Academic Honesty Essay Example for Free

Academic Honesty Essay We can identify some forms of academic dishonesty as, copied exams, this implies to turn and see another students test, receiving or giving verbal and / or nonverbal, change the tests, hiding notes, or modification of quizzes. It can also occur in tasks, jobs and projects. It is possible to pass the task among students, falsify data, lack of contribution to a team, and hire someone to make their work. Other types can be present even with bribes or threats against the teacher. Through the plagiarism, the student gives the impression that you cannot learn or that do not want to learn. Also, you may not have a good relationship between student and teacher. The love of learning is the most effective strategy to combat academic dishonesty. Below are some reasons for plagiarism: Reduced interest in learning Plagiarism is easy to do Many students are more interested in the grade than in the learning process They are busy working or doing other things Non appreciation of the knowledge Why is Academic Dishonesty Happening? Society has communicated the concept that students need to acquire a degree for future employment, financial security, and personal reasons (Choi, 2009; Cohen ; Brawer, 2003; McCabe, Butterfield, ; Trevino, 2006). And students often believe they will receive higher salaries from future employers if they have exceptional grades throughout their college careers (Norton, Tilley, Newstead, ; Franklyn-Stokes, 2001). This is a reality that plenty of students are living. Plenty of them are lucky enough like me, to get the job they’ve always wanted before they earn a degree. â€Å"Indeed, plagiarism and cheating are reflections of the need to get good grades at all cost; and, they continue to be serious problems in academia† (Danielsen, Simon, ; Pavlick, 2006; Fontana, 2009; Lipka, 2009; McCabe, 2009; McCabe et al. , 2006; Rosamond, 2002; Wilkerson, 2009). This is causing that some –early professionals- just try their best to rush their way into a degree without paying any attention to their assignments. In the beginning it was like that for me because honestly, I felt I was not learning anything. My reality was that I learned â€Å"everything† in the field. But soon enough I realized that college is not necessarily the place to learn specific topics, is the place where you were how to manage your knowledge and put it in the best use. At the end of the day academic dishonesty is a behavior that makes students gain an unfair advantage and it need to be avoid. â€Å"The risk of plagiarism in academic settings can be reduced by not setting the same essay every year. Burnard (2002) reflected on the possibility of plagiarism extending beyond coursework essays to dissertations. He felt that written examinations may reduce the problem (Burnard 2002). Doing our job correctly will guaranty that we learn in the process and also that we will get the grade we worked for. In my case, I am writing this paper because due to wrong quotation, it was understood that used someone else information as mine. In order to avoid this in the future, students have to make sure to follow the guidelines when it comes to proper citation. It very important to have credit to whom deserves it, and that’s why double checking and practicing the properly citation its key in order to have a clean paper. Now, we have to be clear that any material that is consider as common knowledge does not have to be cited. Also, field-specific common knowledge does not need citation unless it contains facts from a specific source. As I mentioned, my case was because of wrong citing, but at the end of the day the consequences are the same as of a student stealing information an using it for an assignment. Professors take this very seriously because it is not fair to the students who spend hours working. This is superior work, wrote a professor on a students paper. It was excellent when Saint Thomas Aquinas wrote it, just as it is today. Saint Thomas gets an A. You get an F (Alschuler and Blimling 1995, p. 123). We must understand that dishonesty in the classroom is a serious issue, it is not just a cheating situation, it is considered for some professionals as a crime that deserves a penalty. Plagiarism can be done very easily, and it can even happen when proper citation has been done. Another way to avoid plagiarism, could be by paraphrasing and adding the name of the author; for example: â€Å"According to Carlos Santana, guitars became famous in † it is a way of giving credit and making your sentences flow in a better way. I will conclude this paper by saying that we all know what plagiarism is, by this I mean that every single student know what is good and bad and academic dishonest will end when we start being honest with ourselves, our instructors and why not, also our classmates. It is true that at time it can be difficult to complete certain assignments, but there is nothing that can’t be fixed with communication. Sending an email to out instructor or asking for help will make the learning experience better and will guide us away from plagiarizing a document. Reference: Choi, Cohen, and Brawer. International Journal of Business and Social Science. 3rd ed. Vol. 3. N. p. : n. p. , 2012. Print Burnard P. All your own work? Essays and the internet. Nurse Education Today. 22, 3, 187-188. (2002) Merriam-Webster’s Collegiate Dictionary. 11th ed. Springfield, Mass. Merriam-Webster, Inc. ; 2003:946.

Coincidence Counting With NAI Scintillation Detectors

Coincidence Counting With NAI Scintillation Detectors ABSTRACT Coincidence counting is a technique employed in nuclear medicine for PET imaging. This technique utilizes a positron emitting radionuclide that is injected into patients to track biochemical and physiological processes. The positron annihilates with an electron and emit two 0.511MeV gamma rays which are detected simultaneously by two scintillation detectors. In the experiment, two gamma ray sources, 60Co and 22Na were used with a NaI scintillation counter. A single channel analyzer (SCA) was used to count the number of voltage pulses whose height fell within the gate width. The absolute efficiency and intrinsic efficiency was obtained as a function of distance. Real and random coincidences were determined from the spectrum obtained with varying gate width and gate delay for each source. The optimum gate width obtained was 5 µsec for both sources with gate delays of 1.2 µsec and 0.2 µsec for 22Na and 60Co respectively. The real coincidences for 22Na and 60Co were found to be 200 .1  ± 2.3 and 76.5  ± 1.7 respectively. The random coincidences obtained were 25.1  ± 3.4 and 13.4  ± 2.6 for 22Na and 60Co respectively. This was determined by using the LINEST function. The percentage thus of random to real coincidences obtained in this experiment was 12.54  ± 1.85 % and 17.52  ± 3.81 % for 22Na and 60Co respectively. It was deduced that the uncertainty in determining a random coincidence was higher in 60Co than in 22Na. the magnitude of the uncertainty is as a result of fluctuations in the instrumentation. Hence the Na system is more efficient for coincidence counting and so it is useful in the PET system. INTRODUCTION Coincident counting is a radiological measuring technique that is utilised in the nuclear medicine in the PET scan whereby two photons emitted from an event are detected simultaneously by a ring of detectors. Sodium Fluoride (F18-NaF) is the positron-emitting radionuclide employed in PET for bone imaging [1]. Upon decay, the positron are emitted which travels for a short distance and under Compton’s scattering thereby loosing most of its energy. It then undergoes annihilation with an electron and emit two high energy 0.511MeV photons. The 0.511MeV photons are emitted 180 degrees apart and interact with the PET detector rings at opposite sites. [2] The detectors are made up of scintillation crystals coupled with photomultiplier tubes powered by a high voltage which produces a pulse with a height proportional to the gamma-ray energy. A SCA counts the number of voltage pulses whose height falls within a predetermined window of photon energies. Coincidence measurement is utilised when a single detector cannot produce all the information expected, as gamma rays are randomly produced, hence the need to set several detectors. Real coincidences occur when two photons are emitted in coincidence from the same annihilation event and are detected simultaneously within a certain time frame set by the gate width. Random coincidences occur when two photons emitted from different events are detected simultaneously within the time frame of the gate width. [3] The gate width determines the time window within which the simultaneous emission of the gammas are detected. The optimum gate width therefore will ensure that the maximum number of real coincidences are detected to minimise the events of random coincidences. In the ideal situation when the gate width is zero the real coincidences can be observed, and with an increase in gate width the random coincidences can be observed. In the PET scan, this will ensure efficiency of the coincidence system. The need for the gate delay is to enable the second pulse to be detected within the time frame of the gate width and this is usually a minute time frame. It takes into account the minute fluctuations that occur at time of pulses. By alternating the gate delay and gate width, the rate of coincidence can be determined. In this experiment the two sources used were 60Co and 22Na. 60Co emit two gamma rays upon beta decay at energies 1.3325Mev and 1.1732MeV with 60Ni daughter nuclide. The 22Na undergoes a beta decay and electron capture decay with the emission of a 1.275MeV gamma photons and two 0.511Mev upon interactions with the detector material. The positron from the beta decay of 22Na annihilates an electron of the detector and emit the two gammas at 0.511Mev energies at 1800. The coincidence counting system records just a certain portion of events depending on the solid angle as a function of distance. Coincidence counting as a function of distance is maximum in the middle and zero at the edge [4]. The photons can undergo several interactions in the detector before they are detected and that render the detector inefficient and so there is the need for its efficiency to be determined. The efficiency can be classed into two as absolute and intrinsic efficiencies and they are defined as Absolute efficiency ÃŽ µabs = Number of pulses recorded [3] Number of radiation quanta emitted by source Intrinsic efficiency ÃŽ µint = Number of pulses recorded [3] Number of radiation quanta incident on detector These efficiencies are related by ÃŽ µint = ÃŽ µabs * (4à ¯Ã¢â€š ¬Ã¢â‚¬  /à ¢Ã¢â‚¬Å¾Ã‚ ¦) [3] where à ¢Ã¢â‚¬Å¾Ã‚ ¦ is the solid angle of the between source and detector. The solid angle is dependent on the distance between source and detector (d) and the radius of the detector (r) and it is determined by the this equation, à ¢Ã¢â‚¬Å¾Ã‚ ¦ = 2à ¯Ã¢â€š ¬Ã¢â‚¬   1 d [3] √d2 + r2 To determine the efficiency of the coincidence system, the absolute efficiency for real and random coincidences were also determined for both sources based on the equations below. ÃŽ µabs for real coincidences for 22Na = ÃŽ µabs * ÃŽ µint ÃŽ µabs for random coincidences for 22Na = (ÃŽ µabs)2 * Activity * Intensity * Time ÃŽ µabs for real coincidences for 60Co = ÃŽ µabs * ÃŽ µabs ÃŽ µabs for random coincidences for 60Co = (ÃŽ µabs)2 * Activity * Intensity * Time METHOD Two NaI detectors coupled with photomultipliers with high voltages and preamplifiers were used for this experiment. The inputs were connected to spectroscopic and SCA amplifiers. Detector 1 was first corrected for background by counting for 5 minutes. The 22Na gamma ray source was varied with distance and the absolute efficiency of the detector was determined as a result. Detector 2 was introduced and set at a distance of 10cm apart from Detector 1. 22Na was positioned in the middle and the counting was set to 5 minutes. The gate width and gate delay were varied and their spectrum observed. The experiment was repeated for the second gamma ray source, 60Co. The optimum gate delay was determined and varied with the gate width to obtain the optimum gate width. A linear graph of count rate against gate width was obtained that showed the real and random coincidences based on the slope gradient obtained. The percentage ratio of the random to real coincidences were determined and the uncertainty associated with the experiment was also determined. RESULTS/DISCUSSION The background spectrum was corrected in the count reading for both sources. The background radiation is as a result of scattered radiation associated with the experiment. The absolute efficiency of the detector was determined for both sources as shown in Figure 1 and Figure 2 and Table 1a 1b and Table 2a 2b for 22Na and 60Co respectively. The absolute efficiency was obtained using the formula Absolute efficiency = Sum of count Intensity x Activity Figure 1: Absolute efficiency as a function of the distance between the 22Na source and detector Figure 2: Absolute efficiency as a function of distance between the 60Co source and detector The 22Na revealed a gradual decrease in efficiency with increasing distance, whereas 60Co revealed a rapid drop in efficiency as a function of distance. 60Co revealed lower absolute efficiencies since the measure of the number of pulses obtained by the 60Co was less than the number of photons emitted by the gamma ray source. This could have been due to Compton scattering reducing the number of photons actually detected as a pulse. The 22Na however revealed quite high absolute efficiencies and so can be confirmed that the detector was efficient in detecting the 22Na than the 60Co. The intrinsic efficiency was determined using the equation below. ÃŽ µint = ÃŽ µabs * (4à ¯Ã¢â€š ¬Ã¢â‚¬  /à ¢Ã¢â‚¬Å¾Ã‚ ¦) The solid angle was determined for the detector when the distance between both detectors was varied between 5cm to 20cm and the radius of the detector was measured as 10cm. This is shown in Tables 3 and 4 and Figures 3 and 4 for 22Na and 60Co respectively. Figure 3: Intrinsic efficiency as a function of distance between the 22Na source and detector Figure 4: Intrinsic efficiency as a function of distance between the 60Co source and detector The intrinsic efficiency for 60Co was lower than 22Na. It can be deduced that the number of 60Co photons incident on the detector was more than the number of pulses recorded. Hence signifying that the detector was not efficient in detecting the 60Co. The 22Na however displayed high intrinsic efficiency almost approximating the maximum value for intrinsic efficiency. The intrinsic efficiency were found to be fluctuating with the highest being 0.9898 and 0.3872 with a solid angle of 1.3029 at 13cm distance from detector for 22Na and 60Co respectively. This is as result of the detector’s geometry detecting the photons at different solid angles. The solid angle determines how much of the photons can be detected as a function of distance. The overlap of the error bars signifies the uniformity of the errors. The probability of a 0.511MeV gamma travelling in the direction of the detector and being absorbed by it, will imply that the second 0.511MeV will also travel in the correct direction. Both detectors detecting the two 0.511MeV gammas can be determined to yield the absolute efficiency for real coincidences. This can be deduced from the notion that photons travelling in the right direction will be absorbed in the right direction by both detectors. The results of absolute efficiencies for real and random coincidences for 22Na and 60Co is shown in Table 5 6 and Figure 5, 6, 7 8. The efficiencies for both sources decreased with distance and it was lower for 60Co. The absolute efficiency for random coincidences was however for both sources than the absolute efficiency for real coincidences. It can thus be inferred that the absolute efficiencies for real coincidences for both 22Na and 60Co yields less probability of detection of real coincidence with 60Co as compared to the 22Na. The abso lute efficiencies for random coincidences was however comparable for both sources as the probability of detecting the second event within the gate width is possible for both sources. Figure 5: Absolute efficiency for real coincidences as a function of distance for 22Na Figure 6: Absolute efficiency for random coincidences as a function of distance for 22Na Figure 7: Absolute efficiency for real coincidences as a function of distance for 60Co Figure 8: Absolute efficiency for random coincidences as a function of distance for 60Co The gate delay was varied with gate width to obtain the optimum values of delay and width. The optimum gate delay was obtained as 1.2 µsec and 0.2 µsec for both 22Na and 60Co respectively and was used for the experiment. A linear graph of count rate as a function of gate width was obtained and a fixed gate width was obtained as shown in Figure 5 and 6 and table 7 and 8 Figure 5: A linear graph of count rate as a function of gate width applying a 1.2 µsec gate delay for 22Na Figure 6: A linear graph of count rate as a function of gate width by applying a 0.2 µsec gate delay for 60Co Real coincidences occur on the intercept of the linear slope gradient, whereas random coincidences can be found with the slope. For 22Na the optimum gate width obtained was 5 µsec. The graph of count rate as a function of gate width yielded a slope gradient of y = 5.019x + 200.15. By applying the optimum gate width and correcting for the gate delay, the real and random coincidences were determined using the LINEST function. The real coincidences was found to be 200  ± 2.3 whereas the random coincidences was found to be 25.1  ± 3.4. The percentage thus of random to real coincidences obtained in this experiment was 12.54  ± 1.85 %. This gives the value of pure coincidences that are not dependent on gate width. For 60Co, the optimum gate width was 5 µsec. The graph of count rate as a function of gate width yielded a slope gradient of y = 2.6801x + 76.483. When the optimum gate width was applied whilst correcting for the minute gate delay, the real and random coincidences were determined using the LINEST function. The real coincidences was found to be 76.5  ± 1.7 whereas the random coincidences was found to be 13.4  ± 2.6. The percentage of random to real coincidences obtained in this experiment was 17.52  ± 3.81 %. The above results was compared with the measured values obtained from the graph. The intercept gave the real coincidences as 200.15 and 76.48 for 22Na and 60Co respectively. The point of data convergence on the straight line gave the optimum gate width and the count equivalent was found as 225.28 and 90.02 for 22Na and 60Co respectively. The difference between this value and the real coincidences yielded the random coincidences as 25.13 and 13.56 in 22Na and 60Co respectively. Hence the percentage ratio of the random and real coincidences was obtained as 12.49% and 17.73%. This is equivalent to the values obtained from the calculated coincidences with the differences being due to uncertainties. The uncertainties with this experiment were with the NaI detector which contributed to scatter around the cover. The count rates resulted in some uncertainties as well and has been sown in table 8 for both detectors. The solid angle presented an uncertainty as the measurements for the detector could incur a large margin of errors. From all the results synthesized for both sources it could be gathered that the 22Na was an efficient source for coincidence counting compared to the 60Co. This is as a result of the geometry of the detectors as the Co system does not show a coincidence system and so there is more likelihood of a random coincidence than a real coincidence as compared to the Na system. This concludes that the 22Na will be efficient in a PET system, hence the reason for positron emitting radioisotopes being used in the PET system to ensure the maximum number of coincidences are being detected CONCLUSION The experiment was performed to examine the coincidence counting in two gamma ray sources and to determine the real and random coincidences as a function of gate width. The optimum gate width obtained was 5 µsec for both sources with gate delays of 1.2 µsec and 0.2 µsec for 22Na and 60Co respectively. The real coincidences for 22Na and 60Co were found to be 200.1  ± 2.3 and 76.5  ± 1.7 respectively. The random coincidences obtained were 25.1  ± 3.4 and 13.4  ± 2.6 for 22Na and 60Co respectively. This was determined by using the LINEST function. The measured count rates was also determined from the graph and resulted in real coincidences for 22Na and 60Co respectively as 200.15 and 76. 48 and random coincidences of 25.13 and 13.56. The percentage thus of random to real coincidences obtained in this experiment was 12.54  ± 1.85 % and 17.52  ± 3.81 % for 22Na and 60Co respectively. This gave the quality of the uncertainty in the coincidence system. It was deduced that the uncertainties in determining a random was higher in 60Co than in 22Na hence the Na system is more efficient for coincidence counting and very useful in the PET system. REFERENCES [1] The detection of bone metastases in patients with high-risk prostate cancer:99mTc-MDP planar bone scintigraphy, single- and multi-field-of-view SPECT,18F-fluoride PET, and18F-fluoride PET/CT.Even-Sapir et al, J Nucl Med(2006)47:287–97 [2] The Physics of Medical Imaging, ed. S. Webb. IoP publishing [3] Radiation and Detection Measurement, Glen N Knoll, 3rd Edition [4] Coincidence Counting, E. K. A. Advanced Physics Laboratory, Physics 3081, 4051 APPENDIXES Table 1a: Counts rate as a function of distance between source and detector for 22Na Table 1b: Absolute efficiency as a function of distance between source and detector for 22Na Table 2a: Counts rate as a function of distance between source and detector for 60Co Table 2b: Absolute efficiency as a function of distance between source and detector for 60Co Table 3: Intrinsic efficiency as a function of distance between source and detector of 22Na Table 4: Intrinsic efficiency as a function of distance between source and detector for 60Co Table 5: ÃŽ µabs for real and random coincidences as a function of distance for 22Na Distance(cm) ÃŽ µabs à ¢Ã¢â‚¬Å¾Ã‚ ¦ 4à ¯Ã¢â€š ¬Ã¢â‚¬   ÃŽ µint ÃŽ µabs for real coincidences ÃŽ µabs for random coincidences 5 0.09940 3.473 12.57 0.35967 0.0994 48.7255 10 0.05091 1.8403 12.57 0.347637 0.0509 12.8015 13 0.04015 1.3029

Language Creativity in Everyday Conversation

Language Creativity in Everyday Conversation Transcribe the extract from CD-ROM1, Band 6: Kitchen Floor. Using this data and relevant concepts and theories from E301, discuss the extent to which language creativity can be identified in everyday conversation in English. Undid the paper ((laughter)) and (like) (.) put a little bit of salt on and I handed them to him you know and he looked at me and he didnt DARE say anything so he had to SIT and eat it with his fingers ((laughter)) which he HATES (.) But I was going to make a point of the fact that I was not going to put it on a plate and do the whole BIT and make a (his tea) [and that [like Charles when I was doing the kitchen floor you seeà ¢Ã¢â€š ¬Ã‚ ¦ [he totally // was the one who started it // said that I was mad to take on the job (.) I wouldnt do it (.) (Yeah) and he wasnt gonna help (.) LEANING on the door while he said that ((laughter)) (speech inaudible) (.) He said (1.0) Im not gonna help you with this (.) If youre gonna do it youre doing it on your own // yeah // (.) I said yeah okay (.) Theres nothing I like more than a challenge (.) [did he actually SAY it like that (.) And he actually DID do that (.) He actually stood and LEANED // yeah // against the door (.) (*inaudible*) on the other side of the kitchen telling me (.) he was depressed (.) ((laughter)) Im sweating away ((laughter)) he was off his sleeping tablets he was going to take ((laughter)) (speech inaudible) he was gonna do it on the floor ((laughter)) and meanwhile ((xxxxxxxxxxx)) ((laughter)) Its awful isnt it (.) Im laughing too much ((xxxxxxxxxxx)) Transcription conventions: (( )) = background noises (.) = brief pause [ = interruption // = speech overlap (1.0) = pause longer than half a second CAPS = emphasis Xxxxxxxxxxx = inaudible speech In this assignment, I will try to discuss relevant ideas that have come up in the course materials so far, particularly in Carters book, analyse features of this language data and in conclusion summarise my own views on creativity that are found in everyday language with reference to the data sample. First I shall attempt to analyse the transcript from the E301 audio material and later explain how this fits in with the ideas of Carter. From what I can tell, the transcript is basically a chit-chat between three women, who seem to be more than colleagues, so actually three friends. What they are talking about was rather hard to understand because firstly, they all sound the same and secondly as it is informal talk the facilitating of turn-taking is not put very clearly and instances of interruption and laughter add to the confusion. Spoken creativity may be more prevalent in certain types of social context and within certain types of interpersonal relationship. (Carter p. 147) I will also research Carters idea on the CANCODE corpus that he has linked to creativity in verbal repetition and a wide range of figures of speech like idiom, proverbs and hyperbole. According to Carter, it is not possible to define creativity an a wholly formalist way because in spoken interaction, what counts as creative use can vary according to the dynamic established as part of the dialogue. But Sacks argues that ordinary talk has to be achieved and is a human, social and creative accomplishment which is far from being ordinary. Some speech figures pass unnoticed as normal, routine and even pre-formulated units and in some cases, the same figures are drawn to the attention of the speakers. The purpose of creative language in everyday common speech is highly varied and may include: offering a new way of seeing the content of a message; making humorous remarks; underlining what is communicated; expressing a particular attitude; including negative and adversarial attitudes; making the speakers identity more manifest; playing with language form to entertain others; ending one bit of talk and starting another or simply oiling the wheels of the conversation. (Carter, p.148) Creativity almost always depends on interpretation of intentions and inferences of the participants. It is perhaps best to start by explaining how Carters model of literariness is used for the analysis because the results reveal that speech is dependant on itself and includes examples of stylistic and lexical features, words of contrast at text and sound level, parallelism, evocative descriptive language and cross-sentential repetition. The Greece Tourist Guide for example is dependant on medium and carries examples of archaic and syntactic features, emotive action words, evocative descriptive language, polysemy and displaced interaction. To put it bluntly, it is very hard, not to say difficult to measure which text is more literary except if the two texts have an identical genre. At this point I am now going to give a definition of literary language or literariness. Literary language refers to a particular language or language variety used in literature and also refers to a type of language a style or mode of expression associated with literary genres such as poetry, narrative fiction or drama, whilst literariness refers to the quality of literature or literary language. If used to refer to language in more everyday context, these terms will tend to focus on continuity with literature, such as Carters argument about a cline of literariness. (Carter, 2004) There is something in literariness known as clines. This term has a similar meaning to continuum and refers to relations along a particular dimension that are a matter of degree rather than having discrete cut-off points. Therefore this would suggest then that literariness is a matter of degree. However there is a problem suggesting that these are gradations or degrees of literariness in texts and how to measure it. As far as linguistic forms, it would seem unreasonable just to total the number of creative features used in a particular text. Whether the text is considered to be literary will not derive from the presence of more or fewer literary features and the concept of a cline or sets of clines may suggest a level of precision in the identification of literariness that is not able to be attained in practice. I now turn to Carters models of literariness. Discussing the relationship between everyday linguistic creativity and literary language brings forward the question what literary language actually is. Carter (1999) has identified three models: two established models to which he refers to as an inherency model and a socio-cultural model and more recently, a cognitive model. The inherency model sees literariness as embedding in certain properties of language: so literary language is distinct from more practical uses of language where language itself is highlighted. Jakobson (1960:356) has perceived this as the poetic function of language which focuses on the message for its own sake. This will be termed self-referential language and is language that will be referring partly to itself and not simply to entities in the external world that are the object of discussion. Even though the poetic function is quite evident in many of the examples, the researcher from whom I got this information from is of the opinion that it is the dominant, determining function of verbal art. A socio-cultural model sees literariness as socially and culturally determined; meaning it would be drawing attention to the fact that conceptions of literature vary historically and culturally. According to Eagelton, (1996) there is nothing distinctive about literary language and any text can be seen as literature if it declared by institutions or if people read it as such. Anthropological studies of literary performances in various cultural contexts also tend to take a socio-cultural view on literariness. Many studies focus on the performance in its traditional literary or theatrical sense in order to include public displays to artistic activity that are responded to aesthetically by an audience, like story-telling, song, dance or drama. However the notion is not uncommonly extended to more everyday activity in recognition of the fact that there are certain parallels between everyday and literary performance: that this notion of performance can also describe what often is found in the most ordinary of encounters, like when social actors exhibit particular attention in the delivery of a message. Cognitive models relate literary language to mental processes and according to Tannens suggestion (1989) that linguistic repetition derives from a basic human drive to repeat as a kind of cognitive argument. Cook (1994) claims that literary texts have an effect on the mind and help us to think in new ways and refresh and change our mental representations of the world: But such benefits are not confined to established literature and Cook has similar thing to say about everyday creativity or language play. In addition, Gibbs (1994) claims that human language and human understanding often are metaphorical, concluding that literary metaphor carries on and extends everyday metaphorical notions. For Carter (1999) there was some value in both inherency and socio-cultural models, and in the case of his own examples is identifies formally and in this sense is close to an inherency model. However, there is one way to find examples of verbal art in his corpus, and that is to search for instances of laughter. What people respond to as artful is consistent with a socio-cultural model and in Carters view; a cognitive model is beneficial by helping explain the prevalence of creativity in everyday language. The argument is that literariness should be seen as a cline or a series of clines and is appropriate to see texts as more or less literary rather than in terms of an opposition between literary and non-literary language. There are two main levels of creative interactions. The first is the pattern re-forming feature which is more overt, has presentational uses of figures of speech, open displays of metaphoric invention, punning, uses of idioms and departures from expected idiomatic formulations. The second pattern-forming feature is less overt, may have subconscious and subliminal repetition; parallelisms, echoes and related matchings which often result in expressions of affective convergence in implicit signals of intimacy and symmetries of feelings. Linguistic creativity is less likely to occur in contexts which involve a one-way process of information provision or professional interaction in which the main purpose is transactional and where relations between participants in a particular context might be more asymmetrical. Mapping out probabilistic in creativity onto social context is not easy to capture diagrammatically and it does not seem to allow exceptions. So it is likely that creativity will occur in informal situations. Like when colleagues working together in a department store while decorating a window together or when one discovers that the intimacy of the relationship lighten the task until the discourse becomes more populated with wordplay and creative uses of language. So, what does this tell us about creative language? It tells us four main points. Firstly, creative language use cant be captured or described or evaluated wholly by formalistic definitions. Creative functions will vary according to speakers evolving relationships, the nature of the external task demands and the changing character of social context and speech genres. Secondly, creativity is probabilistic. Creative language is more likely to occur in some contexts and in some kinds of interpersonal contact rather than in others. It would be defined with reference to an account of forms and functions but its purposes and uptake depend on a dynamic of locally negotiated processes and specific instances. These can be seen as from the outside but their meaning can only be speculated upon. This means that paradoxically, creativity is a definitely emergent, instantial category of language. Thirdly, we recognize that creativity in context is valuable but there are also many factors which constitute a context and different contextual frames which are able to work within a single context. For example humour can be a significant strategic figure which crosses over into other categorial boundaries. And fourthly, this would mean that creativity is best captured and discussed with the mind fixed on clines and continua with many points of overlap. Like in the example of the CANCODE corpus: generally speaking it is lacking in examples of language used in a working environment and in the context of business organisations. Humour is used to challenge particular practices and the role of people who have a higher position in a company. The way it works is by allowing a potentially literal statement to be made by non-literal means. But in a preliminary observation, CANCODE and pattern forming is a more female characteristic. Compared to men, women are more spontaneously creative in talk but this need to be researched more as women are not seen as to be openly contestive, adversarial or pattern-reforming in language use or to strategically use humour. As we can see, there are many ways we can identify creativity in spoken language, whether it is chit-chat between friends or in literature or even in literary contexts, creativity had many faces. Creativity can also be seen as a method on how we learn something new, for example in order to remember a progression of numbers you simply recall it by turning it into a song like Mary Had A Little Lamb. That way for example, a child from primary school would be able to remember the number progression of the number 4 by singing the tune of Mary Had A Little Lamb in his head. This method of creativity was made up for me by my mom who tried to help me in my math studies in primary school as it was my worst subject in my entire school career. Needless to say, I passed the math test with that method in primary school and even find myself using similar methods for my Open University study even today, even though it has changed a bit, but the effect has remained the same.

How to join a site :: essays research papers

Amazon.com: Music: Shut Up - [ Traduzca esta pà ¡gina ]Shut Up, Kelly Osbourne. ... 7 of 9 people found the following review helpful:. 5 out of 5 stars Shut Up -- Kelly Osbourne, December 4, 2002 ... www.amazon.com/exec/obidos/ tg/detail/-/B000071AZB?v=glance - 66k - En cachà © - Pà ¡ginas similares Amazon.com: Books: Shut Up and Sing: How Elites from Hollywood ... - [ Traduzca esta pà ¡gina ]Amazon.com: Books: Shut Up and Sing: How Elites from Hollywood, Politics, and the UN are Subverting America by Laura Ingraham. www.amazon.com/exec/obidos/ tg/detail/-/0895261014?v=glance - 93k - En cachà © - Pà ¡ginas similares [ Mà ¡s resultados de www.amazon.com ] Shut Up Lyrics - Black Eyed Peas - [ Traduzca esta pà ¡gina ]Shut up Just shut up Shut up [3x] Shut it up, just shut up Shut up ... The CopyRight of Black Eyed Peas - Shut Up Lyrics belongs to the writer or performer ... www.lyrics007.com/ Black%20Eyed%20Peas%20Lyrics/Shut%20Up%20Lyrics.html - 19k - En cachà © - Pà ¡ginas similares The Stranger - Home - [ Traduzca esta pà ¡gina ]JUST SHUT UP. Nobody gives a shit what anti-war or pro-war writers think. Really. So shut up. That goes double for poets. Shut the hell up, poets. ... www.thestranger.com/2003-02-20/feature.html - 22k - En cachà © - Pà ¡ginas similares Bill O'Reilly Wants You To Shut Up - Also, Al Franken, Tom Daschle ... - [ Traduzca esta pà ¡gina ]Fox News channel talk show host Bill O'Reilly says "shut up" the way other people say "um." slate.msn.com/id/2087706/ - 36k - En cachà © - Pà ¡ginas similares SHUT UP AND SHOP - [ Traduzca esta pà ¡gina ]Australian graffiti artist with qtvrs, interactive shockwaves, and quicktime movies, all with the theme of world hunger. www.shutupandshop.wild.net.au/ - 1k - En cachà © - Pà ¡ginas similares shut up you fat whiner! - [ Traduzca esta pà ¡gina ]shut up you fat whiner! still fat, fuzzy and as bent as a dog's tail. (that's a3uaj mithil thail al-chalib if you're Iraqi) ... justzipit.blogspot.com/ - 67k - En cachà © - Pà ¡ginas similares SHUT UP letra (Black Eyed Peas)Black Eyed Peas Letras de mà ºsicas - Letras.mus.br. black-eyed-peas.letras.terra.com.br/letras/77508/ - 26k - En cachà © - Pà ¡ginas similares This is Shut UP! From UK Software. Automatic computer shut down or .

DNA :: Deoxyribonucleic Acid essays research papers

DNA DNA, or Deoxyribonucleic Acid, is described, in Encarta Encyclopedia as a genetic material of all cellular organisms and most viruses. DNA carries the information needed to direct protein synthesis and replication. Protein synthesis is the production of the proteins needed by the cell or virus for its activities and development. Replication is the process by which DNA copies itself for each descendant cell or virus, passing on the information needed for protein synthesis. In most cellular organisms, DNA is organized on chromosomes located in the nucleus of the cell. A molecule of DNA consists of two chains, strands composed of a large number of nucleotides, that are linked together to form a chain. These chains look like a twisted ladder and are called a double helix. Each nucleotide consists of three units: sugar molecules called deoxyribose, a phosphate group, and one of four different nitrogen containing compounds, also called bases. The four are adenine (A), guanine (G), thymine (T), and cytosine (C). The deoxyribose molecule occupies the center of the nucleotide, with the phosphate group on one side and a base on the other. The phosphate group of each nucleotide is also linked to the deoxyribose of the adjacent nucleotide in the chain. These linked deoxyribose-phosphate subunits form the side rails of the ladder. The bases face inward toward each other, forming the steps of the ladder. The nucleotides in one DNA strand have a specific association with the corresponding nucleotides in the other DNA strand. Because of the chemical affinity of the bases, nucleotides containing adenine are always paired with nucleotides containing thymine, and nucleotides containing cytosine are always paired with nucleotides containing guanine. The complementary bases are joined to each other by weak chemical bonds called hydrogen bonds. DNA carries the instructions for the production of proteins. A protein is composed of smaller molecules called amino acids, and the structure and function of the protein is determined by the sequence of its amino acids. The sequence of amino acids, in turn, is determined by the sequence of nucleotide bases in the DNA. A sequence of three nucleotide bases, called a triplet, is the genetic code word, or codon, that specifies a particular amino acid. For instance, the triplet GAC (guanine, adenine, and cytosine) is the codon for the amino acid leucine, and the triplet CAG (cytosine, adenine, and guanine) is the codon for the amino acid valine.

Rich culture Essay

Japan is known for its rich culture. Among its many customs and traditions, music is considered to be one of the most essential parts of its culture. The Japanese’ passion for music, particularly traditional folk song music, continues to be a part of their daily lives. Despite the fact that their musical culture has gone through evolution as a result of change in lifestyles and mass media development, they still look at music as an important part of their heritage. For the Japanese, folk music is a medium through which they are able to express their inner feelings, ideas and thoughts. It is also through these songs that they are able to relate their experiences in life and the many ways that they deal with them. These songs depict their daily ways of living such as farming, fishing, mining, and even religious events, to mention a few. To date, traditional folk songs still exist in the different provinces in Japan. It is common among the older generations and sung mostly for recreational purposes. Harich-Schneider believes that because of the influences brought about by Western music and global modernization, Japan’s traditional folk songs are no longer as popular as it was in the ancient times. Over the years, fans and professional folk song singers have decreased. However, the tradition is sustained not only in art music but in the rich variety of folk traditions all over Japan (E. Harich-Schneider: 1973). Just like the Japanese, music plays a vital role in the American culture particularly in the lives of Native Americans. Their music also depicts their regional traditions and customs, history as well as the education of tribes in North America. Rooted in the folk music of many countries such as Ireland, England, Africa, and Scotland, their folk songs introduced the birth of American folk dances such as the buck dance and square dance. Although still dependent on each of North America region’s tradition, their folk songs have developed and taken numerous regional styles especially in the kind of instruments used. Each region still maintains some of the more popular folk songs despite the differences in repertoire and style. Contrary to the perception that traditional folk songs are now unpopular among the Americans, they are actually still alive and well in many parts of the country. Musicians and bands all over the nation are putting great efforts to continue the folk songs tradition. One of these includes the establishment of folk music schools that provide instruction in old-time music. In California, there are summer camps for children and adults as well as families that offer many different concepts of folk music instruction. These programs, which are also available in other US states, saw an increase in people wanting to learn folk music. It can be noted that the Americans are committed to keep this unique tradition alive. Despite the thousands of songs and tunes that have evolved over the years, American folk musicians still heavily rely on this tradition and learn new folk songs. As has been the tradition, folk song writers aim to engage the listeners and evoke their emotions just like how the older counterparts did many years ago. The American traditional folk songs will continue to evolve for as long as there is music. Because it is the sound of the people, it will go on telling tales of their daily lives, the challenges they faced as well as the history of their struggle and triumph in the country, albeit in a more modern fashion. Hence, it can be stated that while both Japan and America put value in their traditions, the latter seems to enjoy folk songs more as they have implemented ways to keep this custom alive not only for the benefit of today’s generation but for the future, as well. On the Taiko drummers, it is indeed an artistic demonstration of superb blending of stick work during performances. Exhilarating energy and amazing speed during Taiko drumming is required. Similarly, percussion instruments such as drums and flutes also occupy an important role in the music of Native Americans. Like the Taiko drums, Native American drums are also huge and played by a group of individuals. The action required when playing these drums is high and often requires