Referencing Harvard

It is important to show your reader that you have sought out expert, reliable sources to help support and develop your thinking, and this is done through referencing. The preferring in your assignment: demonstrates good research conduct shows the range of ideas and approaches you have found and thought about acknowledges the sources of those ideas tells your reader where they can locate those sources. Referencing also helps you to avoid plagiarism. If you present someone else's ideas as if they are your own work, or use the exact same language they use without acknowledgment, you are committing plagiarism.Plagiarism can be unintentional due to poor referencing, but the consequences are always serious. Accurate referencing helps you to avoid this. For more information on avoiding plagiarism, visit http://resource. Unions. Du. AU/course/view. PH? Id=1 572 Every time you include words, ideas or information from a source – whether it's a website, book or Journal article – i n your assignment, you must include an in-text reference to show that this content has been gathered from somewhere else.In-text references must be included whenever you: 0 0 0 0 paraphrase someone else's ideas in your own words summaries someone else's ideas in your own words quote someone else's ideas in their exact words copy or adapt a diagram, table or any other visual material. For each source that you reference in-text, you must also create an entry in the preference list at the end of the assignment. 2 How do we reference? There are two components to a Harvard reference: 1) an in-text reference in the body of your assignment Cabochon (2008) explores a range of themes and ideas†¦ ) full reference details in your reference list Cabochon, M 2008, Maps and legends, Immenseness Books, San Francisco. 1) In-text references An in-text reference is provided each time you refer to ideas or information from another source, and includes the following details: 0 0 the author's famil y name (do not include given names) [authoring body or organization the year of publication page numbers where applicable. There are two main ways to present an in-text reference, as shown below.One way gives prominence to the information by placing the reference at the end of your sentence in brackets: Universities can play an active role in finding solutions for climate change (Folio 2010, p. 2). Another way gives prominence to the author by placing the reference in the body of your sentence, with the author's name incorporated into the sentence structure and the date in brackets: Folio (2010, p. 2) argues that universities can play an active role in finding solutions for climate change.Including page numbers Page numbers are included when you: pacific page or pages refer to tables, figures, images or present specific information like dates/statistics. Habeas (2007, p. 48) notes that the novelist ‘draws on an established tradition of appropriating the waning for various soci al and political purposes'. If you do these things for a source without pages – e. G. A website – then Just author and year will suffice. 2) The reference list The reference list provides full bibliographic details for all the sources referred to in your assignment so that readers can easily locate them. Each different source referenced in your essay must have a matching entry in your reference list. It is important to note that the reference list is not a bibliography. A bibliography lists everything you may have read, while a reference list is deliberately limited to those sources for which you have provided in-text references. A bibliography is not needed unless specifically requested by your lecturer.The reference list is titled References and is: 0 arranged alphabetically by author's family name (or title/sponsoring organization where a source has no author) a single list where books, Journal articles and electronic sources are listed together (see sample referenc e list on p. 6 of this guide). The main elements required for all references are the author, year, title and publication information. Single line spacing required Judd, D, Assistant, K & David, GM 2010, A history of American nursing: trends and eras, Jones and Bartlett, London.Candler, PM, Patton, JAG, Coleman, RE, Egotistical, A, Hackers, FIG & Hoofer, BP 1999, Diagnostic nuclear medicine, Williams & Wilkins, Baltimore. Whitewater, R 2009, ‘How can nursing intervention research reduce the research-practice gap? , Canadian Journal of Nursing Research, Volvo. 41, no. 4, up. 7- 15. Leave space between each entry No indentation required in second or subsequent lines of an entry An extract from an essay using the Harvard referencing system Essay extract The literal adaptation of a book to film is practically impossible.As Steam (AAA, p. 4) suggests: The shift from a single-track verbal medium such as the novel to a multi- track medium like film, which can play not only with words (written and spoken) but also with music, sound effects, and moving bibliographic images, explains the unlikelihood and undesirability of literal fidelity. Comments Always provide author, year and page number(s) when quoting. Quotes longer than thirty words are indented both sides, and are one font size smaller. Ellipsis (†¦ Shows one or more words have been omitted.It is puzzling, then, that readers and audiences are so critical of adaptations which take liberties, sometimes for the better, with their source material. Film adaptations of novels are frequently ‘castigated and held to an absurdly rigorous standard of fidelity (Steam Bibb, p. 15). If key scenes from a novel are pruned for film, audiences often react negatively. However, fidelity is not an appropriate measure for evaluating a film adaptation's success, as numerous scholars concur (Despond ; Hawkers 2006; Letch 2008; McFarland 1996; Miller ; Steam 2004). Judging film adaptations is ultimately, Whelan (1999, p . ) contends, ‘an inexact science dogged by value judgments about the relative artistic worth of literature and film'. A fan of a novel might denigrate a film adaptation which alters the original book in some fashion, but their response is highly subjective and fails to take into account the practices and realities of film production (McFarland 2007, p. 26). Sometimes there are grounds for hostility. Author Alan Moore has witnessed a number of his complex graphic novels adapted into shallow Hollywood products, making him extremely critical of filmmakers and the filmmaker process (Assures 2009).However, this kind of attitude can be knee-Jerk and reactionary. Rather than being overly pedantic about textual faithfulness, it is best to approach film adaptations as re-interpretations of their source material (Hutchison 2006, p. 8) or as ‘a permutation of text, an intellectuality (Scariest, cited in Sanders 2006, p. 2). Moreover, new modes of production further complicate exis ting definitions of, and approaches to, adaptation (Moore, MR. 2010, p. 180). So The letters ‘a' and ‘b' have been added to the years here and above to distinguish between different sources by the same author (Steam) published in the same year.Several sources cited at once. Quotes shorter than thirty words are enclosed in single quotation marks. Always provide author, year and page number(s) when paraphrasing a printed source. Internet documents require the same information for the in-text reference (author and year). No page number for electronic sources unless available. Quote from Scariest found in Sanders' work. If authors have similar surnames, include first initials in reference to avoid confusion. 5 References Assures, S 2009, Why Alan Moore hates comic-book movies', Total Film, 2 February, viewed 5 December 2010, .Despond,J & Hawkers, P 2006, Adaptation: studying film and literature, McGraw-Hill, Boston. Hutchison, L 2006, A theory of adaptation, Rutledge, New Yo rk. Letch, T 2008, ‘Adaptation studies at a crossroads', Adaptation, Volvo. 1, no. 1, up. 63-77. McFarland, B 1996, Novel to film: an introduction to the theory of adaptation, Oxford University Press, New York. ? 2007, ‘Reading film and literature', in D Cartel & I Whelan (des), The Cambridge companion to literature on screen, Cambridge University Press, Cambridge, up. 15-28. Miller, T & Steam, R (des) 2004, A companion to film theory, Blackwell Publishing, viewed 30 October 012, .Moore, MR. 2010, ‘Adaptation and new media', Adaptation, Volvo. 3, no. 2, up. 179- 92. Sanders, J 2006, Adaptation and appropriation, Rutledge, New York. Steam, R AAA, ‘Introduction: the theory and practice of adaptation', in R Steam & A Orange (des), Literature and film: a guide to the theory and practice of film adaptation, Blackwell Publishing, Malden, up. 1-52. ? Bibb, Literature through film: realism, magic, and the art of adaptation, Blackwell Publishing, Malden. Whelan, 1 199 9, ‘Adaptations: the contemporary dilemmas', in D Cartel & I Whelan (des), Adaptations: from text to screen, screen to text, Rutledge, London, up. -19. Online newspaper or magazine article Book with two authors Book Journal article Two works by same author, listed chronologically Dash used when more than one work by same author listed Chapter in an edited book Ebook. Two editors Journal article Book from which Serviette's quote taken Two works by same author in same year, listed a