In this task, you will use selected resources to research and report Paper

In this task, you will use selected resources to and report on the lifestyles, values, mores, and other characteristics of at least two minority cultures living in your state - Research Paper Example The ethnic heritage of Mexican nationals is primarily defined by a mix of European and Native American (as in native to the American continent) origins, thus providing a tie between those of Mexican descent and those of Native American descent (Gutierrez, 1999, p. 7). In an examination of Mexican Americans and Paiute Native Americans in Nevada, an interesting comparison can be made between cultures and heritage. The Mexican American population comprised 73% of the Latino population in the year 2000, and by 2006 increased to 78% (Timko, 2007). The Mexican American population makes up 14.3% of the total population of Nevada and in 1998 over 1 million businesses in Nevada were owned by Mexican Americans (Stacy, 2003, p. 583). According to Miranda (1997), the Mexican American population in Nevada is not oppressed by the same kind of discrimination that other border states tend to assert over their Mexican American populations (Nevada is not directly on the border, but within very close proximity). While this may have shifted a bit since the rise in the last ten years of immigration buzz word politics, the cultural acceptance of the Mexican American populations most likely has remained at the core of the way in which Nevada determines its position. There is an economic connection that is very strong between Nevada and Mexico. In 2001 Mexico imported the second largest number of goods produced in Nevada, thus tying the success of the state to the economic stability of Mexico. Nevada exports electrical equipment, lime, salt, plaster, and cement to Mexico as a result of the NAFTA (North American Free Trade Agreement) from 1994 (Stacy, 2003, p. 583). In the 1990’s there was a significant increase, however, of immigrants from Mexico into Nevada due to the economic downturn of 1991, thus creating a trend of an increasing population that has continued into the 21st century (Miranda, 1997, p. 209). There was a time

Ladybird book Essay Example for Free

Ladybird book   Essay Question: How does the poet use language to communicate her son’s response to reading and how does she convey her own feelings to you?  Answer:  In the poem, the poet shows us about her little genius son who can do everything except for reading. Throughout the description about her son’s behavior in reading, she conveys to us her frustrated feelings when her son doesn’t have any interest in reading. Firstly, the contrast in 2 aspects which exist inside her son is clearly shown by the first stanza. In 4 first lines of the first stanza, the poet asserts that her smart son can do many things that many other kids can’t do: â€Å"make sculptures†, â€Å"fabulous machines†, â€Å"solemn advice†Ã¢â‚¬ ¦ The images of a smart and sensible boy is painted beautifully under poet’s pen; only mother who are supremely proud of her son can makes this masterpiece. Here, the use of exaggeration is used to describe the wonderful abilities of poet’s son, which is a leverage to pull the frustration in poet’s feelings up when she said:† but he is slow to read†. The word â€Å"but† suggests the changing in tone of the poem from excitement, pride to disappointment. Although her love spend on him is very immense, the difference between adults and children’s thinking prevents her from being optimistic consistently about her son:  When I take him on my knee  with his Ladybird book  he gazes into the air,  sighing and shaking his head  like an old man  who knows the mountains  are impassable.  The poet tries to reach her son but his action makes her down; it is a such a drag on her thinking. Listing three verbs which suggests the negative effect, she conveys to us how languid her son is in reading book. Using the simile, poet portrays image of her son like an old, thoughtful man knowing that the mountains are impassable. Facing with book her son is deactivated. Through the first stanza, mother’s feeling goes down from the top to the bottom of a mountain when she told us about her son. The contrast between what her son can do and reading puts her in tumult.  Secondly, as evidence, the second stanza is an infallible description about her son’s response to words.  He toys with words,  letting them go cold  as gristly meat  At first, he son has a little try on making words become familiar with what he is fancy in but all he can do bring him to a boring world of words. Normally, people can’t so something that it is not strong enough to attract them and in them same case, her son tries in hopeless; he can’t do reading under his mother’s pressure. One more time, the simile is used. It conveys how hard with the poet’s get close to reading like swallowing a tough, chewy meat. His response to reading is completely like the feelings of bird imprisoned in the cage: vain, empty and tedious. Finally, â€Å"the fish are released†; the son is liberated from reading. His feeling is full of beatitude.  a fish returning  to its element,or a white-eyed colt shying   from the bit – who sees  that if he takes it  in his mouth  he’ll never run  quite free again.  He enjoys his freedom like the fish returns to its element. The poet exhaled using this idiom to describe her anxiety when her son became active again after hardcore reading. Here, the mother (poet) seems to find out the inscrutable behavior of her son that makes him fed up with reading. The image of a young male horse suggests the using of metaphor. The poet’s son is forced to read and the freedom is out like the young male horse when he is bound by the bit â€Å"he’ll never run quite free again.† At this point, the poet emphasizes that her son seem to be regenerated after the reading section, which pull her down when she tries her best to help her son.  The poem is written the heart of a mother who spends all her love to him, tries to help him ceaselessly while her son can’t show his positive behavior to reading. It reflects the a difference between the adult perspective and children point of view.

Customs of the Arunta Society Essay -- essays research papers

The Arunta are a group of Australian Aborigines who have many customs and reasons for why they do what they do. Their customs reflect their society because everything they do has a reason. Some customs may have come about because of the environment, the natural resources, or possibly just beliefs. There are several customs about family and kinship. An Arunta camp usually has one to two families. The Arunta live in such small groups so they do not have to worry about hunting a lot of food for big camps. If their camp were attacked, it would be a lot easier to look after a small amount of people and belongings. It may be more efficient to hunt in larger groups, because you have more of a chance to find animals, and if one person were to be attacked by some sort of animal or person, there ...

Business Research Method

Your Answer: a) The report of a pilot study. Correct Answer: d) The listing of all units in the population from which the sample will be selected. Feedback: It is important to identify a sampling frame so that a representative sample can then be taken from within a specified unit. Question 2 How will a researcher usually prevent a significant sampling error? Your Answer: b) Issue questionnaires to the entire sampling frame. Correct Answer: d) Use probability sampling. Feedback: Probability sampling allows the researcher to apply tests of statistical significance which then allow inferences to be made about the overall sampling frame.Question 3 If an organisation has 12,000 employees and the researcher is able to interview 250 the probability of inclusion in the sample is? Your Answer: a) 1 in 96. Correct Answer: c) 1 in 48. Feedback: Simple random sampling assumes that each member of the population has an equal probability of inclusion in the sample. The probability is calculated via a sampling fraction with the total population being divided by the sample size. Question 4 If a researcher wishes to obtain a nationally representative sample of trade union members but does not have the resources to travel long distances what method of sampling could they use?Your Answer: a) Stratified random sampling. Correct Answer: b) Multi-stage cluster sampling. Feedback: Multi-stage cluster sampling allows interviewers to concentrate their research more than simple random or stratified sampling. Question 5 Which of the following is not something a researcher will have to consider when thinking about their sample size? Your Answer: a) Time and cost. Correct Answer: c) Length of questionnaire. Feedback: In general bigger is better when considering sample size however all researchers need to be aware of the limitations of their resources. Question 6Which of the following is an example of convenience sampling? Your Answer: b) A random sample of employees who are absent from work through stress. Correct Answer: c) Managers attending a seminar on corporate social responsibility organised by the researcher. Feedback: It is possible that the researcher could take the opportunity of issuing a questionnaire to these managers whilst they are at the seminar. It is unlikely that the researcher will come across the other options in as convenient a manner. Question 7 Which of the following is not a benefit of snowball sampling? Your Answer: b) It is always representative of the population.Feedback: Snowball sampling is unlikely to be representative of the population because of the difficulty in establishing a sampling frame. The sampling frames that apply when snowball sampling is relevant are usually fluid and constantly shifting. Question 8 Quota sampling is used intensively in which type of research? Your Answer: d) Ethnographic research. Correct Answer: a) Market research. Feedback: Commercial research and political opinion polling are other types of research tha t use quota sampling. Question 9 The findings from a study of decision making processes within a UK financial services company can be generalized to:Your Answer: d) none of the above. Correct Answer: c) decision making processes in the researched companies. Feedback: Business and management researchers should be cautious of overgeneralizing findings beyond the researched organisation to alternative cultures. Question 10 As part of survey research design the sample was selected by the HR manager. What sort of error could this lead to? Your Answer: d) Data processing error. Correct Answer: a) Sampling error. Feedback: The choices made by the HR manager may have been non-random and could also have reflected a bias on the part of the individual making the choices

Love at First Sight, Is There Such a Thing Essay

What is common among the Hunger Games, Romeo and Juliet, Pokemon, 500 Days of Summer and The Vampire Diaries? They all have the trope of â€Å"love at first sight†Ã¢â‚¬â€Peeta instantly fell in love with Katniss when he heard her sing on the first day of school; Romeo fell in love with Juliet the first time he saw her; Brock fell in love with every pretty girl he saw; Tom fell in love with Summer at first sight in the office; and Stefan also had love at first sight with Elena. Love at first sight is the most widely used trope in literature and film. It is so common that most people mistake it as a reality. Why do I think that love at first sight is fictional? â€Å"Love is to be delighted by the happiness of another,† said Gottfried Leibniz. If what he said is true, then love at first sight is not really love. You can’t know the happiness of a person in an instant; you’ll have to be psychic to do that. To discover an individual’s happiness, one has to get to know him/her more. This can be achieved by spending time with that person—listening and understanding him/her. Another reason why love at first sight is fictional is infatuation. Love at first sight is just infatuation. Infatuation is not love because it is mere attraction and admiration while love is committing oneself to another because he/she cares for the other. Therefore, love at first sight is not love. Although it is not love, infatuation is inevitable when it comes to love relationships, because it gives you the courage to get to know someone, confess your feelings and move on to the â€Å"next level. † Even so, it does not guarantee love. It just gives it a â€Å"push. † There may be instances when people get infatuated with each other at first sight, then end up falling in love. This situation, according to them, is love at first sight. I think not. I think these instances are what you call infatuation that progressed into love. And these encounters don’t happen often. They are very rare. There is a bigger chance of you being infatuated, but as you get to know that person, you realize that he/she is not who you thought he/she was. We get infatuated all the time—when we see super good looking celebrities, appetizing foods, and such—but love, it only happens once, and it doesn’t happen in a blink of an eye, it develops. In the end, I think that love at first sight is not truly love, but infatuation. I find it so because, again, you can’t know someone’s happiness just by the mere sight of him. So, you can’t be delighted by his happiness. Although I believe that there is an innate romanticism attached to the thought of meeting someone, and having them hit enough emotional triggers immediately at first sight, I don’t think that it is love. It is infatuation—the first step towards love which can grow into a more mature love.

Free Essays on DO Not Call List

Recently, the Supreme Court struck down the â€Å"do not call† list, twice! This list is a registry that allows people to register their phone number on a list that prohibits telemarketers from calling their number. According to the Supreme Court, the call ban violates commercial free speech rights. Going against tradition, Congress voted against the ban of the â€Å"do not call† list. Despite this ruling consumers who don't want to receive telemarketing calls from particular sellers can still limit them by telling companies to put their number on each company's do not call list, which I know from personal experience is an efficient way to keep certain companies from calling your phone again. I concur with the ruling of the Supreme Court. There is no doubt about it, the â€Å"do not call† list violates the First Amendment right of free speech. I admit, that I can’t stand when telemarketers call my house several times a day, insisting they have a â€Å"once in a lifetime† offer and despite their annoyance, I understand that telemarketers are making a living calling several homes each day. If the telecommunication industry is restricted from calling millions of numbers, thousands of jobs will be lost and this country’s unemployment rate will increase, once again. After reading this article, I learned that Congress could vote against a Supreme Court ruling. In this particular case, I feel that the members of Congress are voting in favor of the â€Å"do not call† registry because they realize the annoyance and time that is wasted when people receive unsolicited calls. They receive the calls themselves and therefore, this issue hits closer to home for them. I also think the representatives in Congress know that to ban companies from trying to sell their product/program to millions of consumers over the phone, is a direct violation of freedom of speech. What I believe Americans need to fear about the â€Å"do not call† regis... Free Essays on DO Not Call List Free Essays on DO Not Call List Recently, the Supreme Court struck down the â€Å"do not call† list, twice! This list is a registry that allows people to register their phone number on a list that prohibits telemarketers from calling their number. According to the Supreme Court, the call ban violates commercial free speech rights. Going against tradition, Congress voted against the ban of the â€Å"do not call† list. Despite this ruling consumers who don't want to receive telemarketing calls from particular sellers can still limit them by telling companies to put their number on each company's do not call list, which I know from personal experience is an efficient way to keep certain companies from calling your phone again. I concur with the ruling of the Supreme Court. There is no doubt about it, the â€Å"do not call† list violates the First Amendment right of free speech. I admit, that I can’t stand when telemarketers call my house several times a day, insisting they have a â€Å"once in a lifetime† offer and despite their annoyance, I understand that telemarketers are making a living calling several homes each day. If the telecommunication industry is restricted from calling millions of numbers, thousands of jobs will be lost and this country’s unemployment rate will increase, once again. After reading this article, I learned that Congress could vote against a Supreme Court ruling. In this particular case, I feel that the members of Congress are voting in favor of the â€Å"do not call† registry because they realize the annoyance and time that is wasted when people receive unsolicited calls. They receive the calls themselves and therefore, this issue hits closer to home for them. I also think the representatives in Congress know that to ban companies from trying to sell their product/program to millions of consumers over the phone, is a direct violation of freedom of speech. What I believe Americans need to fear about the â€Å"do not call† regis...

Computer Game Narratives

Computer Game Narratives Free Online Research Papers In this paper we investigate if, and then how interaction can define narrative in a computer game. When developing computer games that include stories or story elements it seems natural to use the traditional linear narrative and storytelling methods without emphasizing that the computer is essentially different from any other media because of its interactive capabilities. Therefore it is important to investigate how it is possible to create forms of narratives that utilize the computers interactive capabilities. We approached the problem by investigating how it is possible to structure and objectify narratives so it can be understood by the computer. Through our investigation we propose that the solution to creating interactive narratives is to make procedural models that can be understood by the computer and theoretical models to work with when constructing such systems. Keywords: Narrative, Interactivity, Computer games, Introduction Storytelling is mankind’s tradition of communicating information, whether being educational, inspirational, entertaining or otherwise to get the listeners attention. We tell stories from our daily lives as a form of communicating our or other people’s experiences, ideas, or points of view. Storytelling and the narrative therein has evolved in association with advances in our society and reflects on many of its changes (Mello, 2001,  ¶ 2). As we sometimes observe; storytelling reflects social conditions, popular interests and traditions as in 19th century fairytales where characters dressed and spoke according to conventions of the story’s time and/or reflected the author’s hopes, fears or dreams. This is also true in 21st century narratives which both reflect contemporary and future interests and nostalgic flashbacks to ancient cultures of might and magic. Storytelling also serves the purpose of conserving social history, personal deeds and accomplishments; and through them we are allowed access to a grand spectrum of dramatic personal events, funny happenings and epic tales that changed the world as we know it (Mello, 2001; Latvala, 1999; Denk, 2006)? When the storyteller or author sits down to tell or write a story he is usually doing so from his own point of view, he is presenting his perspective on certain topics, and uses his abilities to lead the reader through events in the story. The storyteller /author try’s to construct causes and effect relationship between events and the characters he creates to act in these events. The method he uses to construct this is generally referred to as a narrative. As a consequence, the author is, wholly or partly, responsible for the intellectual and artistic content of his story and as such has more or less total control over its content (NLC, 2002, p.21). It is that total control that we, in this paper, want to challenge by investigating if established events and characters in a predefined story can be controlled and manipulated. By predefined story we mean, where events and characters have their own state or conditions for existence, and are subject to change when changes happen in their immediate environment, either through direct contact or alteration of objects in that environment. The changes are generated by interacting with the story, navigating and manipulation of elements therein, creating an interactive narrative. In this paper we will describe our approach to interactive narrative and some theoretic models for describing and implementing interactive narrative. We ask the following question: Is it possible to simulate interactive narrative in a computer game? By providing answers to this question we hope to provide alternative methods of experiencing narrative through interaction. Narrative The word Narrator, and its subsequent methodological denominator Narrative, derive from the Latin word â€Å"narrare† which has its Indo-European origin in the word â€Å"gnarus†, which means â€Å"to know.† (Meadows, 2003, p.5) Thus a narrative is a form of knowledge, and a narrator is one who has knowledge of something he is telling us. In their book Film Art: An Introduction, Bordwell and Thompson (2004) conclude that narrative can be described as: â€Å"†¦a chain of events in cause-effect relationship occurring in time and space† (p.69). While Cohn (1999) adds a more human element, when she states that narrative is a: â€Å"†¦series of statements that deal with a causally related sequence of events that concern human (or human-like) beings† (p.12) Other definitions tend to be more towards more current media formats, explaining that a narrative is: â€Å"†¦a message that tells the particulars of an act or occurrence or course of events; presented in writing or drama or cinema or as a radio or television program† (WordNet ® -a, 2006). While others are more specific: â€Å"How the plot or story is told. In a media text, narrative is the coherent sequencing of events across time and space† (Boles, 2006). These definitions are all justifiable and include elements that are of a traditional nature and can be found in traditional storytelling. All underline a causal approach to events in a story, while the some emphasizes events in time and space and human or human-like beings as part of a narrative. It can probably be argued that human or human-like characteristics are a part of countless narratives, since even abstract entities sometimes include recognizable human elements as a means to convey messages through a story. According to these definitions we make sense of a story through narrative by identifying with its elements and linking them by cause and effect, time and space. Whether the time is backward or forward or events are remixed in seemingly random order, with hard established cause and effect relationships the fundamental purpose of narrative is to communicate meaningful messages to audiences or individual persons. With all these combined elements a narrative can be considered the overall method chosen to convey the message within a story to the reader, viewer, or player depending on the media platform (Dansky, 2006, p. 1). Narratives – Paradigm analysis Our approach is that narratives can be analyzed and broken down into, at least, character types and the functions they perform in any given story regardless of demographic or social situation. We further suggest that these categories of character types and functions can be simulated as constants and variables depending on the task at hand. These categories of character types and functions are not necessarily simulated in detail but up to the point where it is perceived to be real. