Write a paper about a post surgery rehab and why it’s beneficial, how would you implement this plan in a hospital setting. you also need to find articles supporting this plan, what do you need to make this plan possible. and patient education.
Apple just announced the release of the new iphone, the cheap version, with a more powerful chip. How will Apple maintain it market position against competitors who are releasing their 5G phones. How will a recession affect Apple sales?
Discuss with reference of the following issue areas: security, trade, international finance, development, human rights, democracy, civil society, environment, migration, health, or technology and information. Use evidence to support your argument.
The Texas Senate and Governor has hired you as an economic and policy advisor. Your clients would like to know if they should raise minimum wages, inclusive of the minimum wages of wait staff. What are your policy recommendations?
TYLISTIC ANALYSIS/CRITICAL EVALUATION –KEY POINTS
Writing a Stylistic Analysis/Critical Evaluation involves gathering facts, examining those facts, and then deciding what those facts may or may not mean. In an academic context, such as college-level art appreciation, such analysis and evaluation must be supported by statements from scholarly, authoritative sources. And such sources must list the author’s full name, the title of the source, appropriate page numbers, and complete publishing information, all of which must be cited per guidelines of The MLA Handbook for Writers of Research Papers.
Written stylistic analysis/critical evaluations must also explore (as best as facts allow) the following points whenever they apply directly to the topic:
Description
Artist
Title
Date
Dimensions
Medium
In-situ? (original location vs. present location)
Context (Who, what, when, where, why, and how?)
Compositional Elements
Line
Shape (organic vs. geometric)
Color
Value
Light (real light vs. the portrayal of light, if any)
Texture (real vs. implied)
Space/Volume/Depth (positive shape vs. negative space and the use of perspective, if any)
Balance (symmetrical vs. asymmetrical)
Unity
Variety
Rhythm
Movement (real vs. implied)
Emphasis (or focal point), if any
Audience viewpoint, if any
STYLISTIC ANALYSIS/CRITICAL EVALUATION –SOME DEFINITIONS
Description -artist, title, date, dimensions, medium, present location (in situ?), original location.
Purpose –the context of the work (who, what, when, where, why, how), and was it made as a means to promote/affirm (religious, political), to create an illusion, to emphasize reality, made for permanence, made to be temporary, created to challenge, or made with no purpose?
Elements -shapes (organic, geometric, implied), lines (vertical, horizontal, diagonal, curved, implied), color (primary, secondary, tertiary, complementary, tint, shade, etc.), light (real, implied, source), value (beyond color, the relative light, and dark of the work), texture (real, implied).
Space/Volume –depth (real, implied through linear and/or atmospheric perspective).
Viewer Experience -point of view (real, implied by a line of sight).
Composition –balance (symmetrical, asymmetrical), unity (arrangement of elements to lead the eye), variety (arrangement of elements, often repetitively but with variety, to make the image interesting), rhythm (how the artist uses the visual elements to create beats, similar to that of music, only visually), movement (real, implied), emphasis (focal point, if any).
Also: is the work an example of two-dimensional, three-dimensional, process, installation, performance, temporary, permanent, site-specific, interactive, collaboration, earthwork, and/or conceptual art?
STYLISTIC ANALYSIS/CRITICAL EVALUATION –SOME DEFINITIONS
Description -artist, title, date, dimensions, medium, present location (in situ?), original location.
Purpose –the context of the work (who, what, when, where, why, how), and was it made as a means to promote/affirm (religious, political), to create an illusion, to emphasize reality, made for permanence, made to be temporary, created to challenge, or made with no purpose?
Elements -shapes (organic, geometric, implied), lines (vertical, horizontal, diagonal, curved, implied), color (primary, secondary, tertiary, complementary, tint, shade, etc.), light (real, implied, source), value (beyond color, the relative light, and dark of the work), texture (real, implied).
Space/Volume –depth (real, implied through linear and/or atmospheric perspective).
Viewer Experience -point of view (real, implied by a line of sight).
Composition –balance (symmetrical, asymmetrical), unity (arrangement of elements to lead the eye), variety (arrangement of elements, often repetitively but with variety, to make the image interesting), rhythm (how the artist uses the visual elements to create beats, similar to that of music, only visually), movement (real, implied), emphasis (focal point, if any).
Also: is the work an example of two-dimensional, three-dimensional, process, installation, performance, temporary, permanent, site-specific, interactive, collaboration, earthwork, and/or conceptual art?
STYLISTIC ANALYSIS
I. Description
A. Artist
B. Title
C. Date
D. Dimensions
E. Medium
F. Original location
G. Present location
H. Purpose
II. Compositional Elements
A. Line
1. Identify any use of the four major types of line (vertical, horizontal, diagonal, and curve) and determine why such lines are present
2. Implied line
B. Shape
1. Organic shape
a. Identify the nature of these shapes
2. Geometric shape
a. Identify the geometric composition
3. Implied shape
C. Space
1. Determine the presence, if any, of linear perspective and/or atmospheric perspective.
2. Point of view
a. If the linear perspective is present, deconstruct the image to find the line of sight and thus the eye level of the viewer. Describe the viewer’s point of view based on such.
D. Light
1. In the case of two-dimensional work, determine whether the piece depicts a light source. If so, determine the location of the light source based on the imagery of the work itself. In the case of three-dimensional work, decide how light may have been used to affect the piece.
E. Value
a. Identify the relative light and dark of the work and determine the artist’s intent relative to such
F. Color
1. Identify the presence of primary, secondary, and/or complementary colors and determine why the artist used such
2.
G. Texture
1. Real texture –visible brush strokes, thick paint, wood grain, chisel marks, anything indicating the touch of the human hand or lack of such.
2. Implied texture –representations of real objects.
F. Balance
1. Symmetrical
2. Asymmetrical
G. Variety
1. Use of line, shape, color, texture, value, etc., often repetitively but with variety, to make the image interesting
H. Rhythm
1. Determine the placement and arrangement of line, shape, color, texture, value, etc. to create a visual rhythm, something similar to a musical rhythm.
I. Movement
1. Determine whether there is a sense of movement, whether real or an illusion, its purpose, and how it is achieved.
J. Unity
1. Determine the placement and arrangement of line, shape, color, texture, value, etc. to create a composition designed to move the viewer’s eye around the image.
K. Emphasis
1. Determine the focal point, if any, of the work and how the artist achieves the sense of such.
CHECKLIST –WRITING ABOUT ART
Title (of the written work)
Does the title of the written work make readers what to continue?
Are the main theme (topic) and overall purpose of the written work worded precisely as assigned? For instance, if the topic is “Lightning Field” by Walter de Maria, does the heading (title) read, “‘Lightning Field’ by Walter de Maria”?
Does the title explain precisely what follows?
The First Paragraph
Does the first paragraph succinctly establish the main theme (topic) and the overall purpose of the written word?
Are the main theme (topic) and overall purpose of the written work worded precisely as listed or assigned? For instance, if the topic is “Lightning Field” by Walter de Maria, is “‘Lightning Field’ by Walter de Maria” placed in the first sentence of the first paragraph?
Does the first paragraph make the reader want to continue?
The Art Work(s)
Wherever possible are artworks fully identified with respect to artist, title, medium, dimensions, date, original location, and present location?
Written Text: Style
Are paragraphs organized relative to the main theme (topic) and overall purpose?
Does each paragraph make some unifying reference to the main theme and purpose?
Are paragraphs linked by effective transitions?
Is the writing composed of clearly stated, complete sentences, using the correct English spelling, grammar, and punctuation?
Written Text: Fact vs. Opinion
Are statements truly factual?
Are statements composed of opinions instead of true facts?
Are factual statements well-documented and supported by scholarly, authoritative sources?
Do factual statements shed light on each topic?
Do factual statements expand one’s knowledge?
Are factual statements actually relevant to the main theme (topic) and the overall purpose of the piece?
Written Text: Scholarly, Authoritative Sources
Are scholarly, authoritative sources of factual statements cited per guidelines of the MLA (Modern Language Association of America) Handbook for Writers of Research Papers?
Have you completely avoided using blogs, social networks, travel websites, and Wikipedia for research?
Have you avoided using sources with no author’s name?
Have you completely avoided using information from the Daily Notes postings in Blackboard as source material? (Consult the TCC Southeast library. Not only is the library full of hard-copy books, periodicals, and other excellent, scholarly source material, its filtered databanks are the best place to start when using online resources.)
Written Text: Proper Names
Have you completely avoided referring to the main theme (topic) and any proper name associated with such as “he”, “she”, “it”, etc., unless the topic has already been well-established earlier in the text? (NEVER refer to human subjects by the first name only, for instance, “Diego”, when the topic involves the name, Diego Velasquez. Always use the subject’s full name when first mentioned and then by the last name only thereafter. The exception to this would be if the person is known to us (or widely referred to) by a one-word name only. Referring to Michelangelo simply as, “Michelangelo”, is appropriate. Even though the artist’s full name is Michelangelo Buonarotti, the subject is almost universally referred to as “Michelangelo”. But such is rare. Diego Velasquez, for instance, MUST be mentioned first by the full name, “Diego Velasquez,” and thereafter by the last name only, “Velasquez”.)
Works Cited Page: Scholarly, Authoritative Sources, and MLA Style
Are the works cited page complete and composed per guidelines of the MLA Handbook for Writers of Research Papers?
“The revolution that began in Mexico in 1910 was the most genuine of the many Latin American revolutions up to that time.” To what extent do you support this statement?
In his book Schooling Children with Down Syndrome, Kliewer introduces the metaphors of “alien,” “squatter,” and “citizen” to characterize the position of children with Down syndrome in different schools and classes. He uses these metaphors to examine people’s perceptions of children with Down syndrome. Explain each metaphor and the kinds of treatment included within each. Use
examples from Kliewer as well as others drawn from readings or videos from class this semester. How can you relate these metaphors
to the Collins’ text and Laura’s positioning of Jay
Find, evaluate, select, and synthesize both online and print sources that examine a topic from multiple perspectives,
Identify, select, and use an appropriate documentation style to maintain academic integrity. and
practice documentation skills, parenthetical notation and citing sources using APA documentation styles.
What’s the purpose of an annotated bibliography?
To gather and summarize information about a topic you are researching into one document
To create a quick reference sheet which will remind you of what your various sources argued and how they are useful to your paper
To preserve a record of research about your topic which may be shared with others in your field
Who is the audience?
Yourself, in that the document will help you in your own writing and research
Others (including your instructor) who might be interested in reading an overview of the topic you researched. For this reason, clarity, professionalism and neatness are important in an annotated bibliography.
How to do it:
Your annotated bibliography will consist of the sources that you have deemed relevant to your topic and/or question(s) of inquiry. While you may encounter sources that are not relevant or do not fit the scope of your project while researching, for the purposes of this assignment, you will only include the ones that you find useful and relevant.
Research perfectionism in the gifted population.
1. Define and summarize the research associated with perfectionism in gifted education
2. Compare and contrast various perspectives and research findings on the topic
3. Identify potential concerns for the gifted individual, e.g., the effect on achievement or effect of the individual.
4. Evaluate and offer your appraisal
Capella Log in for details and resources: francesca_wilson86@yahoo.com
Password: Fwilson1986!
Develop a 3–4-page research paper based on a selected case study related to sexual problems.
Most sexual behavior problems must be delineated within the context of the individual’s personality, lifestyle, and relationships with others. It is usually simplistic to label any particular behavior automatically as a problem. Several criteria are given that can be used to define sexual problems and that can help put problematic sex into a more realistic and sensible perspective. Determining when a sexual preference behavior becomes a problem is highly subjective and requires a look into different aspects of an individual’s life, including his or her lifestyle and cultural and social belief systems. Sexual abuse, coercion, and assault of others represent serious sexual problems (Hyde & Delamater, 2017).
SHOW LESS
STDs and a variety of other medical conditions can affect the sex organs and sexual activity. Whereas STDs once were discussed only briefly in most human sexuality courses, they are emerging as important issues again. Considering that the incidence of several diseases is on the rise and that more organisms are being recognized as being capable of sexual transmission, such a trend may be timely. One of the most significant findings of the National Health and Social Life Survey (NHSLS) was the direct correlation between the numbers of sexual partners people have had and the likelihood that they will have had a STD (National Opinion Research Center at the University of Chicago, 1992).
Defining sexual dysfunctions is somewhat subjective, and individual differences in the sexual response cycle are often perfectly normal. Rather than simply labeling each dysfunction and explaining it separately, we must examine it based on the broader picture of sexual responsiveness and the total sexual relationship. In recent years, there has been greater emphasis on potential organic conditions that can manifest themselves in sexual difficulties, including the effects of alcohol, other drugs, and certain medications. On the other hand, it is still a safe assumption that many sexual disorders of this sort are caused by a vicious circle of anxiety and fear of failure generating lack of responsiveness, or by difficulties within a relationship.
By successfully completing this assessment, you will demonstrate your proficiency in the following course competencies and assessment criteria:
