How to bond with your employees without compromising your authorityÂÂ

How to bond with your employees without compromising your authority   Authority and power are complex issues that come with the task of being a manager. In the workplace, the ability to hire, fire, and give raises sets the power dynamic between employees and bosses. But while power and authority are clearly linked, authority is a bit murkier to define- it relies on the established relationship between employees and their bosses and can be built over years and lost in an instant. Bonding with your employees and projecting authority are not mutually exclusive. In fact, the two things are much closer than one might think.Here are a few ways you might develop both leadership traits.Establish an atmosphere of mutual respectAuthority doesn’t come automatically with a job title. It is earned when managers are clearly knowledgeable and competent, and when they get results. But you can’t get those results without team effort- and your interaction with employees plays a vital role in establishing authority. In order to truly lead a team, you need t o earn trust and establish an atmosphere of mutual respect with employees. If you find yourself pounding on your desk and engaging in intimidation tactics, chances are you are trying to assert authority rather than earn it. But if you build a base of shared respect, then bonding with employees will grow your authority rather than diminish it.Take an interest in your employeesYou don’t want to invite daily gab sessions or become a shoulder to cry on, but being responsive to employees and really listening can help foster your authority. Simple things like knowing where your employees went to college, or the names of their family members, or their personal interests and hobbies, can help you understand their motivations and actions at work and help establish basic respect. This type of bonding also fosters a working relationship that can open the channels of communication so that when your employees have a good idea, they can reach out. This way you can be the boss employees wan t to listen to and will trust to follow.Be a real personSo, can you drink a beer with your employees and just be a regular person? Sure. But you can’t drink too much or share too much personal information. Letting employees see that you’re a real person with your own life and interests outside of work does not compromise your authority, but is part of that two-way street of building mutual respect. Social settings like the office party can help you bond while keeping it professional.hbspt.cta.load(2785852, '9e52c197-5b5b-45e6-af34-d56403f973c5', {});Set boundariesAfter you relax with employees at an office party or talk up your golf game, you need to be clear when it’s time to focus back on work. The afternoon progress meeting is not the place to shoot the breeze, so take care to establish the atmosphere you want with a simple, firm-yet-kind acknowledgment of when it’s time to get back to business.Head off problem employeesOccasionally there will be the e mployee who can’t separate the friendly boss from the friend and switch gears back to work-mode. If you find an employee becoming overly familiar, too joking, or disrespectful, this is where your authority needs to put its foot down. Nipping a problem in the bud is best, and opening the channels of communication with the individual employee can turn the situation around.Bonding with your employees, when done the right way, can actually help you gain authority. It can take years to cultivate but largely stems from you setting appropriate boundaries and maintaining genuine interest in your employees as people. So ask yourself: are you approachable, or intimidating? And which do you think will get better results?

Tips to Improve Your Spelling

Tips to Improve Your Spelling Nothing makes your writing look unpolished like misspelled words. While we can depend on technology like spell checkers to let us know when weve made errors, there are limits to what technology can do.   Read over this list of techniques and try to make them a part of your routine.   1. Make Yourself a List of Problem Words If there are certain words that you know you misspell frequently, make yourself a spelling list. Practice writing these words ten times each, just like you did in elementary school. Use flashcards to practice a little every night and eliminate words when you feel youve conquered them. 2. Keep a Problem Word File in Your Computer Each time you run a spell-checker and find a word that youve misspelled, copy and paste the word into your file. Later you can add it to your list (above). 3. Each Time You Practice a Word, Spell It Out Loud Later, you will recall how the word sounded as you spelled it right. Youll be surprised how well this works! 4. Review the Rules for Prefixes and Suffixes Youll avoid many mistakes once you understand the difference between inter and intra, for example. 5. Study Common Root Words of Words With Greek and Latin Origins This is a trick used by many Spelling Bee participants. Understanding etymology can add a layer of logic to word spellings that will make them easier to remember. 6. Memorize Clumps of Words That Belong to Special Groups For example, you will find that the group of words that contain ough (rhyming with tough) is finite and manageable. By observing words that do and dont belong together, you will reduce uncertainty about many similar words that dont make the list. More lists of special groups would include: aire words like questionnaire and millionairemn words like hymn and columnps words like psychology and pseudonymible words like edible and audible Be sure to revisit this list frequently. 7. Read Many words become familiar to us because we see them often. The more you read, the more words you will see, and the more youll memorize - even though you wont realize it. 8. Use a Pencil You can mark your books with light pencil marks to indicate words youd like to practice. Just remember to go back and erase! If you happen to use an eReader, be sure to highlight and bookmark words youd like to practice. 9. Practice With a Few Online Spelling Quizzes This is a good way to find frequently-misspelled or commonly-confused words. 10. Visualize Yourself Carrying Out an Activity to Match a Problem Word For example, if you have trouble remembering how to spell edible, conjure up and image of the word in your head, then picture yourself nibbling on the word. (Silly activities are often the most effective.) Any effort you make to improve your reading skills will have a surprising effect. Youll find that spelling becomes much easier with practice.

ANALYZE STARBUCKS COFFEE Essay Example | Topics and Well Written Essays - 1250 words

ANALYZE STARBUCKS COFFEE - Essay Example Starbucks is a company which has throughout its history displayed a high capacity for being able to manage the workforce within it, and the competent management of its staff in its different stores has enabled the company to become highly successful, as those who work for it are motivated by its management ability (Fitzgerald, 2013). The wide range of coffee and other products which this company has put at it customers’ disposal means that it has to hire and maintain a large workforce in order to be able to function effectively. Unlike other companies in the same industry, Starbucks tends to be very careful and selective with the management of its staff because of the need to continuously make a profit. As a result of the competence that has been shown when dealing with its multi-cultural workforce, and also being able to venture into countries which speak different languages, Starbucks has come to achieve success on the international scene where other companies take years to achieve the same. The use of technological innovations has been found to be a very important aspect when running a company such as Starbucks because it is these innovations which have enabled this company to get customers and to make them remain loyal for many decades. It was realized early by the Starbucks management that it has to be innovative in order to survive the very competitive market that is predominant in the world today. It has been found that the key to Starbucks’ worldwide success is that people everywhere know what to expect when they go to the stores that it owns but this does not mean that this company has made any resistance to any changes or that it has refused to adapt when local customs require flexibility (Day & Moorman, 2013). In addition, it is a fact that this company has come to establish internal social networks to give its employees the opportunity to connect with the management and to support each other. This network has come to provide a space fo r the company’s stores to share ideas, best practices, as well as customer stories, and there is also a forum section that is currently being used to encourage dialogue between Starbucks’ management and its employees as well as discussions between employees from the different stores within the chain. The use of such technology has been proven to be successful in getting the employees more involved with both the company’s management as well as fellow employees. The introduction of new technology to aid its employees in their work is one of the most important policies that Starbucks has taken in hand. While in many other companies in the market it has been often found that resistance to change is often related to the introduction of new technology in place of the old ones which many employees are used to, this has not been the case with Starbucks. In fact, the opposite is true because the introduction of new technology at Starbucks has become immensely attractive to the younger generation of workers, who are often quick to adjust to its use, and the older employees have surprisingly not been left out since they have embraced the new technology without offering any resistance to its use, as would have been expected. In order to encourage its employees to adapt to the new technological changes within their stores, the management of Starbucks organizes training in the use of the new technology

Football Hooliganism Essay Example | Topics and Well Written Essays - 2000 words

Football Hooliganism - Essay Example ..... it is a sure-fire sign that the hooligan element is present and that their senseless fury is about to be unleashed"( Chaudhary, 2002). Though hooliganism in football originated in Britain, it is today by no means isolated to the UK, and is in fact a major source of concern and much sociological and psychological research across Europe and other nations. It is today an accepted fact that hooliganism has had its presence in various countries across the last century, a fact which has been systematically established with concrete evidence: By now, most students of sports violence recognise the spurious nature of the claim that soccer hooliganism is a "British disease".....In content analyses of media Williams et al. (1984) unearthed over 70 reports of spectator disorder at soccer matches in 30 different countries in which English fans were not involved between 1904 and 1983.(Coakley, Dunning, 2000) The exact date of origin of this phenomenon in soccer cannot be easily ascertained . It came to the notice of the public and government authorities in the sixties, but in fact the first recorded instances of football hooliganism hark back to a much earlier date. " During a match in 1846 in Derby the riot act was read and two troops of dragoons called in to deal with a disorderly crowd, whilst pitch invasions became increasingly common from the 1880's onwards"( Pearson, 2001). Indeed, violence has always been associated with a majority of sporting activity, and more specifically with soccer, which is "in both the pejorative and non-pejorative sense, an intrinsically aggressive event which sanctions some violence in attempts to win, and retain, possession of the ball". (Bonny, Giulianotti, Hepworth, 1994) But it was during the Swinging Sixties that football became more of a fashion than a sport, a part of youth culture, and developed a relationship with fashion, style, image and even music. This was in part because football clubs became more organised, the limits to a footballer's weekly earnings were abolished, and last, but not the least, the hosting of the 1966 World Cup finals in UK, which got widespread media coverage. Also important was the establishment of fan followings for different football clubs, and the concepts of "ends" in the stadia, which the supporters of the home and away group respectively marked as their territory, and the defence of which became paramount, attaining almost a cult status. "The most important feature of contemporary hooliganism is the taking and holding of 'ends'. Away supporters, especially those from clubs with 'hooligan' reputations, try to drive home supporters from their traditional end"( Holt, 1992). In this decade, male youth gradually became a community on its own, distinct from the patriarchal concepts of family and society, and football became a mode of independent expression. There are manifest continuities between the rites of violence in contemporary Britain and earlier periods. But the specific forms of hooliganism are new; football crowds were not segregated by age before the 1960s; youth did not congregate around parts of football clubs as their territory--they had a larger territory and community which they shared with their older male relatives. ( Holt,1992) Hooliganism became a growing

20th century innovators of theatre Essay Example for Free

20th century innovators of theatre Essay In this essay I will contrast and explore the key innovations and methodologies of the director/practitioner Peter Brook, and the Polish director/practitioner Wlodzimierz Staniewski and the workings of his theatre company, Gardzienice. One of Peter Brooks methodologies that I feel is key is his use of site specific work. Peter Brook felt a need to try and create theatre outside of traditional theatres. So in the early 1970s he started the experimentation of acting in the street, in hospitals, carparks, anywhere there was a space big enough to hold a production. In the early seventies we began doing experiments outside what was regarded as theatre. For the first three years we played hundreds of times in streets, in cafes, in hospitals, in the ancient ruins of Persepolis, in African villages, in American garages, in barracks, between concrete benches in urban parks. We learned a lot, and the major experience for the actor was playing to an audience they could see, as opposed to the invisible audience to which they were accustomed. This key innovation has helped both directors and actors all over the world, especially actors in third world/war torn countries who either dont have access to theatre buildings due to financial constraints, or who have no theatre buildings due to bombings. Peter Brook encountered a theatre director from Soweto in Africa. This African director explained that his theatre company had been helped greatly by Peter Brooks book The Empty Space, when Peter Brook asked how? the African director replied The first sentence, which is, I can take any empty space and call it a bare stage. A man walks across this empty space whilst someone else is watching him, and this is all I need for an act of theatre to be engaged. Peter Brook felt that the newfound relationship between actor/audience would create a new and different dynamic for the actors involved, mainly due to the proximity (closeness) of the actors and audience. One of the actors main defences previously in conventional theatre was not being able to see the audiences faces. With this new site-specific theatre this defence was shattered. Peter Brook felt that this newly created relationship between actor/audience was key in the shared experience of the theatrical performance, so rather than the audience being alienated by the space, the audience sharing the auditorium and the actors the stage, suddenly both parties were sharing exactly the same space. Another aspect of the empty space is that the emptiness is shared: its the same space for everyone who is present. He also felt that there was no need for an elaborate set, lighting and the comfort of a theatre to produce living theatre, he felt that this so called living theatre was not linked to external conditions. I wish to compare what can occur only on a regular stage, with set and lighting, with what can take place only without lighting, without scenery, out of doors, in order to demonstrate that the phenomenon of a living theatre is not linked to external conditions. Gardzienice also used site specific work within their company, but what made their use of site-specific work different to Peter Brooks form was the way in which they executed it. Firstly they would interconnect their form of site-specific work and interculterallism. The Theatre Company would travel to a village and set up for a performance, this would be done in full view of the villages inhabitants so to insure a large turnout. A small group of performers would then walk between the houses either engaging in short performances in front of or inside the houses. They did this to make the villages feel like part of their performances rather than outside of them, this method connects to Peter Brooks method of actor/audience sharing the same space rather than feeling alienated, just spectators. The difference with Gardzienices performance/gatherings is that they actively encourage the villagers to participate/share in the performances. You may rehearse with local musicians, and if there are storytellers you try and include them as well, if not in the performance scenario then in the gatherings. So the preparations should animate the local community as much as possible. Gardzienice created these gatherings in order to share their work with agrarian communities and also give members of these communities a chance to share lifelong skills, in any performance-related art with them. If you present your skills, they will respond with their highest abilities. This method is used not only to share artistic forms, it is also used as a refining vehicle, because the responses of these villagers are so unblemished by society as we know it, Gardzienice felt that the responses of the villagers would be completely primitive and instinctive. The expedition tests and proves the strength and the causing effect of the performance, of the scenes, of acting, of timing-all the aspects which indicate whether it is alive or not. It is a very good camp for refining your craft. The use of the gatherings/performances changed the theatre of its time, as did the use of site-specific spaces for Brook. These gatherings created a whole newworld of what was seen as theatre. In the 1970s theatre was seen as a performance of a play in a conventional theatre space to a paying audience. Gardzienice changed this by using the natural environment of the village as the theatre. He also had no set play, the drama would unfold in an organic completely natural way, and this also reflected upon the environment in which it was set. I am of the opinion that gathering is a moment of theatre born of itself. The traditional gathering has, Within it, the fundamental structure and principles of drama. It has an enormous theatricality and dynamism. If you observe the traditional gatherings in the villages where the people meet to sing, play their music and tell their stories, you will see that they are richer and more developed than many dramas on the stage. Gardzienice also created this innovation of gathering/performance to truly allow their audience to be an integral part of the performance. For without them the performance is not actually possible. The real performance, the real event is the gathering. Staniewskis company wished to change the passive audience into the active one through the constant evoking of their senses. He did this through his deeply moving performances, which involved music and song, this musical song was used in a very ritualistic way. This performance type has elements of religious ritual and the natural environment, which usually connects greatly with these villages, as most of their lives are rooted in tradition and religious activity and their constant connection with the land. The performance demonstration is very important because it allows you to identify your work. The village is never passive during the performance because this sort of society still has liveliness, an immediate reaction to an action, a picture, to events, happenings. But the gathering is much more significant because you are changing the passive audience into the active one. In both Staniewskis and Brooks work they share a common interest in the role of the spectator. Brooks methodologies are such that the audience must be an alert energy whilst speculating. Within Brooks work he is aware that the audience should be alert to the action but not directly involved. He sees the audience as active through the channelling of their positive energy onto the actors; they have an awakened presence that manifests itself onto the energy of the performers. The eye of the audience is the first element, which helps. If one feels this scrutiny as a true expectation, which demands at every moment that nothing be gratuitous, that nothing can come from limpness, but all from alertness, one understands then that the audience does not have a fully passive function. It does not need to intervene or manifest itself in order to participate. It is a constant participant through its wakened precence. On the contrary Staniewski encourages the spectator to become an integral part of the performance process (within gatherings), sometimes even encouraging the audience to actively taking part in the creation of the action. Gardzienice display their skills, to which the villagers then respond with skills of their own. You must demonstrate your own abilities as perfectly as possible. If you present your skills, they will respond with their highest abilitys. Another very important innovation of Peter Brooks is interculterallism. He is very interested in the idea of sharing forms. Especially those that come from a long line of tradition, forms that were inbred into a people, rather than learnt/acquired as forms are usually learnt in the western world. When talking about a Taazieh performance that he saw in Iran he said about the performer It was although we heard his fathers voice, and his fathers fathers, and so on back. Although Peter Brook admires the greatness of these age-old plays/rituals/ceremonies, he also discusses the way in which these forms can become out of touch with society. Peter Brook believes in taking a form from another culture and adapting it. He believes that trying to create an exact representation of a form so alien to an outsider, yet that comes so naturally to its inhabitant is useless. Peter Brook felt that once a form was formed it was rigidly stuck and unable to progress. He said, Generally speaking, we can conclude that tradition, in the sense of the word, means frozen. It is a frozen form more or less obsolete, reproduced through automatism. He feels that forms are just like any natural cycle within our universe that everyone must accept, everything is born and everything must die. He believes that only the constant re-evaluation and adaptation of a form will keep it alive. There is no form beginning with ourselves that is not subject to the fundamental law of the universe: that of disappearance. All religion, all understanding, all tradition, all wisdom accepts birth and death. In 1968 he met a Japanese actor named Yoshi Oida who was trained in No theatre. He believed that although his training was beneficial to him, it wasnt truly in touch with the world around him. Peter Brook agreed with this actors outlook, he felt that it was important to assess the context in which you are producing/performing the form in, and inevitably its connection with an audience. A magnificent form is not necessarily the appropriate vehicle to carry a living experience once the historical context changes. So in Peter Brooks productions he takes elements of ritualistic traditions/forms that he has encountered by indigenous people, and he adapts them to suit western actors/audiences. For Peter Brooks production of The Conference of the Birds, he brought in a Balinese actor with a vast experience in the use of traditional Balinese masks, to work with his actors. Although the acting company was in awe of what they saw him do with these masks, they knew that it would be almost impossible to recreate. He used the mask as a Balinese tradition, with a thousand years of ritual behind it. It would have been ridiculous for us to try to be what we were not. Finally we asked him what it was possible for him to do. Gardzienice has a similar methodology with regards to interculterallism but rather then heavily reforming the customs the Theatre Company try to translate the nature of the form that is shared with them whether in song or dance. Staniewski and his collaborators in Gardzienice translate what they explore and discover in their expeditions into their own highly complex and innovative theatre language. Gardzienice take the use of interculterallism to a completely new