and b based on alphabetical order of title of the work Dash used Please note: this extract is from an assignment written in the Humanities. Please refer to published work in your area of study for examples of referencing conventions pacific to your discipline. What if your source does not exactly match any of these examples? This guide of source you need to reference in the pages that follow, and construct your reference in that format using the example(s) provided to guide you. While this guide prov ides a wide range of examples, it is not possible to provide a model for every type of source you might use in your assignments. If you cannot find an exact match for the type of source you need to reference, find examples for similar sources and combine the elements to create the reference you need.For instance, the reference low is for a chapter in an edited document which was found online in PDF form. It has been created through combining aspects of the following types of references: a chapter in an edited book an online document in PDF form. Author/authoring body Year of publication Title of the chapter Editors Title of online document Drunkard, P 2012, ‘The integrated reporting Journey, in C Van deer Lust & D Milan (des), Making investment grade: the future of corporate reporting, United Nations Environment Programmer, Dolomite and the Centre for Corporate Governance in Africa, up. 25-28, viewed 4 December 2012, .Publisher Page numbers of the chapter Date the document was viewed Internet address (URL) If you cannot find comparable reference types, always identify the following components of the source, and arrange them in the order below: author, editor, or authoring body/organization year of publication title publication information. Harvard referencing Unions – Examples Print Includes any materials created for publication in paper form Basic format: Author's family name, Initial(s) OR Authoring body year, Title of book, Author's family name, followed by a comma and initial(s) of any given names, or authoring body.Year of publication, followed by a comma. Title of book in italics, followed by a comma. Use upper case for the first letter in the title and lower case for the rest unless referring to names or places, I. E. Lawrence of Arabia. Gordon, M 2009, Manual of nursing diagnosis, Jones & Bartlett Publishers, Sturdy, Mass. Place of publication. If more than one place of publication is listed, give only the first listed. If there is another place with the same name, or if the place is little known, add the state or country (abbreviated), e. G. Texas, SLD, or Dully, SLD. Full stop at the end. Publisher, followed by a comma.Type of reference Book with 1 author (this can include a person or an authoring body, e. G. A sponsoring organization) In-text reference examples Cabochon (2008, p. 108) discusses. †¦ Was discussed in the study (Cabochon 2008, p. 108). †¦ A better world (Denied Green Consulting Services 2008, p. 5). Reference list examples Cabochon, M 2008, Maps and legends, Immenseness Books, San Francisco. Denied Green Consulting Services 2008, Capital idea: realizing value from environmental and social performance, Denied Green Consulting Services, North Carlton, Victoria. Further information Type of reference Book with 2 or 3 authorsIn-text reference examples Campbell, Fox and De Swart (2010, p. 46) argue†¦ †¦ Alternatives are preferable (Campbell, Fox & De Swart 2010, p. 46). Reference list e xamples Campbell, E, Fox, R & De Swart, M 2010, Students' guide to legal writing, law exams and self assessment, 3rd den, Federation Press, Sydney. As suggested by Hankie et al. (2006, p. 14)†¦ †¦ Has been suggested (Hankie et al. 2006, p. 14). Hankie, RE, Ova, D, Dillydally, GEL, Waltham, JAR, Shares, SMS, Wagner, RE ; Simmer, MS 2006, Nuclear medicine, 2nd den, Mossy Elsevier, Philadelphia. Book with no date or an approximate dateThis is emphasized by Seas (n. D. ) when†¦ This is emphasized by Seas (c. 2005) when†¦ Seas, R n. D. , Micro-computer applications, Microsoft Press, Redmond, Washington. Seas, R c. 2005, Micro-computer applications, Microsoft Press, Redmond, Washington. 2nd or later edition of a book Borrowed and Thompson (2009, p. 33) explain†¦ †¦ Components of filmmaker (Borrowed ; Thompson 2009, p. 33). Scariest (1995) has achieved great currency since its translation. †¦ Is argued as the reason for this tension (Scariest 1995). Borro wed, D ; Thompson, K 2009, Film art: an introduction, 9th den, Mac-Gram Hill, New York.Translated book Scariest,J 1995, New maladies of the soul, trans. R Superman, Columbia University Press, New York. Further information When multiple authors' names are included within your sentence (not in brackets) use the full spelling of ‘and'. When the authors' names are in brackets or in the reference list, use ‘&. When there are 4 or more authors, only use the first author's name in-text followed by the abbreviation et al. But include all names in the reference list. If there is no date use n. D. If there is an approximate date use c. (this meaner ‘circa' – Latin for ‘around/about').The edition number comes erectly after the title in the reference list. Edition is not mentioned in-text. The translator's name is not referenced in-text – it only appears after the title in the reference list. 9 Edited book reference examples Morrison (De. 2010) questions wh ether†¦ It is not clear whether this point supports his previous assertions (De. Morrison 2010). Reference list examples Morrison, D (De. ) 2010, The Cambridge companion to Socrates, Cambridge University Press, Cambridge. Further information When the editor's name is included within your sentence (not in brackets) place De. In the brackets following their name.When the editor's name is in brackets, put De. Before their name. When editors' names are included within your sentence (not in brackets) use the full spelling of ‘and'. When their names are in brackets or in the reference list, use ‘&. Note the use of ‘des' (no full stop) for multiple editors. When there are 4 or more editors, only use the first editor's name in-text followed by the abbreviation et al. But include all names in the reference list. Edited (De. ), revised (rev. ) or compiled (come. ) book with 2 or 3 editors Greenberg, Pollard and Salubrious (des 2011) are interested in providing a ramekin for†¦. . Is included in this framework (des Greenberg, Pollard ; sailplanes 2011). Greenberg, F, Pollard, N ; Salubrious, D (des) 2011, Occupational therapies without borders: towards an ecology of occupation-based practices, Volvo. 2, Churchill Livingston Elsevier, Edinburgh. Edited book with 4 or more editors In their collection of essays, Barnett et al. (des 2006) explore†¦ †¦ Is explored throughout (des Barnett et al. 2006). Barnett, T, Beriberi, N, Harder, S, Hooking, R ; Outlook, G (des) 2006, London was full of rooms, Lathrup Press, Adelaide. 10 Chapter in an edited bookBasic format: Author's family name, Initial(s) OR Authoring body year, ‘Title of chapter', in Editor's Initial(s) plus family name (De. ), Title of book, Publisher, Place of publication, up. X-xx. Author's family name, followed by a comma and initial(s) of any given names, or authoring body. Year of publication, followed by a comma. Title of the chapter in single inverted commas, followed by a comma. Use upper case for the first letter of the title and lower case for the rest unless referring to names or places. Initial(s) and family name of the books editor, followed by (De. ) for one editor and (des) for multiple editors.

A Dirty Job Chapter 1

This book is dedicated to Patricia Moss, who was as generous in sharing her death as she was in sharing her life. AND To hospice workers and volunteers all over the world. PART ONE THE SORRY BUSINESS What you seek, you shall never find. For when the Gods made man, They kept immortality for themselves. Fill your belly. Day and night make merry, Let Days be full of joy. Love the child that holds your hand. Let your wife delight in your embrace. For these alone are the concerns of man. – The Epic of Gilgamesh 1 BECAUSE I COULD NOT STOP FOR DEATH – HE KINDLY STOPPED FOR ME – Charlie Asher walked the earth like an ant walks on the surface of water, as if the slightest misstep might send him plummeting through the surface to be sucked to the depths below. Blessed with the Beta Male imagination, he spent much of his life squinting into the future so he might spot ways in which the world was conspiring to kill him – him; his wife, Rachel; and now, newborn Sophie. But despite his attention, his paranoia, his ceaseless fretting from the moment Rachel peed a blue stripe on the pregnancy stick to the time they wheeled her into recovery at St. Francis Memorial, Death slipped in. â€Å"She's not breathing,† Charlie said. â€Å"She's breathing fine,† Rachel said, patting the baby's back. â€Å"Do you want to hold her?† Charlie had held baby Sophie for a few seconds earlier in the day, and had handed her quickly to a nurse insisting that someone more qualified than he do some finger and toe counting. He'd done it twice and kept coming up with twenty-one. â€Å"They act like that's all there is to it. Like if the kid has the minimum ten fingers and ten toes it's all going to be fine. What if there are extras? Huh? Extra-credit fingers? What if the kid has a tail?† (Charlie was sure he'd spotted a tail in the six-month sonogram. Umbilical indeed! He'd kept a hard copy.) â€Å"She doesn't have a tail, Mr. Asher,† the nurse explained. â€Å"And it's ten and ten, we've all checked. Perhaps you should go home and get some rest.† â€Å"I'll still love her, even with her extra finger.† â€Å"She's perfectly normal.† â€Å"Or toe.† â€Å"We really do know what we're doing, Mr. Asher. She's a beautiful, healthy baby girl.† â€Å"Or a tail.† The nurse sighed. She was short, wide, and had a tattoo of a snake up her right calf that showed through her white nurse stockings. She spent four hours of every workday massaging preemie babies, her hands threaded through ports in a Lucite incubator, like she was handling a radioactive spark in there. She talked to them, coaxed them, told them how special they were, and felt their hearts fluttering in chests no bigger than a balled-up pair of sweat socks. She cried over every one, and believed that her tears and touch poured a bit of her own life into the tiny bodies, which was just fine with her. She could spare it. She had been a neonatal nurse for twenty years and had never so much as raised her voice to a new father. â€Å"There's no goddamn tail, you doofus! Look!† She pulled down the blanket and aimed baby Sophie's bottom at him like she might unleash a fusillade of weapons-grade poopage such as the guileless Beta Male had never seen. Charlie jumped back – a lean and nimble thirty, he was – then, once he realized that the baby wasn't loaded, he straightened the lapels on his tweed jacket in a gesture of righteous indignation. â€Å"You could have removed her tail in the delivery room and we'd never know.† He didn't know. He'd been asked to leave the delivery room, first by the ob-gyn and finally by Rachel. (â€Å"Him or me,† Rachel said. â€Å"One of us has to go.†) In Rachel's room, Charlie said: â€Å"If they removed her tail, I want it. She'll want it when she gets older.† â€Å"Sophie, your Papa isn't really insane. He just hasn't slept for a couple of days.† â€Å"She's looking at me,† Charlie said. â€Å"She's looking at me like I blew her college money at the track and now she's going to have to turn tricks to get her MBA.† Rachel took his hand. â€Å"Honey, I don't think her eyes can even focus this early, and besides, she's a little young to start worrying about her turning tricks to get her MFA.† â€Å"MBA,† Charlie corrected. â€Å"They start very young these days. By the time I figure out how to get to the track, she could be old enough. God, your parents are going to hate me.† â€Å"And that would be different how?† â€Å"New reasons, that's how. Now I've made their granddaughter a shiksa.† â€Å"She's not a shiksa, Charlie. We've been through this. She's my daughter, so she's as Jewish as I am.† Charlie went down on one knee next to the bed and took one of Sophie's tiny hands between his fingers. â€Å"Daddy's sorry he made you a shiksa.† He put his head down, buried his face in the crook where the baby met Rachel's side. Rachel traced his hairline with her fingernail, describing a tight U-turn around his narrow forehead. â€Å"You need to go home and get some sleep.† Charlie mumbled something into the covers. When he looked up there were tears in his eyes. â€Å"She feels warm.† â€Å"She is warm. She's supposed to be. It's a mammal thing. Goes with the breast-feeding. Why are you crying?† â€Å"You guys are so beautiful.† He began arranging Rachel's dark hair across the pillow, brought a long lock down over Sophie's head, and started styling it into a baby hairpiece. â€Å"It will be okay if she can't grow hair. There was that angry Irish singer who didn't have any hair and she was attractive. If we had her tail we could transplant plugs from that.† â€Å"Charlie! Go home!† â€Å"Your parents will blame me. Their bald shiksa granddaughter turning tricks and getting a business degree – it will be all my fault.† Rachel grabbed the buzzer from the blanket and held it up like it was wired to a bomb. â€Å"Charlie, if you don't go home and get some sleep right now, I swear I'll buzz the nurse and have her throw you out.† She sounded stern, but she was smiling. Charlie liked looking at her smile, always had; it felt like approval and permission at the same time. Permission to be Charlie Asher. â€Å"Okay, I'll go.† He reached to feel her forehead. â€Å"Do you have a fever? You look tired.† â€Å"I just gave birth, you squirrel!† â€Å"I'm just concerned about you.† He was not a squirrel. She was blaming him for Sophie's tail, that's why she'd said squirrel, and not doofus like everyone else. â€Å"Sweetie, go. Now. So I can get some rest.† Charlie fluffed her pillows, checked her water pitcher, tucked in the blankets, kissed her forehead, kissed the baby's head, fluffed the baby, then started to rearrange the flowers that his mother had sent, moving the big stargazer lily in the front, accenting it with a spray of baby's breath – â€Å"Charlie!† â€Å"I'm going. Jeez.† He checked the room, one last time, then backed toward the door. â€Å"Can I bring you anything from home?† â€Å"I'll be fine. The ready kit you packed covered everything, I think. In fact, I may not even need the fire extinguisher.† â€Å"Better to have it and not need it, than to need it – â€Å" â€Å"Go! I'll get some rest, the doctor will check Sophie out, and we'll take her home in the morning.† â€Å"That seems soon.† â€Å"It's standard.† â€Å"Should I bring more propane for the camp stove?† â€Å"We'll try to make it last.† â€Å"But – â€Å" Rachel held up the buzzer, as if her demands were not met, the consequences could be dire. â€Å"Love you,† she said. â€Å"Love you, too,† Charlie said. â€Å"Both of you.† â€Å"Bye, Daddy.† Rachel puppeted Sophie's little hand in a wave. Charlie felt a lump rising in his throat. No one had ever called him Daddy before, not even a puppet. (He had once asked Rachel, â€Å"Who's your daddy?† during sex, to which she had replied, â€Å"Saul Goldstein,† thus rendering him impotent for a week and raising all kinds of issues that he didn't really like to think about.) He backed out of the room, palming the door shut as he went, then headed down the hall and past the desk where the neonatal nurse with the snake tattoo gave him a sideways smile as he went by. Charlie drove a six-year-old minivan that he'd inherited from his father, along with the thrift store and the building that housed it. The minivan always smelled faintly of dust, mothballs, and body odor, despite a forest of smell-good Christmas trees that Charlie had hung from every hook, knob, and protrusion. He opened the car door and the odor of the unwanted – the wares of the thrift-store owner – washed over him. Before he even had the key in the ignition, he noticed the Sarah McLachlan CD lying on the passenger seat. Well, Rachel was going to miss that. It was her favorite CD and there she was, recovering without it, and he could not have that. Charlie grabbed the CD, locked the van, and headed back up to Rachel's room. To his relief, the nurse had stepped away from the desk so he didn't have to endure her frosty stare of accusation, or what he guessed would be her frosty stare of accusation. He'd mentally prepared a short speech about how being a good husband and father included anticipating the wants and needs of his wife and that included bringing her music – well, he could use the speech on the way out if she gave him the frosty stare. He opened the door to Rachel's room slowly so as not to startle her – anticipating her warm smile of disapproval, but instead she appeared to be asleep and there was a very tall black man dressed in mint green standing next to her bed. â€Å"What are you doing here?† The man in mint green turned, startled. â€Å"You can see me?† He gestured to his chocolate-brown tie, and Charlie was reminded, just for a second, of those thin mints they put on the pillow in nicer hotels. â€Å"Of course I can see you. What are you doing here?† Charlie moved to Rachel's bedside, putting himself between the stranger and his family. Baby Sophie seemed fascinated by the tall black man. â€Å"This is not good,† said Mint Green. â€Å"You're in the wrong room,† Charlie said. â€Å"You get out of here.† Charlie reached behind and patted Rachel's hand. â€Å"This is really, really not good.† â€Å"Sir, my wife is trying to sleep and you're in the wrong room. Now please go before – â€Å" â€Å"She's not sleeping,† said Mint Green. His voice was soft, and a little Southern. â€Å"I'm sorry.† Charlie turned to look down at Rachel, expecting to see her smile, hear her tell him to calm down, but her eyes were closed and her head had lolled off the pillow. â€Å"Honey?† Charlie dropped the CD he was carrying and shook her gently. â€Å"Honey?† Baby Sophie began to cry. Charlie felt Rachel's forehead, took her by the shoulders, and shook her. â€Å"Honey, wake up. Rachel.† He put his ear to her heart and heard nothing. â€Å"Nurse!† Charlie scrambled across the bed to grab the buzzer that had slipped from Rachel's hand and lay on the blanket. â€Å"Nurse!† He pounded the button and turned to look at the man in mint green. â€Å"What happened†¦Ã¢â‚¬  He was gone. Charlie ran into the hall, but no one was out there. â€Å"Nurse!† Twenty seconds later the nurse with the snake tattoo arrived, followed in another thirty seconds by a resuscitation team with a crash cart. There was nothing they could do.

Paper of analyzing gender performance in Frozen Essay

Paper of analyzing gender performance in Frozen - Essay Example l mold of society-generated female behavior expectations to create a persona of a self-assured and assertive individual which is more akin to a male personality while Olaf the Snowman is portrayed as a more sensitive and emotional character akin to the stereotypical female persona. To illustrate these gender defiances, when Anna’s sister turns up missing, Anna decides to take on the responsibility of finding her in a very difficult natural environment. This illustrates that she is confident and self-sufficient, willing to give the impression that she can surely take care of herself. When she leaves Hans, a male, to maintain watchfulness of the castle, it again illustrates her capability to face the dangers she might encounter without assistance from a male character. In fact, it is not the male characters that, proverbially, save the day. It is Anna who releases a powerful punch to the enemy to be the heroine of the story, something typically reserved for the masculine persona under traditional male stereotypes. Anna determines that she must rescue her sister and spare her from danger, reasserting (giving) that she can be authoritative, dominant and even brawny when circumstances call for this behavior. Furthermore, there is a scene where Kristoff suggests that he â€Å"might cry† because of all of the ice he is witnessing. This gives Anna an opportunity to give a dominant persona, when she informs Kristoff to â€Å"go ahead, I won’t judge†. In a male/female relationship, it is typically considered that males serve as a comforting force for the more emotional woman in periods of stress or conflict. In this scene, Anna does not appear to be emotionally-affected by the environment and unconsciously gives off a more masculine personality. It is likely that if Disney producers were intending to support gender stereotyping, Anna might also have illustrated an emotional response and been witnessed crying in the heat of the moment. This too tends to break the mold of

How Are Women Influenced by Contemporary Islamic Movements Today Research Paper

How Are Women Influenced by Contemporary Islamic Movements Today - Research Paper Example A historical insight reveals that the inception of the concept of ‘Islamic Feminism’ had its roots in Egyptian society. In the modern context, the revolt of women in the Muslim society in gaining an equal social and religious image gave a further spurt to the concept of ‘Islamic Feminism’1. The religion of Islam has a considerable impact on the women class of society from time immemorial. Women of the modern period are found to use the same religion to gain a better place in society. The growth of Islamic activism in the Muslim countries is found to render significant impact on woman class of such societies. An observation of religious fundamentalist activities practised in countries like Pakistan, Egypt, Iran and Lebanon reflect on the identification of women as a single and different class in the social order. Moreover, it is found that the Islamic religion is moving forward to earn a close relationship with the issue of anti-women movements throughout the world. To this end, it is observed that the global Muslim society uses women to symbolize their religious solidarity and religious ethnicity. This large amount of stress rendered to identify women as a separate social class and use of them to highlight a religious body dampens the spirit of humanity in women. It is found that women in the Muslim religious society are often tied to issues of social values and code of conducts produced by the conservative practices. Further, the growth of a Muslim state is clos ely believed to be associated with increasing the control over the women class. It is observed that even in the contemporary Muslim world the women are not allowed to have a choice on their dress codes. The women in the Muslim countries have to cover up their faces in a veil, which reflects them to be belonging to a definite religious class. Equally, the women  are governed to bear certain definite social conducts as would reflect them in being Muslims. In regards to setting up a distinct dress code for women, the Muslim religion cites certain specific advantages in regards to Muslim households.

