a transition being driven by market forces from being driven by public agendas. But, if someone has to analyze it in a deeper way, then one must understand the political, economical and social reasons behind the growth of this trend. Tabloidization has coined new terms, junk food and rag sheet for example, but what we can see is the fact that all these have derogatory connotations, primarily due to the fact that issues that concerns the citizen are thrown on the back-burner, while scandal, entertainment and lifestyle has taken the centre-stage. This has definitely harmed the relationship between mass media and politics and current affairs. We will look into a few reasons behind it phenomenon. People want media to be more personalized, more interactive, and by juxtaposing the serious news and the tabloid, private and public spheres are getting connected constantly. This also portrays the shift in peoples outlook and justifies the declining audience for traditional news agenda. Media itself has become more and more corporatized, which had lead to shaping of news in order to be able to cater to the taste of audiences. Like any other corporate business, revenue maximization has given way to the populist agenda. It has become a trend in the competitive industry, especially in a free market. Declining circulation is another major concern. The increasing use of internet news, which massively deploy the tabloid strategy. The worst possible effect of tabloidization is that it fails to serve the prime function of journalism, which is to inform the people about the issues which concern the public interest. As a direct consequence of tabloidization, we can see the change in priority in terms of time-slots; prime-time is no longer news and current affairs, it more about creating a spectacle. Even though the classical definition of journalism does not talk about covering and reporting facts related to politics, economy or other issues of public interest only, they can even choose to cater to the section of people who are looking for content that suits popular taste and public interest. But tabloids are not only accused of sensationalizing news and blowing things beyond proportion but also for publishing and broadcasting information which is not verified and an unbiased opinion is seldom offered. This defeats the very purpose of journalism where the journalist should be seeking the truth and should not be offering a story tailored to suit the preferences of the readers/viewers and advertisers. Justifications: Despite having such negative connotations, there are justifications as well. Some believe that tabloidization (like talk shows) is a boon as they present different lifestyles and cultures which help in human integration. And some argue that is offers an alternative reality and helps utopian and emancipating fantasies. On a very Indian context, it can be compared to the existence of channels like Aaj Tak and India TV, who are actually thriving despite the fact that they are nothing but tabloidized version of news channels. People prefer tabloids as hard news is at times difficult to digest and its impersonal nature doesnt interest them. Tabloidization and journalism: The definition of Conclusion: It is very difficult to reach a common consensus and brand tabloidization good or bad. On one hand, it is almost utopian to expect private media corporations to behave like public service units, especially in a consumerist world, and on the other hand we can debate whether the right of reader/viewer to truthful information is being violated or not. On a broad level, news agenda being more entertainment driven is understandable, but it becomes unacceptable when news is transformed into an entertainment package. The tabloids are engaged at the level of our deepest needs for safety and security and they constantly make us feel vulnerable (Sansani, for example). This is done in order to capture the attention and drive the public agenda through the media agenda. The fact that one third of American still believe that Saddam Hussain was responsible for the September 11 attack, is a glaring example of their success. It might have been better if the tabloids would only have existed alongside the serious news, but unfortunately (or fortunately!!) the line between the two seems to be blurring, and with the dropping demand for traditional media and astronomical rise in media consumption through the digital mediums, the situation will only become more complex. To conclude, we can only say that tabloidization follows the mantra of: Tickle the public, make them grin, The more you tickle, the more youll win

Christina Rossettis No Thank-You John and Robert Graves A Slice of We

Christina Rossetti's No Thank-You John and Robert Graves' A Slice of Wedding Cake Poetry is a completely malleable form of expression that writers use as an outlet for emotion and advocacy. Because each poet is distinct in form and content, a poet may harbor some characteristics that bare a resemblance to work of another. If there is no room for comparison, a poem may have a literary complement that sets up an interesting contrast between poems, or a poem may reinforce the ideas of another poem. The works of Christina Rossetti and Robert Graves are no exception. Though the two lived in different centuries, they both wrote about relationships between the sexes. Rossetti and Graves’ forms differed even as their contents played upon one another in the poems â€Å"No Thank-You John† and â€Å"A Slice of Wedding Cake† respectively. Christina Rossetti was nothing if she were not a true artist. Rossetti was born in 1830 and lived until 1894 as a poet who had an early passion for art and literature (â€Å"Christina Rossetti† 1583). The driving force in Rossetti’s life was religion. She was a self-regulator who made decisions based on rigid religious values. In the midst of her unfaltering spiritual devotion, Rossetti gave up theater, opera, and chess (â€Å"Christina Rossetti† 1583). Rossetti never married, but that is not to say that she never had plans for marriage. She was engaged twice and both times broke the engagements for religious reasons. Rossetti wrote pure lyric, narrative fable, ballad, and devotional verse (â€Å"Christina Rossetti† 1583). She wrote poetry that dealt with deflection and negation. The Norton Anthology writes, â€Å"[Her] very denials and constraints give her a powerful way to articulate a poetic self in critical relationsh... ...g the line roll without incident. Specifically, the sound â€Å"s† is repeated throughout the work using the words â€Å"simple, self-sacrifice, self-pitying, [and] sly† create the effect. The alliteration in the work makes the poem flow from word to word, line to line, and stanza to stanza. The alliteration creates an impression in the poem that stresses Graves’ key idea: the men are not worthy of the women that married them. Graves and Rossetti are poets of a different era. Rossetti’s speaker’s action towards John is something that Graves would have been in favor of. Both poets were not afraid to express themselves through their verse. The differences in gender between Rossetti and Graves do not prevent them from sharing an opinion on the topic of relationships. Each poet knew how to use poetic devices such as alliteration and vivid diction to achieve his point.

Brief Analysis of Music Essay

In Joel and Ethan Coen’s unique take on referencing Homer’s Odyssey in the form of a 1930’s Great Depression comedy-adventure film, â€Å"O Brother, Where Art Thou? †, the most noticeably intelligent attribute was the genius song and music choice that, in more ways than one, dictated scene build-up, characteristic, and transition, thus keeping the theme of the â€Å"old-time,† old-country† atmosphere well intact throughout. The variety of American roots music songs used in the scenes gives cinematic emphasis to the characters’ circumstances and plot situations. Moreover, the assortment highlights the realness of time and setting presentation in telling the story of trio convicts and just where, when, and how their adventure unfolds. Brief Analysis of Music Selection in Joel and Ethan Coen’s â€Å"O Brother, Where Art Thou? † As the film opens with a lengthy line of hard-toiling inmates along the rail-road iron linings, collectively and heavily chanting verses from a rather hauntingly soothing blues tune entitled â€Å"Po Lazarus† (Track 1), the audience is at once audio-visually oriented and introduced into the state of the times, surroundings, over-all atmospherics, and mood of the film. The relative simplicity of life through the rather depressed and trying times is kept through notable scenes. An example of which is when the odd trio of Ulysses Everett McGill, Delmar O’Donnell, and Pete, together with Cousin Wash, all enjoyed an after-meal, quality-entertainment radio offering via Norman Blake’s country classic â€Å"You are My Sunshine† (Track 3). Moreover, the music presented in each of the scenes not only offers musical genre variety of roots country and folk, blues, bluegrass, gospel, and much in between through certain scene transitions, but more importantly highlights the tone of each separate scene in between dialogue, one distinct from the other, effectively and memorably. An example of this was the on-going quarrel of Everett and Pete which was overshadowed by the mass baptismal gathering and singing of a traditional gospel hymn â€Å"Down to the River to Pray† (Track 4), wherein all except Everett opted to clean his spiritual slate. Another was the scene seduction by the sirens, which is musically accompanied with â€Å"Didn’t Leave Nobody but the Baby† (Track 10) by Emmylou Harris, Alison Krauss, and Gillian Welch, and also with Tommy’s would-be hanging in the sound of â€Å"O Death. † All of these scenes are observably different from one another, but the rather musically enchanting versed sung melodies even give the scenes both an emotionally accessible and later-on cinematically nostalgic feature which stays with the viewers even after the film is over. The song selection provides the proper build-up, eventual transition through, and even main story twists which fuel the story’s eventualities. An example of this was when the trio headed to a local radio station in hopes of garnering a means of self-financial aid, they sang â€Å"Man of Constant Sorrow† (Track 7), disguised on the airwaves as the â€Å"Soggy Bottom Boys† accompanied by musically skillful, guitar-equipped Tommy Johnson—who played a particularly important scene role for the film’s story. The song performed was not only quite entertaining, but its definitions also constituted what a traditional American folk song truly is, which gave the scene much credibility and realness in every extent. The music also provides the film with a sense of scene consistency without compromising the story and, as the quality of song recordings are kept to its truest form even more enriching the old-time aspect of the film. As Evan Cater (2009) points out, â€Å"These recordings, which were made without the meddling clarity of digital technology, give the film much of its power and authenticity† (n. p. ). The excellent selection and execution of music and scene inter-play gives the film a characteristic of its own and none like other. References Burnett, D. (2000). Man of Constant Sorrow [D. Tyminski, H. Allen & P. Enright]. O Brother, Where Art Thou Soundtrack [CD]. Nashville: Mercury Records. Cater, E. (2008). O Brother, Where Art Thou?. AllMusic. com. Retrieved January 21, 2009 from http://www. allmusic. com/cg/amg. dll? p=amg&sql=10:hifixqu0ldse. Coen, J. (2000). O Brother, Where Art Thou?. California: Touchstone and Universal Pictures. Davs, J. & Mitchell, C. (2000). You are My Sunshine [N. Blake]. O Brother, Where Art Thou Soundtrack [CD]. Nashville: Mercury Records Harris, E. , Krauss, A. , and Welch, G. (2000). Didn’t Leave Nobody but the Baby [E. Harris, A. Krauss, G. Welch ]. O Brother, Where Art Thou Soundtrack [CD]. Nashville: Mercury Records. Lomax, A. (2000). Po Lazarus [J. Carter]. O Brother, Where Art Thou Soundtrack [CD]. Nashville: Mercury Records. Traditional (2000). Down to the River to Pray [A. Krauss]. O Brother, Where Art Thou Soundtrack [CD]. Nashville: Mercury Records. Traditional. (2000). O Death [R. Stanley]. O Brother, Where Art Thou Soundtrack [CD]. Nashville: Mercury Records.

Miner Resume Essay

Objective To gain employment and work along side industry professionals, to further my experience and knowledge within the mining industry. I am a willing candidate who has the ability to adapt and respond to new challenges, in a safe and professional manner. Employment Coal Mine Worker Mastermyne April 2013 – Current Installation of underground secondary support at Moranbah North Coal Mine. Daily duties include: Installation of roof and rib support, mega bolts and high tension flexi bolts in accordance with mine managers support plans. Underground roadworks, installation of VCD’s, underground water storage dams and longwall face bolt up. Trained and authorized in the use of QDS bolting rigs, Airtrack bolting rigs, handheld bolting equipment and underground loaders (eimco ED7 ED10, Juggernaut). Daily practices in housekeeping, creating a safe and productive work environment and risk assessing each task. Coal Mine Worker Minestar Alliance January 2013 – April 2013 Installation of underground conveyor systems at Carborough Downs Coal Mine. Installing drive heads, sacrificial bases, transfer stations and all associated work Underground Civils and roadworks Coal Mine Worker Vulcan MiningNovember 2012- January 2013 Longwall take off and install at Carborough Downs Coal Mine Trained and authorized in the operation FBL 10, FBL 15, 50t Chock Chariot, RapidFace Bolters Transportation of heavy equipment for installation underground Daily tasks included, pulling of chocks from longwall face, building of cob timbers, bolt up of huesker mesh, transportation of chocks out in and into pit using wheel assisted chock trailer, roadwork’s, assisting fitters and general housekeeping duties WDSApril 2012 – November 2012 Development projects and operations at North Goonyella Coal e. g. Operating iner mounted bolters in sequence with the production of coal with an ABM20, Roadwork’s and set up for my crews development panel, working closely with other team members to maintain a safe and positive outcome Trained and authorised for operation of Driftrunner, loaders: Eimco LS130 ED7 ED10, Juggernaut, HfX miner mounted bolters, Stone dusters, Bolting rigs, Cable Reelers and other plants and attachments Follow instructions from supervisors and other team m embers in a safe and efficient manner to Complete tasks at hand Completion and understanding of CHALLENGES, JSA and Zero Harm Training commenced on other mobile plants e. . Shuttle car Coal Mine Worker Diversified Mining ServiceJuly 2011 – April 2012 Installation of underground conveyor belts at Broadmeadow Mine Underground civil work and preparation of work areas including concreting of intersections, take off roads, loop take up sites Follow instructions from supervisors and other team members in a safe and efficient manner Completion and understanding of TAKE 5, JSA and Zero Harm Operation of mobile plants and installation of heavy mechanical systems e. g. oop take up, belt maintenance stations, belt drives and transfer stations Junior Sous Chef Baguette Bar Bistro BrisbaneAugust 2009 – July 2011 Running of sections within a team of chefs Complete formation of menus, costing’s and maintain good upkeep on profit and loss Delegate other employees of the lower b rigade in daily tasks to achieve results Follow workplace health and safety guidelines to ensure a safe working environment Personal Attributes Ability to work under pressure and for long periods of time Fast learning at all tasks and objectives Professional and safety first attitude to work ethics Hard working and reliable Highly self motivated, with the ability to work as an individual or as a team member Training and Authorisations Vale Carborough Downs Inducted, NGC inducted, Broadmeadows inducted Current Cold board medical and Underground Generics Working at heights certified Underground mobile plants e. g. Driftrunner, Loaders, HFX Miner Mounted bolting rigs, Various Hydraulic QDS attachment