level through their use of the Gathering. This event not only involves sharing of cultural forms, it also takes the reactions of the spectators, or the sounds of the natural environment during a performance, and adds this to its theatre language, so it can be recreated in later rehearsals/performances. This innovation Staniewski calls interference in dialogue For example, an actor speaks a monologue and a voice from the crowd is constantly adding something. This is when they interject with material belonging to their own lives. So Gardzienice not only share and receive songs and rituals with these villagers, crossing the boundaries of culture, they also apply their natural reactions to aid the growth of their material. This innovation again bears similarities to Peter Brooks methodologies, although Brook does not directly involve the spectators in the action. Although he believes that the actors and the audience have a link through their imagination, he doesnt want them too directly participate as in the gatherings of Gardzienice. In the sixties we dreamed of an audience participating. Nai vely, we thought that participating meant demonstrating with ones body, jumping onto the stage, running around and being part of the group of actors. The participation that Brook talks of is more of a silent participation, not in the sense of conventional theatre where the audiences are there to just watch. They must finely tune their energies into the energies of the actors in order to create an extra daily atmosphere/energy. The audience does not need to intervene or manifest itself in order to participate. It is a constant participant through its awakened presence. De-urbanisation is a key innovation shared by both practitioners. This de-urbanisation was thought to have helped cleanse the acting company of the pollutions of city life. It also helped them to get more accustomed to the natural world. De-urbinisation is a recognizable process in the history of twentieth-century actor training. Stanislavski, Vakhtangov, Brook and Copeau have, at some point, sought rural retreats for their work. The differences in their use of de-urbinisation being that Brook retreated to country retreats whilst being involved in certain rehearsals, but Gardzienice has a permanent residence in rural Poland. Brook and Staniewski believe that urban life warps our bodies. Staniewski holds the same view he said in an interview Habitants brought from the city slowly die out the defensive attitude (necessary there), the dullness of the senses, and the indifference. Gradually we become sensitive to one another, we feel our constant, tangible, warm presence. Another of Staniewskis key methodologies is incorporating religious/ritualistic ceremonies into nearly all of their performances. This is not a new innovation as theatre was born originally out of religion, but it is a key factor within Garzienices theatre practices. His theatre is a spiritual theatre that encompasses outside factors and digests them in order to externalize them whenever necessary. Staniewski expects greatness in his performances not only through the actors transmission of the material gathered over the long rehearsal period, but also with regards to the reaction of the audience. I think that Staniewski wishes the reaction of the audience (and to some extent the actor) to be similar to the transcendence that some religious ceremonies awake in people. Should one expect miracles from a performance? Yes. You have to know how to prepare the ingredients, ignite the fire under the crucible, and then the actors can transmute their material into gold. Peter Brook believes that the religious/ritualistic ceremony/performance can be completely lost once taken out of its natural environment. In the community where the ritual originates from religious sense usually pervades everything. A western audience may not understand or want to understand the importance of the religious element/indigenous peoples way of life with regards to the context of this ritual, therefore something in the spectators reaction will be lost. Brook gave an example of a performance by the Bengal Chauu a group of villagers who act out battle, moving forward in little jumps. In India Bengal Chauu are greatly received, a big excitement for the villagers. But when the same performance was performed in front of a British audience Peter Brook felt that there was no energy left within it. The spirit was no longer present, nothing was left but a show, a show with nothing to show. Another key innovation that Staniewski discovered was that of musicality. It not only involves Music in its true sense through the use of choral work, but also musicality created through the body (rhythms). This form is seen to have a direct connection with the earth, Staniewski believes that every natural element contains musicality within it. I am utterly convinced that the earth is musical, that it has musicality and that every part of nature can be musical He believes that musical composition can be composed in a totally new way to its traditional form of writing a score. He feels that the western music is in some way inhibited by its strictness in form. Thats why our western music, codified since the middle ages, is sometimes refereed to as reduced. Through the use of breath, animal sounds that occur through our connection with the earth (such as stamping), using these sounds can help to create a musical composition, full of the earths richness. The entire world is filled with sound. But natural sounds represent a rich world of music. In dogs barking in the village and birds singing at my window, I hear musical compositions, which inspire me. These innovations have revolutionized the way in which theatre is produced today. In the 1970s when these forms were first discovered music would only appear within theatrical performances in the traditional musical theatre setting, or to increase tension, or as background music. Peter Brook uses music to create dramatic tension. He sees music as accompanying the action, rather then as in Gardzienices work music being a through line during all performances. He sees music as a complimentary tool that can help develop the energies of the actor. In contrast to Staniewski He imagines this music to be outside of the actor, composed, rather then created by the performers. The simple present of a pulse or a throb is already a tightening the action and a sharpening of the interest. Then other instruments enter to play a role-always in relation to the action. But feels that this music must contain a unified language with relation to the performance, and cant contain a language of its own language, whereas Staniewski combines the two to create a newer more innovative language. Staniewski connects musicality to spirituality, although he believes that the church has had a negative influence in the codification of music. The churchs influence on Western music is a well-known story. Dissonance was regarded as a sin. Ornamentation is not only an expression of emotion but also an intellectual statement-the Church found it too dangerous and reduced it. The connection and utter concentration of the senses that musicality techniques arouse can awake the inner senses making it an almost religious experience. Codified music is usually in the background of this musicality, creating a great juxtaposition in the finished performances. He sees the music as framing the musicality. My performances incorporate music and musicality. You have to form your artistic proposal and frame it. Once you repeat this framed work, you are developing a uniform structure of sound. Musicality is like a rough diamond, which is perfectly framed by the gold of the codified music. Song is also an important aspect of Garzienices musicality; singing/choral work is incorporated in some way into every one of their performances. Song is not used in a traditional sense within their practices. The act of singing is seen as something sacred, like sharing something with you audience. It is not about communicating a skill or ability as in the conventional meaning. It must not just involve your head your whole body must become consumed by the song. Song is a being; it is not just a composition or melody which must simply be sung. Nor is it a pretext for an actor to express his or her ability as an actor. Song is not illustration; Most of the songs that are used within Gardzienices performances are strongly linked to a given community or tradition (as with all of his work). The creative potential of this way of perceiving performance has received further confirmation through Staniewskis discovery of related techniques found in native cultures. He feels that the song in its natural tradition is sung from deep within and that is what he wants his actors to recreate. They take the song and then deconstruct it using varying words, harmonies and tempos etc. You have to penetrate the song through experimentation: through making different combinations of voices and harmonies. You explore different musical ideas, which will suddenly show you different plants within the organism of the song. Gardzienice have explored harmony, polyphony and dissonance rhythm and counterpoint. This way of singing is seen to produce an almost cathartic effect, through the deep training and the actors real sincerity in giving the song through humbleness rather than through self and ego. I am an idealist. I always believe that there must be a final destination within a song, a way of singing it, which explains everything, bringing a sort of catharses. In conclusion I have compared the methodologies of two key 20th century innovators of theatre. I started off talking about Peter Brooks use of site-specific spaces. I feel that this has been a key and revolutionary innovation in terms of the freedom it has given actors/theatre companies. It has in a way broken a barrier between the classes. Poorer companies of actors may not have been able to afford to hire out large theatre spaces. It has also encouraged the actors to be more creativity within the context of performance. Gardzienices methodology is similar to Brooks in relation to using a non-theatrical space as a setting for a performance. But they take it one step further with the involvement of the people of the village within their performances also talked about actor/audience relationship and audience participation. Peter Brook believes that the spectators are active through their silent energies. Gardzienice wants the audience to directly participate in the action. With regards to inter/cross culturalism Gardzienice embraces other cultures forms and incorporates many of them into their unique theatre language. Peter Brook also embraces other cultures forms, but he constantly evolves them, retaining little of their original substance. Both Peter Brook and Staniewski have embraced de-urbanisation. Peter Brook during some of his rehearsal periods. Gardzienice indefinitely. Both practitioners were interested in ritual. Peter Brook felt that something is lost when these rituals are performed out of their original contexts. Gardzienice have a great respect for other cultures rituals, they rehearse these songs/dances so much that they become a part of them, thus becoming re-contextualised. The last topic discussed was music/musicality/song. Gardzienice have revolutionised the process of creating music within a performance. A new non-codified type of music has arisen that can work alongside the codified form. Peter Brookes music as a background element in a performance to at times highlights the action. In my estimation all of these innovations have been important in the development of theatre, as we know it. But I believe that Garzienice on every level have taken Peter Brooks methodologies one step further.

Ip History :: Essays Papers

Ip History Recent years saw huge increase in Internet growth there were 40,073 networks on Internet (as of 10/4/94) and it was doubling approximately every 12 months. The current version (IPv4) of Internet Protocol was sufficient for 20 years, but if Internet will continue to grow, pretty soon we will run out of addresses for all connections because IPv4 can handle only 32 bit addresses (which are millions of connections). This is the major drawback of IPv4. The other issues is that IPv4 was not designed to handle real time applications such as video and audio efficiently and IPv4 can create a lot of fragmentation due to the lack of ability to predict or detect the bottlenecks in the packet’s path. The next generation of IP was designed by Internet Engineering Task Force (IETF) to handle all of these problems and was first presented on July 25, 1994 in Toronto. Thou structurally it is very different from IPv4; it still incorporates all the successful features of IPv4 like its ability to adapt to many topologies or technologies at the same time. IPv6 is increasing address format from 32 bits to 128 bits. This increase gave 340,282,366,920,938,463,463,374,607,431,768,211,456 addresses (should be more that the packet since switching the paths for each packet will degrade performance of the network. You (well the protocol) can request the unbreakable path, for the applications successfully transmit high quality video and audio over the net. Another great advantage of IPv6 is its compatibility with the IPv4. This will make transition between these two versions painless. Because it doesn't matter how well a new protocol is if there is nopractical way to transition the current operational systems running IPv4 to the new protocol. Structurally both versions are also different. They have different datagram systems and unlike IPv4, IPv6 does not specify all the possible protocol features, this makes it more adaptable to the user’s needs. The datagram in IPv6 consists of Base Header, Optional Extension Headers, and the Data Area. The Base Header is twice as large than in IPv4 due to the added extra 96 bits to the each destination and source addresses, but it actually contains less data. It contains: VERS – for version IPv6, PRIORITY – specifies the urgency 0 Uncharacterized traffic 1 "Filler" traffic (e.g., Netnews) 2 Unattended data transfer (e.g., email) 3 (Reserved)

Comparing and Constrasting between northern and Italian Art

In Beneath the Lines of Historical Art: Comparing and Contrasting the Work of Northern and Italian Art Intro of Denver Art Museum Honestly, this was probably one of the best experiences of my entire life. I'm not the best person with knowledge about art but I definitely love to appreciate art more after this visit. Not only was I amazed how the exterior of the architecture was so imaginary and different but I was completely surprised; this was not what I expected. It was so awesome that they can create something so wonderful and stable! When I arrived I wasn't quite sure where I was to enter, but eventually I found the entrance.Exterior was not as amazing as what was inside of it! I do admit I was a little lost but I eventually found out where to go. I definitely like how they gave every painting, Its own space/territory. Instead of throwing every artwork into one wall, the paintings had their own room basically. And I would think everything was going to be old but everything was kep t clean and sanitized. The architect for the Interior was Like new and I never felt so comfortable. I loved every thing about this visit and will return In he future more times than once. Love It, love It!!Comparing and Contrasting influential artist and sculptures; Michelangelo, Leonardo Dad Vinci, Lorenz Gibber, Detonated, Udder, and many more. During the same time many unknown artist arisen and influenced change on the perspective of art or what the meaning of what art can be. For Instance, even a speck of light and shade can change the overall outcome between velvet and wool, copper and aluminum. As well as, a small item in a painting can briefly explain an entire paintings storyline and can help understand the artist even more. The Renaissance contributed to a variety of similarities and differences.But nowhere is this more apparent than in the similarities and differences we will find between the art of Northern Renaissance and Italian Renaissance which will be explained furth er on. Nevertheless, art work shall always be thoroughly observed otherwise it will be misinterpreted. Breathe Abeam was a Northern German Renaissance engraver (1502-1540) and he and his brother Seabed Abeam were also successful printmakers. In 1525 the brothers and a fellow artist were tried for their radical religious and political beliefs ND they were expelled from Nurturers in 1529.Eventually Breathe Abeam continued his work with portraits as the court artist to Duke William IV of Bavaria. One of the art works currently held at the Denver Art Museum Portrait of a Woman demonstrates how colors are an importance on indicating the texture and appearance of an object. By the use of how much detail is put into every little aspect in the illustration (looking closely, every crease in her wardrobe shows the woman's body structure/posture), and narrative because the indications of her gold rings on ere hands, the wardrobe can simply predict that this is an important, wealthy, German wom an during the sass.In this portrait painting, is a German Matron (a member of the House of Chad von Antibacterial), she emphasis her wealth and status by her luxuries garments and signifies her power/status by displaying a substantial posture with her hands held together. Beam's mastery of space reflects in his portraits; the colors of light and shade, enables him to represent so convincingly the rich fabrics worn by his noble subject and makes this woman look as if she was imaginary/perfect or â€Å"too good to be rue. But it's not Just the garments that the woman wears that makes this a remarkable piece of art but its how proudly she stands and how she holds her hands together. Outstanding posture can signify importance and strength because the hands are clearly illustrated in the center so the audience will notice it first. â€Å"Portrait of a Woman,† By Breathe Abeam (1 500 – 25), A German Northern Renaissance Engraver viewpoints of the artist. In the following Po rtrait of a Woman, Abeam tells, the person that is looking at this portrait, that this woman is no average women.Looking ruefully, she is against a plain wooden board background which brings out the color of her large fur collar on her silk coat, this is a clear indication of what her status is in the society; her gown has sleeves trimmed with velvet bands and her white head covering is wrapped around by a fine linen veil it seems. As well with the nice clothing, there is a noticeable Jewelry on her hands. These are several gold rings which is important because it signifies that this portrait in not about personality and characteristics but this is about the small petite materials involved in the illustration.Breathe Abeam uses the color of light and shade to contribute to the texture in his materials and the narrative of his entire piece. Many artist display discrete kinds' objects in paintings to Justify a storyline but all artists have brief similarities. So as you were to look a t a Northern Renaissance artist you can see similarities to an artist in the Italian Renaissances art piece. Vitro Carapaces was a Southern Italian painter of the Venetian school, he studied under Gentile Beeline.Little is known of his early life, but influences came from his astonishing work of the Beeline Family and Antinovel dad Messing. Vitro was regularly known for his individualism in his artwork, stated Giorgio Vassar, an early biographer of Renaissance artists. He produced many large-scale narrative wall paintings of religious subjects for the city of Venice. But a piece that stood out from the rest of his work, was a portrait off lady holding a book. In the sass Vitro illustrated the Portrait of a Lady with a Book, currently, belongs to the Denver Art Museum.This artwork not only brought out Aviator's individualism but showed that art can be useful, simple, and can tell a story to a few that understand it. The individual in this portrait may be a Tuscan poet Grammar Coors R amose, who also had her portrait painted by Aviator's teacher, Gentile Beeline. The lady in the illustration holds a book, possibly an indication that she was a writer. The woman's hairstyle and dress are typical of Venetian style. Her hair is held by a transparent net on the back of her head, and loose strands hang on either side of a face that is not beautiful or young, but reveals an average Venetian woman.She wears a simple Ackley (made out of rope it seems); the upper part of her dress is decorated with gold and lace trim and pearls. Similar to Beam's Portrait of a Woman it was not the background and colors that made the portrait interesting, but it was a small and not so noticeable item, the book in her hands. The novel signifies that the following lady could in fact possibly be a writer. This contributes to the opinion that the artist and the subject of the painting can be one and of the same because of their individualism. â€Å"Portrait of a Lady with a Book,† By Vit ro Carapaces (1500), A Southern ItalianRenaissance Painter Breathe uses light and shade to contribute to the color of his materials making his art individualism to an artwork that stays understandable for the world. Breathe and Vitro use a dull background in order to expose the important figure in the center (in this case the women), as well as, a way to notice the partially visible props. For instance, the Jewelry expresses immense characteristics of both women by using a simple item, the book and the German women's Jewelry. Despite the comparisons between the two, there remains a variety of divergences.One central difference is how both artworks derive from nature. In Breather's creation the color plays an increasingly large factor in whether this art derived from nature. In his piece, the woman's whole attire is accurately detailed, meaning â€Å"too good to be true. † In Aviator's visual the woman can be defined as â€Å"short and simple† considering the fact, visu ally, she signifies an average woman during the Renaissance. Another huge difference that may not seem visible to many but the way Venetian Woman and German women look at the audience. She looks away from the painting, as if she does not want to be seen.Or she is ashamed that she is a writer. But because of history, Women in the Italian renaissance were not quite comfortable of their amazing talents. And women in the Northern Renaissance had more comfort of showing their talents because Northern art was more acceptable to differences than of the Southern Italian Renaissance art. So looking back at the German women she seems more comfortable of a self-portrait than the Venetian Women below. This is a huge difference between Northern and Italian Renaissance Art. Attractiveness in Art is important because a small item can tell an entire narrative of an artwork.Breathe used light and shade in order to emphasize the texture of the German matron's wardrobe in order to understand that this is a wealthy woman. But Vitro manipulated an average woman living in the Italian renaissance and depicted only her stance and how she looked at the audience. Introducing a huge narrative about how women's talents were compared to women talents in the Northern Renaissance. Even though the two are derived from different areas of Europe they contribute almost identical strategies to display their narratives in order for us the audience to look in beneath the lines of Historical art.

Hamlet †historical and political context Essay

The political and religious upheavals before and after the death of Henry VIII had left their mark on the people of England. The King had done previous un-heard of things: He had divorced two wives and had had two executed. In the brief reigns which followed, persecution, first of the Catholics and then of Protestants, split family allegiances and brought very real danger – of imprisonment, torture, even execution. Claimants for the thrown jockeyed for position. Queen Elizabeth I came to the throne in 1558 the first successor to her father, Henry Viii had been his young son Edward, ten years of age. As he was still very much under age, he had to ‘rule’ through Regents. They persisted with the Protestant reforms instituted by his father after his break with the Roman Catholic. Edward died six years after coming to the throne. He was succeeded by his half-sister Mary (Tudor), who died childless after five years as Queen. She had tried to reinstate Roman Catholicism as the state religion. Elizabeth, Mary’s half sister, although not considered a legitimate heir to the throne, became Queen in 1558 and ruled for 45 years. Although she had been brought up as a Protestant she understood that in view of the recent religious upheaval some compromises some compromises had to be made. The country needed stability and a strong ruler. Her life had been in danger before she became Queen and there were the inevitable conspiracies to usurp her position. The tragic figurehead of one of these and the object of Elizabeth’s suspicion and jealousy for many years was Mary, Queen of Scots; Elizabeth at first kept her under arrest but eventually had her executed in 1587. Late in her reign, in 1601, the Earl of Essex, formerly her favorite, made his bid for power. He failed in his attempt to cause a popular up rising, was imprisoned and executed. It is not difficult to trace this atmosphere of suspicion and treachery in Hamlet, nor the reassuring promise to royalty contained in the suggestion at the end of the play that strong and humane rule will be reasserted. There were also serious threats from abroad. In 1588 Phillip II of Spain sent the Armada, a large fleet of ships, sailing up the Channel in an attempt to conquer England by force. Another foreign threat was marriage. Elizabeth constantly resisted attempts by her counselors to contract any politically advantageous marriage and she died unmarried, naming James, her Scottish cousin, already established for many years as King in Scotland, as her successor. Social and Context Elizabeth I built on the foundations laid by her father and grandfather until her power, the power of the Crown, was almost unquestioned. To help achieve the security which she and the country, needed it was important to encourage an articulate and educated aristocracy. Education and in particular classical scholarship assumed a fresh importance. In the grammar schools – it is assumed that Shakespeare attended the Stratford Grammar school- Latin Language and literature were studied; prose and verse, composition, rhetoric, orations and declamations. Much was learnt by heart and in the upper school Greek was added. Shakespeare’s knowledge of the classical theatre, poetry and legend is evident throughout his whole body of work. How does this relate to Hamlet? The Player’s speech, which Hamlet has remembered, is part of the Dido and Aeneas story, the sack of Troy and the slaying of King Priam. Also, Hamlet and Horatio have been fellow-students at the University of Wittenberg. The others, to address the ghost, call upon Horatio. Hamlet clearly wanted to return to Wittenberg, to turn his back on the whole situation at the castle, and possibly to become a perpetual student and scholar – until his father demands the revenge which he is unfitted to deliver. Exploration There was vitality; a fresh interest in foreign countries in the sixteenth century and exploration by sea had led to an increase in foreign trade. European foreign countries hardly seemed far away. Laertes lives very happily in Paris, away from his father’s influence. Hamlet is casually packed off by his uncle to a planned death in England. There was an extension of experience and an opening up to fresh influences, which included a new vocabulary of classical and foreign words. Printed books and pamphlets circulated more widely, so that information was more easily obtained. The Elizabethan age was establishing a feeling of national community and confidence. At the same time an increase in prosperity and a raising standard of living for many. This prosperity was also reflected in the newly built theatres and the audiences who flocked to entertainments of all kinds This is not to say that dissent and uneasiness did not exist. There will still disputes over religion and new ideas can be worrying as well as exciting. Persecution of religious minorities of the mainland caused a large influx of refugees from France and the Netherlands. It is also important to remember that some of the ‘entertainments’ mentioned above were public executions. Bloodthirsty pastimes such as bull- and bear- baiting were popular. The streets were filthy and away from the main thoroughfares, in the poorer parts of the city, they resembled open sewers and rubbish dumps. The plague, spread by black rats, struck in 1592 when it ravaged the city for two years, and again in 1603, wiping out whole families and forcing those Londoners who could afford to do so to flee to the country. Theatres and all public places of entertainment were closed down. This student written piece of work is one of many that can be found in our AS and A Level Hamlet section.

Stairway to Heaven essays

Stairway to Heaven essays In the first verse the writer talks about a lady who is buying him a present. If she gets the right thing than he will be happy and it would be heaven. If she doesnt get the right gift, than all she has to say is one thing and he will forgive her. The second verse says that he wasnt clear about what he wants for the gift so she gos to a store by a brook. The store sells sculptures of the forest and she finds a singing bird clock, (cookoo clock). In the third verse he writes about his neighbour having a fire in the bush and he sees the smoke rise from the trees. He thinks about leaving to go see what his neighbour is doing when he hears the guy call out to him. In the fourth verse he says that his neighbour is a member of his band he thinks about them singing back there and the tune singing through the forest and then they laugh about it. In the fifth verse he talks about himself having trouble in the band. The spring cleaning means that he is just getting himself organised and finding what it is he is supposed to be doing with his life. If he has any trouble he can either quit the band and find a new one or just fix the problems in the one he has now. I think the sixth verse talks about his struggle with drugs. The whispering wind means that talking to someone about it will solve the problem. The last verse says that you will always find your soul mate and everything will turn out even in the worst of times. This is ...

Whats a Good PSAT Score for a Junior

What's a Good PSAT Score for a Junior SAT / ACT Prep Online Guides and Tips The PSAT is an important test on the road to college. Your scorespredict how you'll do on the SAT. Plus, top scorers can earn distinctions and scholarships from the National Merit Scholarship Corporation (NMSC). So how do you know whether your PSAT scores are good? While what counts as a good score variesdepending on your personal goals, we can give a more objective answer to this question by considering PSAT score percentiles.But first, let's review how the PSAT is scored. How Is the PSAT Scored? The PSATisscoredbetween320 and 1520. Math countsfor half thecomposite score with a range of 160-760. The Reading and Writing sections arescored together (and called Evidence-Based Reading and Writing, or EBRW) with that same range, 160-760. Test takers also geta more detailed score report of each section from 8 to 38. There's an easy trick for converting this section score (also called a test score) to a scaled score.For Math, simply multiply your section score by 20.For Reading and Writing, add your section scores together, and then multiply the sum by 10. When you take the PSAT and get your score report back, you'll seepercentilesalong with your scores. By looking at these percentiles, you can determine how competitive your PSAT scores are. In other words, we can answer the question, "What makes a good PSAT score for a junior?" by looking at percentiles. Percentiles compare your section and composite scores with those of other PSAT test takers. If your Math score falls in the 70th percentile, you've scored higher than 70% of test takers. (And the other 30% scored higher than you.)Basically, the higher your percentile is, the better your score will be compared to everyone else's scores. What's a Good PSAT Score for a Junior? We can define a"good" PSAT score as one that's higher than the 75th percentile.This means you scored higher than 75% of all otherPSAT test takers.For juniors, 75th percentile scores are around 570 to 590 in each section, or about 1150 in total. An "OK" PSAT score is one higher than the 50th percentile, which means you scored higher than half of other test takers. An excellent score is a score in the 90th percentile or higher (although a 90th percentile score still isn't high enough to qualify for National Merit, as we discuss more below). The following chart showsthe minimum section and composite scores you'd need to reach the 50th, 75th, 90th, and 99th percentiles on the PSAT. Percentile EBRW Score Math Score Composite Score 50th 510-520 490-500 1000-1010 75th 580-590 570 1150 90th 650-660 640 1280 99th 730 and up 750 and up 1460 and up Source: PSAT/NMSQT Understanding Scores 2018 Based on the info in the chart, a good PSAT score for a junior is a composite score higher than 1150, an OK score is one higher than a 1010, and an excellent score is anything higher than a 1280. What Do PSAT Score Percentiles Mean? To understand how we chose the scores to represent "good," "OK" and "excellent" PSAT scores, and to understand how you can interpret PSAT scores yourself,you'll need to know more about PSAT percentiles. As we mentioned above, percentilesshow where your scores fall in comparison with the scores of other students in your grade.Your PSAT score report will feature lots of score types and data. Among this data, you'll get not one, but two percentiles comparing your scores with those of other students. These percentiles are called the Nationally Representative Percentile and the User Percentile. We'll focus on User Percentiles, which compare all students in a grade who typically take the PSAT. Below is a chart showing 11th grade User Percentiles for the entire range of PSAT scores. This chart is sourced from theCollege Board's 2018 score report, and you can use it to see how your scaled section scores convert to User Percentiles. Score EBRW Percentile Math Percentile 760 99+ 99+ 750 99+ 99 740 99 98 730 99 97 720 98 96 710 97 96 700 96 95 690 95 94 680 94 93 670 93 93 660 91 92 650 89 91 640 88 90 630 86 89 620 84 87 610 81 85 600 79 83 590 76 81 580 73 78 570 70 75 560 67 72 550 63 69 540 60 65 530 56 62 520 53 58 510 49 55 500 46 52 490 43 48 480 39 44 470 36 40 460 33 36 450 31 33 440 28 29 430 25 26 420 22 23 410 20 19 400 17 16 390 15 13 380 12 10 370 10 9 360 8 7 350 6 5 340 5 4 330 3 3 320 2 2 310 2 2 300 1 1 290 1 1 280 1 1 270 1- 1 260 1- 1- 250 and below 1- 1- As you can see, section scores correspond somewhat differently to percentiles. To make it into the 99th percentile on EBRW, for instance, you'd need to score 730 or above, while to hit the 99th percentile on Math, you'd need a near-perfect 750. Why Are PSAT Scores Important to Juniors? There are two main ways that PSAT scores can be important to juniors who take the test. The PSAT’s most obvious purpose is to help high school students be better prepared for the SAT. The PSAT and SAT have many similarities, so by taking the PSAT early on in your junior year, you’ll get an estimate of how well you’d do on the SAT. You can use this information to figure out which areas you need to improve on the most, create a study plan, and set SAT score goals for yourself. However, the PSAT isn’t just a way to help you see how well you score on the SAT; PSAT scores themselves can actually be quite important for juniors. The second reason PSAT scores are important is that, if you score high enough, you could qualify for National Merit and the benefits the program offers. Keep reading to learn more. What's a Good PSAT Scorefor National Merit? For high school juniors who take the PSAT and score very well (in the top 1%), there is the possibility of becoming a National Merit Semifinalist, which can give you a serious leg up when applying to colleges and possibly even lead to scholarships. The National Merit Scholarship Corporation uses its own Selection Index to determine who qualifies as Commended Students and Semifinalists. Students who score in thetop 3-4% on the PSAT are named Commended Scholars, and students who score in the top 1% are named Semifinalists. How do you calculate your Selection Index? Justadd your three PSAT section scores together and multiply by 2. Let's say you got a 30 in Reading, a 28 in Writing and Language, and a 32 in Math. To get your NMSC Selection Index score, add your section scores together: 30 + 28 + 32. Then, multiply the sum by 2. In this case, your Selection Index score would be 180. As you can see in the chart below, a Selection Index score of 180 isn't quite high enough to qualify as a National Merit Semifinalist. Instead, you'll need a Selection Index of 212 or higher, depending onwhere you take the PSAT. To get a good idea of the score you'll need to become a Semifinalist, look at the chart to seethe most recent estimates forstate cutoffs for National Merit Semifinalists. These were used to select Semifinalists from the October 2017 administration of the PSAT. State Selection Index Cutoff Alabama 216 Alaska 215 Arizona 220 Arkansas 214 California 223 Colorado 221 Connecticut 222 Delaware 222 DC 223 Florida 219 Georgia 220 Hawaii 220 Idaho 214 Illinois 221 Indiana 219 Iowa 216 Kansas 218 Kentucky 218 Louisiana 217 Maine 217 Maryland 223 Massachusetts 223 Michigan 219 Minnesota 220 Mississippi 215 Missouri 217 Montana 214 Nebraska 216 Nevada 218 New Hampshire 219 New Jersey 223 New Mexico 215 New York 221 North Carolina 220 North Dakota 212 Ohio 219 Oklahoma 215 Oregon 221 Pennsylvania 220 Rhode Island 220 South Carolina 216 South Dakota 215 Tennessee 219 Texas 221 Utah 215 Vermont 216 Virginia 222 Washington 222 West Virginia 212 Wisconsin 216 Wyoming 212 Average Score 218 As you can see, minimum scores for National Merit vary depending on which state you take the PSAT in. Cutoffsregularly vary a fewpoints between years, so if you haven't taken the PSAT yet and are aiming for National Merit, you should set your target Selection Index about2 to 5 points higher than the predicted cutoff for your state. Bonus: Aiming for a National Merit Scholarship? If you're not sure you can self-study your way to a qualifying PSAT score, you'll love our PSAT prep program, PrepScholar. We designed our program to learn your strengths and weaknesses through advanced statistics and customize your prep to be as effective as possible for you. When you start with PrepScholar, you’ll take a diagnostic that will determine your weaknesses in over forty PSAT skills. PrepScholar then creates a study program specifically customized for you. To improve each skill, you’ll take focused lessons dedicated to each skill, with over 20 practice questions per skill. This will train you for your specific area weaknesses, so your time is always spent most effectively to raise your score. We also force you to focus on understanding your mistakes and learning from them. If you make the same mistake over and over again, we'll call you out on it. There’s no other prep system out there that does it this way, which is why we get better score results than any other program on the market. Check it out today with a 5-day free trial: For more information on National Merit and how you can maximize your chances of qualifying, check out our guide for everything you need to know about becoming a National Merit Semifinalist. How to Prepare for theSAT After Taking the PSAT You've got your PSAT scores, and now it's time for the next step: taking the SAT. How can you use your PSAT scores and the lessons you learned by taking that test to help you score higher on the SAT?Check out the following four steps in order to be prepared and confident when you take the SAT. Step 1: Set an SAT Score Goal Figuring out your SAT score goal is an important part of preparing for the test, and it can help motivate you by giving you a concrete goal to work toward. To figure out what SAT score you should be aiming for,check out our guide on what a good SAT score is. Basically, you should research the average SAT scores of admitted students for the schools you're interested in applying to. Many schools provide 25th, 50th, and 75th percentiles of admitted students. Aiming for the 75th percentile score gives you a good shot at getting in (provided the rest of your application is strong as well), so make a list of the 75th percentile scores of all the schools you're interested in. Then, find the highest score on the list. This is your goal score. If you can meet this score, your SAT scores will likely be high enough for every school you're applying to. Your PSAT scoresgive you an estimate of how well you’d currently score on the SAT and where you need to improve.(Note that PSAT scores only goes up to 1520, while the SAT goes up to 1600, since the PSAT is a less challenging exam than the SAT.)So, if you got a 1350 on the PSAT, you could expect to get around that same score if you took the SAT.This means you can use your PSAT scores to determine how much studying you need to do in order to meet your SAT score goal.However, remember that your PSAT scores don'taccount for improvements you may make while studying for the SAT, which can be significantif you have a smart study plan. Step 2: Identify and Learn From Your Mistakes When you get your PSAT scores back, you'll be able to see how well you scored on each section of the test. Look over this information carefully to see if you can spot any patterns. For example, did you score well on the Math section but struggled on Reading and Writing? Then you should spend more of your SAT study time focusing on Reading and Writing. Learn from your PSAT mistakes so that you can score higher on the SAT. Additionally, every time you take a practice SAT (see step 4), you shouldidentify each of the problems you answered incorrectly. Then, you should take the time to thoroughly understand the answer explanations and walk yourself back through the problems from step one. You can improve your scores a great deal by breaking mistake patterns and recognizing the way the SAT asks similar questions over and over again. Step 3: Create a Study Plan To keep track of when you should be taking practice tests as well as doing other review, you should create a study plan.Mark when you’ll study each week as well as goals you want to achieve every week or month (such as reviewing a particular exam topic or raising your score by a certain number of points). If you start your study plan early, you can space out your prep to consist of just a few hours each week in order to meet your score goal. Then, you can ramp up your studying in the weeks before you take the SAT. Step 4: Take Official, Full-Length Practice Tests Taking timed practice testsis one of the best ways to significantly improve your SAT scores. The College Board has releasedseveral free practice SATs, which are the highest-qualitypractice tests you can take. When you take these practice tests, be sure to take them timed and in one sitting so that you get the most accurate score results and become used to the SAT's length. Also, remember to review the questions you got wrong, the same way you did with your PSAT results, in order to learn from your mistakes. What's Next? Now that you know what makes a good PSAT score, what about on the SAT? Read about good, excellent, and bad SAT scores here. The PSAT is very similar in content and format to the SAT. Check out our complete guide to the SAT.Once you've familiarized yourself withthe test, head over to this guide to learn how to study for the SAT. Once you've gotten your PSAT scores, what do you do next? This article goes over in detail thesteps to take once you've gotten your PSAT scores. Want to improve your SAT score by 160points or your ACT score by 4 points?We've written a guide for each test about the top 5 strategies you must be using to have a shot at improving your score. Download it for free now:

Evolutionists and Creationists fight over Genesis.. Explain why Term Paper

Evolutionists and Creationists fight over Genesis.. Explain why neither is correct - Term Paper Example nation of the diversity of life on planet earth and the other voicing, just as vehemently, that the origin of life lies within a divine and literal creation as lain out in the book of Genesis (Daggers 2010). However, as one might expect, due to the absolutist interpretations of both camps, there is little room left for a third path. What is most interesting with respect to this is the fact that although modern Western Christianity leaves little room for an alternate interpretation, the less common and less practiced forms of Eastern Christianity have a perfectly logical explanation for the origin of life that is neither entirely at odds with the science of evolution nor the belief in the Old Testament (Grà ¤b 2012). The key differential between Eastern and Western forms of Christianity lies in the interpretation of the Old Testament. As with most schisms and theological developments that have taken place over the millennia, the Eastern branches of Christianity most often clung to the idea that the stories related in the Old Testament were a combination of both spiritual and literal meaning (Haskell 2012). In such a way, the level fo which each and every text must be interpreted was allowed to have a degree of liberalism. As compared to their Western Christian counterparts, the Eastern branches of Christianity did not insist that each and every text represented a literal truism that must be accepted (Adelin Jà ¸rgensen 2011). Due to this level of interpretation, theories such as the theory of evolution and Christianity, at least in the Eastern Christian understanding, can readily exist at the same time. In such a way, one does not have to suspend belief in order to understand the scientific pro ofs and evidence that have been presented with regards to evolution. In the same way, one does not have to suspend faith in order to accept seemingly disjoint and/or illogical sections of the Old Testament. The key differential between Eastern and Western branches of