Psy240 Appendix C free essay sample

Axia College Material Appendix C Petra Koenig PSY240 March 26, 2011 The Sleep Matrix Why do we sleep? What governs when or how long we sleep? This activity will assist you in understanding two common sleep theories, recuperation and circadian, which provide different answers to these questions. Depending on which one you support, it may change your outlook on sleep and your current sleeping habits. Categorize each characteristic under the correct theory—recuperation or circadian—by placing an â€Å"X† in the appropriate column. Then, answer the questions that follow. |Recuperation |Circadian | |Sleep restores the body to a state of | | | |homeostasis. |X | | |Sleep plays no role in physiological | |X | |functioning. | | | |We become tired when it is dark out. |X | |Function of sleep is to restore energy |X | | |levels | | | |Function of sleep is to conserve energy | |X | |We become tired from wakefulness. X | | |We sleep until the body is physiologically |X | | | sound. | | | |We sleep based on an internal timing | |X | |mechanism. We will write a custom essay sample on Psy240 Appendix C or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page | | |Sleep depends on vulnerability from | |X | |predators. | | | |Sleep deprivation may cause behavioral |X | | |disturbances. | | |We have a sleep-wake cycle. | |X | |When we sleep is based on some evolutionary| |X | |aspects. | | | . What are the main differences between the recuperation and circadian theories? Recuperation- in common usage, refers to a period of recovery. A circadian- rhythm is a roughly-24-hour cycle in the biochemical, physiological or behavioural processes of living beings. 2. Which theory do you most agree with? Explain. I agree with Recuperation theories because it seem more reliable and make sense to me.

Modern Day Witch Trials Essays

Modern Day Witch Trials Essays Modern Day Witch Trials Essay Modern Day Witch Trials Essay Trial The Animation Preschool Abuse Trial was anything but quick and simple. The case lasted a total of seven years, and cost the government $1 5 million dollars (Source F). Peggy Animation Buckeye and her son Raymond along with a few other teachers were accused of a crime that would change their lives forever. The charges consisted of everything from animal sacrifice to pornography and satanic rituals. (Source D). It first began with Judy Johnson, mother of one of the preschools young children who claimed the teachers had molested her son; however, her mental illness schizophrenia) was withheld from the defense in court for three years. She caused a chain reaction that eventually led to 321 counts of child abuse involving 48 children (Source F). Children are susceptible to peer pressure. They are impelled to say things that are not true Just to please certain people, or to stop brutal interrogations. In both cases people were urged to believe in the children. They were heedless of the fact that there was no strong evidence to back up any of the stories, which also varied (Source C). Parents in the Animation Trial were encouraged to sit their kids down and eave them questioned for two hours. These types of allegations destroy careers and change (innocent) lives forever. A member of the Jury told reporters: The interview tapes were too biased; too leading. (Source E) In both cases people were c reating their own accusations with their own twisted thoughts. They turned what could have been innocent interpretations into the most horrid ideas. The phrase cold as a witchs teat, originated from the Salem Witch Trial. It was said that if a mole was pricked with a needle, and the person failed to bleed then they were a witch. Likewise, one kid in the Animation Trial did not like tuna; people rapidly shot to the conclusion that this was because he had been exposed to vaginal smells (Source C). Did it ever occur to these people that maybe the child simply disliked tuna? During the trial one particular prosecutor emphasized that Buckley did not always wear underwear, which was something they stumbled across during the investigation. It was nonetheless irrelevant to the serious charges he was facing (Source E). Investigators are largely at fault as well. They pressured the victims to give the response they were looking for. One child involved in the case later came back as an adult and said, Never did anyone do anything to me, and I never saw them doing anything. I said a lot of things that didnt happen. I lied Anytime I would give them an answer they didnt like, they would ask again and encourage me to give them the answer they were looking for Later analysis showed evidence of extremely suggestive methods of questioning that were used on the children, which wouldve lead to false allegations while others believe it may have led them to false memory syndrome. (Source F) The main point of learning about history is so that it doesnt peat itself; moreover, there are lessons to be learned from the Salem Witch Trials and the Animation Trial. In both situations everything was blown way out of proportion. Therefore, trials should have unbiased Judges, reliable sources, and we need to make sure that the people confessing dont have something to gain by their dishonesty (Source C). In 1990, Peggy Buckeye was acquitted, and not long before she D) Let that be a lesson. We cannot control the fact that hysteria is going to happen, but we can learn from previous events to take the right preventative measures (Source C).

APA Guidelines for Correct Form

APA Guidelines for Correct Form APA guidelines have made the documentation process much easier. Using parenthetical citations, you can quickly and easily cite the works of others, avoiding plagiarism and keeping your paper clean. These guidelines have changed since the old days of schooling, and now have been adapted to encompass all sorts of analytical papers and publications. APA Guidelines for Correct Form Perhaps you know how to create a bibliography. But times have changed, and now the correct format for citations is a bit different than you might remember. The days of footnotes and endnotes are long gone, along with pages of citations, for each instance of quotations. What the APA guidelines have done is accomplish documentation with the least amount of hassle. Without unduly interrupting your text, you can quote extensively and give proper credit to the author. In fact, if you quote a single book 56 times, you only need a simple parenthetical citation after each quotation. Then, in your list of works cited, you only need name the publication once. What Are Parenthetical Citations? Parenthetical citations are simply citations enclosed in parentheses at the close of the relevant sentence. Usually these consist of the author or editors last name, along with a page number. These make for easily inserted documentation, and are usually followed by an alphabetized list of sources at the papers end.

French Bread Research Paper Example | Topics and Well Written Essays - 750 words

French Bread - Research Paper Example It consists of water, yeast salt and wheat flour. These are the ingredients that people in France, and indeed all over the world, have been suing to make bread for millennia. These are the same ingredients that Arabs use to make flat bread, Chinese use to make boiled dumplings and Italians use to make raised pie dough. So it is clearly not the ingredients that make a loaf that is recognizable as French bread. So when did these simple ingredients become identifiable as making a loaf that is distinguished as â€Å"French†. One of the things that makes French bread â€Å"French† is the distinctive shape. The baguette is a long thin loaf. It is usually is five inches in diameter and is approximately three feet long. Size does vary, but in general, but French bread loaves are in the long, thin baguette shape. This shape has been around since at least the mid-18th century in Paris. Personal diaries and published works detailing travels through Europe make mention of seeing servants walking through the streets of Paris in the early morning carrying long loaves of bread that resembled crowbars (Elson, 1896). So the baguette shape was popular long before the invention of modern machines that were used to knead, cut and shape dough. One theory that points to today’s popularity of the baguette shape points to a law that was passed in the early 20th century (Asaff, 2006). Since the revolution, France has tried to ensure that workers are treated fairly and that the state or their employers do not exploit their labor. As a result, France has some of the most labor friendly laws in the world. They enjoy a short workweek as mandated by law and overtime beyond a certain point is prohibited. One of these laws that was passed prohibited workers in the bread making industry from working between the hours of 10:00 PM and 4:00 AM. This made the baking of normal loaves of bread very difficult. The dough would not have enough time for the processes of

Sustainable Events Management Course work Essay

Sustainable Events Management Course work - Essay Example Also, MCI delivered satisfactory results in social, economic, and environmental aspects as they conform to the ISO 20121 (event sustainability management system). The reality shows that more and more businesses have perceived sustainability principles and practices as important success factors in today’s business landscape; hence, they have incorporated these into their systems and activities. Sustainability among these companies are being provided in various societal and corporate initiatives, but most of them are centered on environmental or natural, economic, and social dimensions (Haugh & Talwar, 2010). These dimensions of responsibility are known as the triple bottom line (TBL) approach, which was coined by John Elkington in 1990s (Elkington, 2004). In this regard, various industries are encouraged to give importance on environmental and societal issues in their decision-making and sustainability reporting; this approach can be seen in the MCI group. The main thrust of this paper is to critically assess the sustainability policy of MCI in relation to the TBL theory. Also, recommendations will be given after the critical appraisal of the company’s sustainability plan. MCI is a privately held company whose expertise is in the field of event management. It was founded in 1987 by Roger Tondeur and Ursula Wiger, which is currently headquartered in Geneva, Switzerland (MCI, n.d.a.). Furthermore, MCI is one of the leading companies in the event industry with 48 offices in 22 countries worldwide including the U.S, EU, Asia, Middle East, and many more (MCI, 2011). Also, the company expressed that their continuing growth for almost 25 years is attributed to their commitment to sustainable development and corporate social responsibility (CSR) through the application of the TBL theory. This theory has been embedded in all of MCI’s policies, practices, decisions, programs, and reporting. In fact, they are

Alfred Hitchcock’s The 39 Steps (1935) Essay Example for Free

Alfred Hitchcock’s The 39 Steps (1935) Essay Alfred Hitchcock’s 1935 film The 39 Steps, is today regarded as among the best of his career, and possibly his best film before he left Britain for Hollywood in 1939. Its history was somewhat tortuous and unconventional, reflecting Hitchcock’s own unconventional working style and eccentric personality, and it became an archetype of how Hitchcock worked with actors and screenwriting collaborators alike. Based on an adventure novel by British-born lawyer and government official John Buchan, the story of an innocent man wrongly accused of murder and embroiled in an espionage plot (which he ultimately foils) bore little resemblance to its source. As was Hitchcock’s practice, he selected a literary source and adapted it freely, adding elements of what he considered a good film – in particular, romantic, frequently sexual subplots and devices intended to keep both the audience and characters within the film off-balance. After completing The Man Who Knew Too Much, Hitchcock discovered his gift for making mystery thrillers and selected as his next project Buchan’s novel, which he had read in his youth along with the author’s other adventure tales. First, Hitchcock had to transform the book into a screenplay, though this involved not merely translating the story – which was really a male-oriented thriller without a heroine or any hint of romance – into a more complex and interesting vehicle, complete with the romantic interest that the era’s audiences expected. Using the novel only loosely, Hitchcock’s main method for creating screenplays was to act as a sort of informal story editor, collaborating with others who would contribute a wide range of ideas and keeping those he found suitable to the story. He also used Plotto, a compendium of interchangeable master plots, into which he freely inserted elements he liked. Film historian Patrick McGilligan comments, â€Å"Never mind that sometimes the inserts were implausible. ‘I’m not concerned with plausibility,’ Hitchcock liked to boast. . . . ‘Must a picture be logical, when life is not? ’† (McGilligan, 2003, p. 158) For this film, Hitchcock chose an informal group of collaborators whom he dubbed the â€Å"Cromwell Road Group;† Buchan was not among them, as Hitchcock preferred. Finding fidelity to literary sources confining, Hitchcock had previously adapted both novels and plays but resented authors’ intrusions into his work, particularly in the case of the latter. Says McGilligan, â€Å"Novelists never claimed the same control over film adaptations as playwrights – and Hitchcock was through with plays, for the time being. . . . Hitchcock had more power now, and he preferred the freedom of working with novels† (McGilligan, 2003, p. 170). His group included writers Alma and Charles Bennett, as well as humorist Ian Hay – the only collaborators credited for the screenplay, though only for â€Å"continuity† in Alma Bennett’s case (McGilligan, 2003, p. 172). From them he fielded ideas about how to flesh out the thin plot and develop its themes. In this early phase, Hitchcock began developing the film’s themes and motifs. Most importantly, he chose to sexualize what film historian Thomas Leitch calls â€Å"Buchan’s adventure yarn for grownup boys† (Leitch, 2002, p. 333) by adding two romantic subplots, neither of which appeared in the novel. The first involves Pamela (Madeleine Carroll), who at first tells the police about protagonist Richard Hannay (Robert Donat) but ultimately falls in love with him, after he convinces her of his innocence. The second concerns the loveless marriage between the Scottish farm couple who hide Hannay during his pursuit; this part, borrowed from a contemporary novel called The Shulamite (McGilligan, 2003, p. 171), offered a counterpoint between the love developing between Hannay and Pamela. Hitchcock often offered contrasts as part of his motifs; for example, in this film he contrasts brunette actress Lucie Mannheim’s mysterious spy character (whose stabbing death is wrongly blamed on Hannay) against blonde Madeleine Carroll, the film’s virtuous heroine. Here, these characters obviously symbolize darkness and light, evil and good. Another contrast he explores is the disparity between appearance and reality, which persists throughout the entire film. Hannay is pursued by the British police and must assume false identities throughout his travels, while also encountering members of the spy ring who pursue him while keeping their own identities secret. Another key Hitchcock motif involved the use of handcuffs, since Hannay and Pamela are handcuffed together for a portion of the film. Reappearing in subsequent films, the handcuffs are thought to have a strong sexual connotation. Film scholar Slavoj Zizek writes that the handcuffs motif is sexual but also used â€Å"to put the love couple to the test . . . [by] maturing [them] through a series of ordeals† (Zizek, 1992, p. 4). Indeed, Hannay and Pamela move from mistrust and betrayal to trust and eventually love. Also, he uses the â€Å"double chase† motif, in which the protagonist is pursued (often under the assumption of guilt) but also pursues the agent of his misfortune, who can also release him from his predicament. (This appeared in Buchan’s novel but also recurs in numerous Hitchcock films, such as Saboteur and North by Northwest. ) Hannay flees from the authorities but is also pursuing the spies responsible for the murder for which he is wrongly accused. Incorporated with this is what film historians dub â€Å"the MacGuffin,† an unseen or little-seen object that matters vastly more to the film’s characters than to the audience. This device serves primarily as a catalyst for the film’s action (in this case, a set of plans for fighter planes). To a lesser extent, Hitchcock shows a prescient warning about the dangers of fascism. The spy ring hails from an unnamed nation, but, given Hitchcock’s own liberal sentiments (and the more leftist leanings of co-producer Ivan Montagu), the film functions as a warning against Hitler. Scholar Ina Rae Hark cites the conclusion, where Mr. Memory’s audience rises to its feet and helps apprehend the spy who shoots the vaudeville performer. Hark claims that â€Å"only after the citizens’ liberation from the social codes of spectatorship that the . . . guardians of democracy can eliminate the external threat† (Boyd, 1995, p. 100). Even before shooting began in January 1935, Hitchcock faced issues with even getting the film made. When Gaumont-British studio chief Michael Balcon took an extended leave of absence to visit the United States, he left control to board member, C. M. Woolf, who had a clear personal and artistic antipathy toward Hitchcock. A financier and film distributor with decidedly conservative tastes (he favored light comedies and lowbrow adventures, which were safe and profitable), Woolf disdained anything â€Å"artistic† and tried to block the film’s production, trying to assign Hitchcock (who relished his creative freedom) to another, less adventurous project. However, co-producer Ivan Montagu managed to stall this until Balcon returned and overruled Woolf’s decision, allowing work on The 39 Steps to proceed and rescuing the film from oblivion (Chandler, 2005, pp.96-97). Another issue involved Hitchcock’s famously brusque treatment of actors, which he considered merely a method for preparing them to assume their roles. According to McGilligan, â€Å"Adopting an attitude toward his actors that the story took toward their characters: it was a Hitchcock strategy rarely expounded upon; perhaps it was subconscious, but it was effective. . . . The iron fist was always there, lurking in reserve† (McGilligan, 2003, p. 174). This film provides a fairly illustrative example of how Hitchcock achieved this. As his second choice for the female lead, Hitchcock hired Madeleine Carroll, whose looks and onscreen charm matched those of start Robert Donat, though he was initially uncertain about her acting ability, which he had previously considered lacking. On the first day of filming, Hitchcock handcuffed Donat and Carroll together, as was required in the script, but claimed to have misplaced the key, leaving his lead performers shacked together for an uncomfortable length of time. Donat apparently accepted it, though Carroll grew annoyed and eventually let down his cool, dignified exterior in order to convey her character’s discomfort and initial disdain for Hannay. Hitchcock began shooting the film in January 1935, making certain to hire the right personnel to realize his vision and, more importantly, follow his specifications (as past crew members had sometimes failed to do). In particular, he chose longtime acquaintance Bernard Knowles as cinematographer, because Knowles specialized in creating the kind of atmospheric lighting The 39 Steps would need as a mystery thriller, and because he would comply with Hitchcock’s precise instructions, as other cinematographers had failed to do in the past (McGilligan, 2003, p. 172). Due to a relatively slim budget of less than sixty thousand pounds, a figure that would pale in comparison to the large budgets he received in Hollywood, Hitchcock shot the film mainly at Gaumont’s Lime Grove studios in London, with two brief forays into Scotland to shot location scenes. He finished in less than four months, and the film was released in Britain in June 1935 and in the United States on 1 August (Leitch, 2002, p. 331). The film’s trailers left much to the imagination, not hinting at the story to come. The original focuses only on the initial performance of â€Å"Mr. Memory,† the vaudeville performer who, in the end, reveals that the Thirty-nine Steps are actually a spy ring (in the presence of numerous witnesses and the authorities), resulting in his on-stage murder; it shows nothing of the plot or subsequent action. A later one is shorter and more sensationalistic, showing Pamela’s betrayal of Hannay to the police, a bit of his chase, and Hannay asking Mr. Memory â€Å"What are the Thirty-nine Steps? † This one promises â€Å"MURDER! MYSTERY!! TREACHERY!!! ROMANCE!!!! † (Alfred Hitchcock’s Trailers) Hitchcock himself promoted the film by suggesting that filmgoers see it â€Å"at least three times, in order to pick out all the details and the intention behind them, and in order to get deeper into things† (Spoto, 1992, p. 46). The 39 Steps was instantly successful on both sides of the Atlantic and considered by some contemporary critics to be Hitchcock’s best work to date (McGilligan, 2002, p. 175). It certainly furthered Hollywood studios’ interest in the director; apparently, American studios had courted Hitchcock prior to the film’s release, but offers appeared in greater numbers after mid-1935. Gaumont-British director Michael Balcon fended off most of them, aiming to keep Hitchcock within his fold as long as possibly. However, lured by larger budgets and promises of the creative freedom he prized, Hitchcock left for the United States in 1939. Today, the film is still highly-regarded, though perhaps less so in light of Hitchcock’s Hollywood films, made between 1940 and 1976. Critics maintain that it is the best of his career’s British years. Film scholar Donald Spoto comments: â€Å"Some critics have dismissed the film as little more than a pleasant diversion . . . but a merely pleasant diversion does not continually generate fresh interest and disclose new richness after multiple viewings and the passage of decades. The 39 Steps . . . improves with age and familiarity† (Spoto, 1992, p. 42). The 39 Steps remains in various ways an example of how Alfred Hitchcock’s creative process. Beginning with a literary work as his inspiration, he transformed it significantly by working loosely with a group of collaborators who supplied ideas that helped him reshape the story into a film that reflected his own favorite themes and sensibilities. He inserted his own themes into the story, particularly the romantic/sexual subplots, and used his somewhat harsh style of shaping actors’ performances. Audiences’ and critics’ opinions of the film have remained high for the last seven decades, giving it even greater stature within the body of the master filmmaker’s work. REFERENCES Anonymous (2006).Alfred Hitchcock’s Trailers. Retrieved 16 May 2006 at http://www. sensesofcinema. com/contents/05/35/hitchcocks_trailers. html. Boyd. D. (1995). Perspectives on Alfred Hitchcock. New York: G. K. Hall. Chandler, C. (2005). It’s Only a Movie. New York: Simon and Schuster. Leitch, T. (2002). The Encyclopedia of Alfred Hitchcock. New York: Facts on File. McGilligan, P. (2003). Alfred Hitchcock: A Life in Darkness and Light. New York: ReganBooks. Spoto, D. (1992). The Art of Alfred Hitchcock. New York: Anchor. Zizek, S. , ed. (1992). Everything You Always Wanted to Know about Lacan (But Were Afraid to Ask Hitchcock). London: Verso.

The Diversity of Characters, Attitudes, and Messages through Different

The different translations of The Oedipus Cycle emphasize and suggest different aspects of the presented scene. There are multiple examples of this in the comparison of The Fitts and Fitzgerald’s Translation and the Luci Berkowitz and Theodore F. Brunner’s Translation. Such as the differences in format, sentence structure, and diction imply different characteristics. Also, similarities in the two translations reinforce the importance of the concepts.   Ã‚  Ã‚  Ã‚  Ã‚  The most noticeable difference in the two translations is the format of writing. The Fitts and Fitzgerald’s Translation was in a formal poem format whereas the Luci Berkowitz and Theodore F. Brunner’s Translation was in a more informal paragraph. The diction of the two paragraphs reflects the formal versus informal aspect as well. For example, in comparing the first lines of both translations, it was noticed that the Fitts and Fitzgerald’s Translation referred to the public as, â€Å"generations of the living in the line of Kadmos, nursed at his ancient hearth† (F & F,) while the translators of Luci Berkowitz and Theodore F. Brunner’s Translation referred to the public as simply, â€Å"the sons of the ancient house of Cadmus† (LB & TB.) The first translation offered much more information and description of the population of Thebes. Also, the phrase â€Å"nursed at his†¦ hearth† requires the reader to be of a hi gher education because â€Å"hearth† is not in the everyday vocabulary of just anyone.   Ã‚  Ã‚  Ã‚  Ã‚  On of the most dominant similarities between the two translations is the Oedipus’s arrogance. The first part of the sentence, if it were viewed separately, sounded like Oedipus genuinely cared for the people when he said, â€Å"I choose not to hear it from my messengers, but came myself† (LB & TB.) This quote showed how Oedipus was putting out the effort of coming out to the general public to see how bad things were. He did not wish to just sit back and find out the news through hearsay. He wished to see it for himself. All of his sensitivity was then void with the rest of the sentence when he said, â€Å"I have come myself to hear you – I, Oedipus, who bear the famous name† (F & F.) The rest of the sentence gave off the impression that Oedipus was telling his own people that they were lucky that he even came out to see them. A man as important and famous as he should not n... ...tz and Theodore F. Brunner’s Translation, Oedipus addressed the citizens as, â€Å"children, sons of the ancient house of Cadmus† (LB & TB,) and in the Fitts and Fitzgerald’s Translation, Oedipus addressed the populace as, â€Å"my children, generations of the living in the line of Kadmos† (F & F.) Although they may not seem to be very different at all, they are in fact extremely different. By addressing the people as â€Å"children† versus â€Å"my children,† Oedipus switched the relationship from a ruler and the ruled to a father and his children.   Ã‚  Ã‚  Ã‚  Ã‚  To an unaided eye, it may appear as if there is no significant difference between one translation and another, but in reality there are several differences. The same core message is there, but in this case, Oedipus came out to be a much better leader in the Fitts and Fitzgerald’s Translation due to his ability to stay calm in calamitous situations and his strong connection with the people. It must be kept in mind, though, that the similarities are just as important as the differences. With the presence of similarities, the message is amplified greatly, as in the instances of Oedipus’s arrogance and his goal to help.