How do different background influence workplace communication and Assignment

How do different background influence workplace communication and understanding - Assignment Example These rely on clearly spelling out rules, instructions, expectations and directions. A lot of importance is connected with following instructions to the letter. High-context communications rely on interpersonal relationships with fellow workmates in order to bring out societal expectations and rules. In other words, high-context communications rely on other people to direct them. With high-context communication, the employees expect the supervisors to enforce important rules personally. In workplaces where there are employees from both high and low context communication backgrounds, interpersonal communications may prove to be difficult, and the following up of instructions as they are intended may be extremely poor. Employees from cultures accustomed to high-context communications benefit more from fellow employees or supervisors direct instruction while employees accustomed to low-context communications can simply absorb the instructions from written materials such as training manuals just as

Criminal Law Essay Example | Topics and Well Written Essays - 250 words - 2

Criminal Law - Essay Example ack up a conviction of capital felony, secondly, the trial court charged unfitting the jury in that self-defense was not applicable to murder felony and thirdly the jury was incorrectly charged concerning rudiments of self-defense hence rendering invalidity of his convictions pertaining the two counts of murder with intent. In state v Amado case, conclusion was that self-defense was unavailable as a means of defense to charges of murder felony. Therefore, addressing claims of inadequate instructions of self-defense. Although the jury dropped Amado’s invitation to reexamine the issue about the convictions of murder felony, the jury’s vacating of the conviction of capital felony requires the jury to address whether it (the jury) was incorrectly charged on the issue concerning self-defense about counts of intentional murder. Both convictions of murder felony stood (findlaw, 2014). The said charges did not affect the views of the Supreme Court, of which its findings were limited to the capital murder as well as murder felony counts. The defendant specifically claimed that the instructions of the trial court concerning self-defense deceived the jury since the court incorrectly instructed the jury on its obligations. The jury concurred with the Amado that the trial court had misled them in their obligations in considering the counts of intentional

HUM200_ESSAY1 Essay Example | Topics and Well Written Essays - 1000 words

HUM200_ESSAY1 - Essay Example The foremost among them was its glorification of man instead of God and that man was the gauge of all things and had indefinite potential. The Renaissance started in the city of Florence in Italy, and subsequently expanded into the rest of Italy and afterwards into Northern Europe. Artistically, the Renaissance shaped a completely new approach to express human emotions and ethics by the use of architecture, sculpture and in particular painting. As history reveals, the painters of the Renaissance, like Leonardo da Vinci, Michelangelo, Rembrandt and many others, did not evaluate their work merely evaluate on the feats of their large number of predecessors. They utilized the new scientific theories of their age and related their points of view to create paintings that reflected practical and realistic images. They mostly painted idealized figures and pictures based on humanistic concepts and principles, which manifested their ideals of man being separate from God and showed that his environment was a natural occurrence and not the result of a higher power. The paintings of Leonardo da Vinci, for example, reflect the ideals of humanism and materialism. Leonardo da Vinci often referred to as the Renaissance man, was an expert in a number of fields and had an extensive range of interests. He was not only an artist and musician, but also a sculptor, painter, architect as well as a scientist. He dissected the dead bodies of human beings to make the way muscles and bones functioned. His sketchbooks consist of diagrams and operational schemes of flying machine and undersea boats. His famous paintings include Mona Lisa, The Last Supper (which was painted on a plaster wall using oil) and Madonna and Child with Saint Anne. Leonardo da Vinci’s keen interest in human anatomy leads to the perfection of his paintings. He was very skilled with the drawings of the human face and no better painting than that of the