great strength. References: E. Harich-Schneider, A History of Japanese Music (1973). http://www. ctmsfolkmusic. org/about/programs/MusicInSchools. asp Japan is known for its rich culture. Among its many customs and traditions, music is considered to be one of the most essential parts of its culture. The Japanese’ passion for music, particularly traditional folk song music, continues to be a part of their daily lives. Despite the fact that their musical culture has gone through evolution as a result of change in lifestyles and mass media development, they still look at music as an important part of their heritage. For the Japanese, folk music is a medium through which they are able to express their inner feelings, ideas and thoughts. It is also through these songs that they are able to relate their experiences in life and the many ways that they deal with them. These songs depict their daily ways of living such as farming, fishing, mining, and even religious events, to mention a few. To date, traditional folk songs still exist in the different provinces in Japan. It is common among the older generations and sung mostly for recreational purposes. Harich-Schneider believes that because of the influences brought about by Western music and global modernization, Japan’s traditional folk songs are no longer as popular as it was in the ancient times. Over the years, fans and professional folk song singers have decreased. However, the tradition is sustained not only in art music but in the rich variety of folk traditions all over Japan (E. Harich-Schneider: 1973). Just like the Japanese, music plays a vital role in the American culture particularly in the lives of Native Americans. Their music also depicts their regional traditions and customs, history as well as the education of tribes in North America. Rooted in the folk music of many countries such as Ireland, England, Africa, and Scotland, their folk songs introduced the birth of American folk dances such as the buck dance and square dance. Although still dependent on each of North America region’s tradition, their folk songs have developed and taken numerous regional styles especially in the kind of instruments used. Each region still maintains some of the more popular folk songs despite the differences in repertoire and style. Contrary to the perception that traditional folk songs are now unpopular among the Americans, they are actually still alive and well in many parts of the country. Musicians and bands all over the nation are putting great efforts to continue the folk songs tradition. One of these includes the establishment of folk music schools that provide instruction in old-time music. In California, there are summer camps for children and adults as well as families that offer many different concepts of folk music instruction. These programs, which are also available in other US states, saw an increase in people wanting to learn folk music. It can be noted that the Americans are committed to keep this unique tradition alive. Despite the thousands of songs and tunes that have evolved over the years, American folk musicians still heavily rely on this tradition and learn new folk songs. As has been the tradition, folk song writers aim to engage the listeners and evoke their emotions just like how the older counterparts did many years ago. The American traditional folk songs will continue to evolve for as long as there is music. Because it is the sound of the people, it will go on telling tales of their daily lives, the challenges they faced as well as the history of their struggle and triumph in the country, albeit in a more modern fashion. Hence, it can be stated that while both Japan and America put value in their traditions, the latter seems to enjoy folk songs more as they have implemented ways to keep this custom alive not only for the benefit of today’s generation but for the future, as well. On the Taiko drummers, it is indeed an artistic demonstration of superb blending of stick work during performances. Exhilarating energy and amazing speed during Taiko drumming is required. Similarly, percussion instruments such as drums and flutes also occupy an important role in the music of Native Americans. Like the Taiko drums, Native American drums are also huge and played by a group of individuals. The action required when playing these drums is high and often requires great strength. References: E. Harich-Schneider, A History of Japanese Music (1973). http://www. ctmsfolkmusic. org/about/programs/MusicInSchools. asp

Blockade Runners

Blockade Runners. A blockade runner is usually a lighter-weight ship used for evading a naval port. Often blockade running is done in order to transport cargo, for example to bring food or arms to blockade a city. Other times blockade runners would carry mail in an attempt to communicate with the outside world. The blockade runners during the American civil war were seagoing steam ships that were used to make it through the union blockade that extended some 3,500 miles along the Atlantic and Gulf of Mexico coastlines and the lower Mississippi River.These ships had to go undetected they sually traveled at night. If any of the runners were detected by union ships they would simply try to outmaneuver or outrun the union ships. The typical blockade runners were privately owned vessels often operating with a letter of marque issued by the Confederate States. Inbound ships usually brought things that were badly needed supplies and mail, they often carried things like cotton, tobacco and ot her goods for trade. If a blockade was detected they would either be captured or destroyed.There were an estimated 2500-2900 attempts to run the blockade with at east 80% success. Some of the famous blockade runners were; The Bat, The Britannia, The chameleon, The Condor, The Falcon, The Hansa, The Lizzie, The Stag, and The ptarmigan. The Steamer Denbigh. – We are glad to learn that this steamer, reported to be ashore and a wreck in her late attempt to run out of this port in a fog, is not damaged to the extent supposed. She has been relieved of her cargo and is now afloat, and is expected up to-day. The enemy's fleet discovering her unfortunate position tried to vent their spite upon her.They succeeded in hitting her but once in her wheelhouse, doing her no damage. She was defended by the guns of Fort Morgan, which succeeded in putting three shots in one of the blockaders and driving the rest off. The enemy's ship that was struck was sent off in the direction of Pensacola, s upposed to be disabled. The energy of Gen. Higgins and his command in defending the unfortunate ship is highly commended. Word count: 363 Bibliography: Wikipedia, famous blockade runners, newspaper article Mobile Register February 4, 1864. Denbigh runs around near Fort Morgan.