Wednesday, May 20, 2020

Rates of Reaction Example Problem

This example problem demonstrates how to use reaction rates to determine the coefficients of a balanced chemical equation. Problem The following reaction is observed:2A bB → cC dDAs the reaction progressed, the concentrations changed by these ratesrateA 0.050 mol/LÂ ·srateB 0.150 mol/LÂ ·srateC 0.075 mol/LÂ ·srateD 0.025 mol/LÂ ·sWhat are the values for the coefficients b, c, and d? Solution Chemical reaction rates measure the change in concentration of the substance per unit time.The coefficient of the chemical equation shows the whole number ratio of materials needed or products produced by the reaction. This means they also show the relative reaction rates.Step 1:Â  Find brateB/rateA b/coefficient of Ab coefficient of A x rateB/rateAb 2 x 0.150/0.050b 2 x 3b 6For every 2 moles of A, 6 moles of B are needed to complete the reactionStep 2:Â  Find crateB/rateA c/coefficient of Ac coefficient of A x rateC/rateAc 2 x 0.075/0.050c 2 x 1.5c 3For every 2 moles of A, 3 moles of C are producedStep 3:Â  Find drateD/rateA c/coefficient of Ad coefficient of A x rateD/rateAd 2 x 0.025/0.050d 2 x 0.5d 1For every 2 moles of A, 1 mole of D is produced Answer The missing coefficients for the 2A bB → cC dD reaction are b6, c3, and d1.The balanced equation is 2A 6B → 3C D

Wednesday, May 6, 2020

Analysis Of The Board Of Directors For Tullow Oil Company

It is a pleasure to have you all as newly appointed members of the Board of Directors for Tullow Oil company. As a member, you will be required to have an in-depth knowledge on the overall operations of the company, particularly as it relates to governance. 1.1 Who we are Tullow Oil is a multinational and independent oil and gas exploration and production company founded by Aidan Heavey in Tullow, Ireland in 1985. Having no knowledge of the industry and no major backers, Mr. Heavey had amassed  £1.7 million in revenues, operated in 8 countries and had 42 employees by 1986. As of November 2014, Tullow Oil Plc now holds 146 licenses in 22 different countries, 66 producing fields and has a workforce in excess of 2,000 worldwide. Tullow†¦show more content†¦We are already a dominant player in countries such as Ghana Uganda, Kenya, French Guiana and Norway (, 2014). Tullow Oil spend an immense amount of effort in researching the regions where they could penetrate. They asses a particular region’s viability and risk and drawing up contingency plans. 1.3 Our vision, mission and purpose Tullow Oil’s vision is to be ‘’the leading global independent exploration and production company with a clear and consistent exploration-led growth strategy’’ (,2014) They are aiming to build a company that has ‘’an unrivalled competitive position’’. One of their mission is creating shared prosperity and improving our socio-economic impacts such as paying local government taxes, creating employment opportunities and engaging with local communities. They also aim to deliver a positive socio-economic impact and legacy and in being transparent and accountable to all of their stakeholders. (, 2014). They create a rewarding, challenging workplace, providing employment opportunities, help local enterprise development, and managing their business which respects local communities and the impact it has on them. 1.4 How do we add value to wider society Tullow oil adds value to the countries where we operate in various ways. It consists of taxes paid to local governments, employment opportunities for both international and national people,

Stereotypical Gender Representation in Childrens Cartoons

Question : Describe stereotypical gender representation in childrens cartoons. Answer : Abstract This study sought to examine stereotypical gender representation in childrens cartoons. The literature review looks at previous studies and research within this field and will discuss findings from such studies. The purpose of this study is to look at how gender stereotyping is portrayed in modern day cartoons. In order to enable this study, three current childrens cartoons were observed and the characters roles recorded and further discussed and the findings collated and presented graphs. The results of such data are then discussed further and findings from the study concurred. The findings however indicated stereotypical behaviours with male and female characters being portrayed stereotypically. Introduction Therefore it can be assumed that children might use the portrayals of males and females in cartoons which they are observing. The influential theorist Albert Bandura believed that observational learning is type of learning which occurs as a function of observing, retaining and replicating novel behaviour role modelled by others. According to Bandura gender stereotyping is something children learn through their everyday interactions and their social environment, Banduras theory states that a childs comparison with distorted television versions of social reality can foster shared misconceptions of people, places and things. (417) This theory supports the gender stereotyping is learned process and Signorielli (1991) suggests that television is a component in the socialization, the report seeks to discuss the gender stereotyping of current childrens cartoons. The report looks at research which has been carried out in this field already. Children begin to watch television for a very young age from about eighteen months to two years of age (Thompson 1979:49) therefore very young children have difficulty telling fantasy from reality, Bandura suggests that children are particularly susceptible to the way in which gender types are portrayed on television, especially cartoons which make up the majority of childrens television between the ages of two and eleven years of age consequencely supporting this Witt 2000 states that studies show that pre-schoolers spend an average of nearly thirty hours a week watching television and by the time children are sixteen years old, they have spent more time watching television than going to school. Of children therefore television becomes the most important learning tool that teaches children socialization and how gender fits in to society (Barner 1999), subsequently supporting this Witt 2000 suggests such gender biased behaviour could be displayed by children and might develop gender biased behaviour through what they observe on television. Although observational learning can take place at any stage in life, it is thought to be greater importance during childhood and therefore the social learning theory has influenced debates on the effect of television. Methodology Design This type of research which was carried out was qualitative research, qualitative research seeks to discern the quality rather than the quantity of its study. The qualitative research method seeks to discern the quality rather than the quantity of its subject, it is therefore often used with explaining the why and how of a phenomenon as opposed to the what, when and where. Since qualitative research is exploratory and focuses on the discerning the why of things, such as human behaviour, rather than the what of the natural world, it is often criticized for being too subjective (Hatch, 2002) Participants This study was carried out by fellow peers, which was a varied age range and were females. Materials The participants in the study were all females of variety of ages, three popular cartoons were watched from DVD episodes. Procedure The three cartoons, Angelina ballerina, Tomas the tank engine and the Rubbadubbers were observed and analysed with respect to the ratio of males and females shown, and their roles within the cartoon and how they were portrayed throughout each episode. Literature review Gender stereotypes Research carried out by Thompson and Zerbinos (1995) examined the stereotyping present stereotypical behaviours such as the male gender being more rough, aggressive and strong and the females tend to be portrayed as more feminine. Consequently this is supported by Sternglanz and Serbin (1974) by stating that the behaviours of males and females were stereotypical in the ten cartoons analysed. Research has been carried out as to the role of characters in cartoons and personality, Barcus (1983) suggests that female characters are more likely to be younger and married in comparison to the males which were given significantly more prominent roles this was supported by the findings of Levinson (1975) by stating that male characters were seen to have a variety of occupations and roles in comparison to the females. There is a general view that the media act as important agents of socialization, and therefore contributing to the shaping of gender roles this is supported by the social learning theorist Albert Bandura to the modelling of behaviour. Children begin to watch television from a very young age, therefore very young children have difficulty telling fantasy from reality. Bandura suggests that children are particularly susceptible to the way in which genders types are portrayed on television, especially cartoons which make up the majority of childrens television between the ages two and eleven years of age. Therefore, it can be assumed that children might use the portrayals of males and females in cartoons. Thompson and Zebrions (1995) carried out research and analysed hundred and seventy five episodes of forty one different cartoons showing large discrepancies between prominence and portrayal of male and female characters. It was noted in their study that the male characters were given more prominence in comparison to the females. The way in which women have been portrayed on television has received considerable attention from researchers for more than two decades. This research has shown that females have been under represented on television programs, in adverts and even in cartoons, which females usually appear in lower status occupations if they are depicted as holding a job, and that females characters appear as knowledgeable than male characters. The Rubbadubbers In this cartoon there are four males and two females characters, in this cartoon the males are represented as more dominant and the females are very stereotypical in their colour. The females are also presented as being more passive and reliant on the male characters in the cartoon and the females have squeaky voices in the espisode. Angelina Ballerina In this cartoon girls are portrayed as girly and feminine, also the women appeared very domesticated in this cartoon. Thomas the tank This cartoon presented the male to be very strong, domineering and masculine and the males in this cartoon had the key roles in the cartoon. Discussion and conclusion It can be distinguished therefore from this study that television cartoons do however perpetuate traditional gender stereotypical social values, upon reflection the cartoons observed still reinforced them and representing them as natural. Implications The study portrays that the roles which women are given in cartoons are still stereotypical with women being portrayed as passive, feminine and they are less active and less domineering. Upon reflection this portrayal still perpetuates traditional gender stereotypes and presenting them as natural. The implications could be that girls observing television might perceive from such cartoons that it is not natural in society for women to have the main more domineering jobs in society and that the jobs which require a lot of strength are carried out by mostly males. Limitations However this study does have limitations as this is a small scale study if such research was to be enhanced it would be benefical to carry it out on a much larger scale with using vast number of participants and wider range of cartoons observed in order to get a much bigger scale of results. This report was a qualitative study which was an appropriate method as it ensured that it gives the persons perspective which was suited to this report. In conclusion it is recognised from previous studies (Witt 2000) that are children susceptible to what they observe on television therefore we must ensure that children are taught that gender is not all what it appears to be on television and the findings from this reports concurs that some cartoons are still stereotypical.

Thursday, April 23, 2020

Wade Robsons Approach To Dance Drama Essay Example For Students

Wade Robsons Approach To Dance Drama Essay Wade Robson is a really gifted dancer/choreographer and is one of the most gifted in the universe. He has a really alone attack to dance as he combines prosaic motions with classically influenced technique. Robson gets most of his inspiration from the King of Pop, Michael Jackson. Although he combines prosaic motions with classically influenced technique, he has neer been classically trained. Wade chiefly focuses on Hip Hop which is the root of what he does. He tries every manner of dance and puts spots and pieces of each genre into his ain personal manner therefore it is ever germinating and is ever altering. He neer likes being choreographed or being taught, he is ever free-styling and making his ain thing. We will write a custom essay on Wade Robsons Approach To Dance Drama specifically for you for only $16.38 $13.9/page Order now Robson has ever had an extraordinary oculus for item. In every dance piece that he does, he would make a narrative line or a subject before choreographing the dance stairss. He loves to state a narrative through his dance pieces alternatively of merely stairss that flows with the music. Every determination made is important to the secret plan of the piece right down to the costumes. He would visualise his ends in his caput in inside informations and that would acquire him to accomplish what he wants. Wade has a really alone attack to puting stage dancing. He would get down off with a feeling and a vision so he would take the music that would suit that specific vision. He would guarantee the scene of the phase would be in line with the temper. It would nt merely be dancing or choreographing, it would be an experience of art. His originative procedure has become more organic over the old ages. It is due to the alteration in his motion vocabulary that goes beyond his earlier street manner. When he was in his earlier dad stage, he would do certain he was ever ready with everything worked out. Of late, he would work out the foundation and leave the remainder to be created along the manner. Wade put his new attack to the trial when he was asked to work with the world telecasting show, So You Think You Can Dance. Strange characters and eldritch dark universes are his thing such as one of his dance stage dancings, the RAMALAMA that was performed in the show, So You Think You Can Dance. It had a zombie subject and was performed stagily, dressed in Victorian attire. It had lyrical elements and deformation involved. It looked a small like Michael Jackson s THRILLER picture but it had a small turn to it that was alone and fresh. Wade has received many awards for his astonishing stage dancings including this stage dancing that brought him an Emmy Award in 2007 for Outstanding Choreography. Wade Robson tends to set himself in disputing state of affairss that allows him to force his creativeness to greater highs. He is able to transform and turn himself into different characters harmonizing to his artistic visions. His stage dancing has no identifiable manner. Apart from the living dead like stage dancing, he did a wholly different manner of dance in his Dancing With the Stars figure in 2007 that was a dark, circus-like, funhouse atmosphere. He had his terpsichoreans dress up as circus performing artists and had a phase puting with circus props. The music that was chosen had a merriment and playful melody and it gave off the vibration of being in an existent circus. It is astonishing how Wade takes an mundane life experience and expands it to new degrees. His reading of a bird and a flower added with his unbelievable imaginativeness and creativeness, he produced a piece called Humming bird and the Flower which got him another Emmy Award 2008 for Outstanding Choreography. It was showcased on So You Think You Can Dance in Season 3 by its finalists, a Nipponese Hip Hop terpsichorean, Hok Konishi and a Contemporary terpsichorean, Jamie Goodwin. For this figure, he and his married woman conceptualized it and designed the costumes together. It was a love narrative of how two really different people/things could come together as one and how they were able to get the better of their differences to be with one another in harmoniousness. It was this peculiar piece that he had set the rehearsal infinite with lit tapers and played the chosen music to put the temper for the figure. .ua66257fd05a8c53ed511bb28b0e44150 , .ua66257fd05a8c53ed511bb28b0e44150 .postImageUrl , .ua66257fd05a8c53ed511bb28b0e44150 .centered-text-area { min-height: 80px; position: relative; } .ua66257fd05a8c53ed511bb28b0e44150 , .ua66257fd05a8c53ed511bb28b0e44150:hover , .ua66257fd05a8c53ed511bb28b0e44150:visited , .ua66257fd05a8c53ed511bb28b0e44150:active { border:0!important; } .ua66257fd05a8c53ed511bb28b0e44150 .clearfix:after { content: ""; display: table; clear: both; } .ua66257fd05a8c53ed511bb28b0e44150 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .ua66257fd05a8c53ed511bb28b0e44150:active , .ua66257fd05a8c53ed511bb28b0e44150:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .ua66257fd05a8c53ed511bb28b0e44150 .centered-text-area { width: 100%; position: relative ; } .ua66257fd05a8c53ed511bb28b0e44150 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .ua66257fd05a8c53ed511bb28b0e44150 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .ua66257fd05a8c53ed511bb28b0e44150 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(; position: absolute; right: 0; top: 0; } .ua66257fd05a8c53ed511bb28b0e44150:hover .ctaButton { background-color: #34495E!important; } .ua66257fd05a8c53ed511bb28b0e44150 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .ua66257fd05a8c53ed511bb28b0e44150 .ua66257fd05a8c53ed511bb28b0e44150-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .ua66257fd05a8c53ed511bb28b0e44150:after { content: ""; display: block; clear: both; } READ: The Battle for Latin American Hearts and Minds EssayHis attack to dance is simple yet hard. He follows what his bosom desires and does non allow popular dance or the current tendency to interrupt what he wants to make. For this new found originative attack to dance, his stage dancing has become more original and unlike others. He goes with the flow of things, the flow of the narrative. Wade Robson puts himself out of his comfort zone non merely to dispute himself but besides to the general populace in hope that he continues to force his bounds and boundaries. In that manner, he would be able to act upon and force the bounds of popular dance. He has impacted many people to step up their game and inspire turning choreographers to believe outside the box and to happen possibilities of art in everything. He has made it to the top for his unbelievable gift, his originative vision and manner, his attack to dance. He has non merely made an unbelievable impact on dance, he has pushed the bound of how we look at dance. I am inspired by Wade Robson s creativeness and success. He was able to construct a name for himself without any proper dance preparation. It gives me hope that I would be able to accomplish my dreams every bit long as I put my bosom into it and hold the thrust to go on dancing for the remainder of my life. I was non decently trained either and coming to LASALLE has been rather a hard but exciting experience for me. It is an mundane challenge to be dancing with friends who good in techniques and have classical preparation background. Wade Robson has given me faith and hope to believe in myself that I am able to accomplish my end, which is to go a great and inspiring terpsichorean.

Tuesday, March 17, 2020

Time and Token essays

Time and Token essays During Chapter Five of The Great Gatsby, time and money are major underlying concepts, although at times they can be inconsistent with previous details of the story. There is a presence of inconsistency with Gatsbys time and money, during his visit to Nicks house he states that he earned money to buy his house in three years, but before he had told Nick that he had inherited all of his riches. Another discrepancy involves Gatsbys shy, nervous manner in the beginning of the scene, while the scene ends with him being overwhelmed with happiness. Gatsbys time and money are the two topics in this chapter that are mentioned very frequently and are most likely large factors in the conclusion of the novel. When Jay Gatsby visits Nicks house to meet Daisy, he is trying to create a perfect impression upon Daisy, even asking for Nicks lawn to be cut as well as his own before the tea party. Gatsby wears a gold-colored tie with a silver shirt in a white flannel suit, obviously attempting to lure Daisy into a relationship using his wealth. While he is guiding Nick and Daisy around his house, he manages to show Daisy all of his costly foreign shirts and piling them on the floor as if they were worthless to him. Daisys upset and attachment to his clothes may hint that she is willing to have a relationship with Gatsby. When Daisy arrives at Nicks house, Gatsby is impatient, nervous, and incredibly pale in color before seeing his lost love whom he hasnt seen for almost five years. At the end of the chapter, Gatsby is unbelievably happy knowing that after five years he has finally come to confront Daisy and show his love for her. ...

Sunday, March 1, 2020

Creating the Holidays the Way You Want Them

Creating the Holidays the Way You Want Them The Holiday Haze This Thanksgiving, I spent my holiday in Dallas with my brother-in-law’s family. They have been very warm and welcoming to me, which I truly appreciate. And there are challenges spending a holiday with a family that’s not mine. Being the personal growth enthusiast and spiritually oriented person that I am, I tend to want to reflect over Thanksgiving dinner on my own gratitude, and to hear from everyone at the table what they are thankful for. At my brother-in-law’s parents’ table, I don’t feel empowered to create that experience. In fact, I’ve been warned that requesting such a ritual would not go over well with this family. In the holiday haze, it’s easy to get lost in what other people want. And it’s not very satisfying or nourishing. After the experience I had at Thanksgiving, I became more aware of social dynamics and what kinds of interactions and communications at a gathering feel nourishing to me. Getting Satisfied Last week, I attended the birthday party of my long-time friend Bruce. After some time had passed with small groups in isolated conversations about topics like the movie A Star is Born, the birthday boy announced that he wanted everyone to come together. We gladly obliged and many of us, with the group intact, shared meaningful stories about Bruce and appreciated him for his strengths. I noticed myself feeling much more present and enjoying being part of the circle much more than when the group was fragmented. I ended up staying at the event for hours. I organized two events myself this season, one on the first night of Hanukkah and one on the last night. At both, the conversation remained a group conversation, and I had no doubt but that I belonged, that everyone there belonged, and that the sense of cohesion was a draw for all of us to want to be together and see each other again. Bucking the System So often, I doubt myself and my intuition, think maybe the other person or people won’t want what I want, don’t even ask for the thing that feels right to me. Or I think I have to follow the original plan, even if I change my mind and don’t like it anymore. I’m watching myself carefully this season, listening to my gut and asserting my desires more. Today, that was as simple as suggesting that I meet a friend at a cafà © instead of at her house (the original plan) because, well, just because it’s what I wanted. What does it look like for you to create your holiday experience the way you want it? With whom and where do you want to spend your time? What conversations do you want to have? What would make you feel truly satisfied? I invite you not to compromise, even if you think other people won’t like your ideas. You might be pleasantly surprised.

Thursday, February 13, 2020

Nutrition to prevent weight loss in stroke patients Essay

Nutrition to prevent weight loss in stroke patients - Essay Example Some cases will allow for the simple determination of nutritional ingredients. Many others are not as easy to deal with. In this essay, an attempt to present corresponding solutions to meet nutritional requirements will be done given the most common scenarios of stroke patients facing the risk of losing weight. Aside from the simple case, the following other situations will be considered: (1) stroke patients with poor appetite due to a damaged ability to chew and swallow normally; (2) poor taste and smell; (3) emotional issues preventing normal food intake; (4) the need for lifestyle change; and (5) stroke patients with chronic conditions. The purpose of including all these is to provide a ready set of guidelines for use when any of these situations are encountered. This essay is taken from the viewpoint of Nurses, Caregivers, and Nutritionists. A Case of Recovery from Stroke Without Complications: Determine Nutritional Requirements. There should be a periodic attempt to determine the stroke patient’s energy requirements in order to achieve a desirable weight. Of course, this is aside from taking BP before and after meals, and whenever there is a need to do so. Knowing the energy requirements will reveal how much calories are needed. Freda Myco (1983, p. 94) noted that â€Å"the energy needs of stroke patients†¦should be assessed in relation to body weight, body build, age, sex, health status, and physical activity levels.† For those who are normal, energy requirements would be about 2000 kcals/24 hours for men and 1,800 kcals/24 hours for women.... Knowing the energy requirements will reveal how much calories are needed. Freda Myco (1983, p. 94) noted that â€Å"the energy needs of stroke patients†¦should be assessed in relation to body weight, body build, age, sex, health status, and physical activity levels.† For those who are normal, energy requirements would be about 2000 kcals/24 hours for men and 1,800 kcals/24 hours for women. A stroke patient should take the right amount of calories to maintain weight. The consequence of too much calories will be weight gain, while lack of calories will turn the patient into a malnourished person with lack of energy to exercise. Since the topic of this paper is about nutrition to prevent weight loss of stroke patients, it should be worth mentioning that Freda Myco (1983, p.95) also clarified that â€Å"Malnutrition is not caused by simply taking too few calories, rather it is the result of a deficiency in the correct mixture of food constituents, vitamins, and minerals.â₠¬  Basic Rules For A Lean, Healthy Body What stroke patients will need is a good eating habit of the right diet containing adequate calories without the unwanted cholesterol. At Body Art, Tanya Lee Sheehan recommends (2008, p. 11) that a person should eat just enough every 3 hours. And the recipe should be â€Å"more lean protein, veggies, fruit and nuts†. There is a reason for eating more often but with less quantity. It gives time for food to be digested first before a new set will need digestion. But her ideas are for people who can still exercise and burn the food they eat through exercises. In the FAO (Food and Agriculture Organization) of the UN, along with Ann Burgess, Peter Glasauer (2004, p.83), there is a guideline about â€Å"How to help sick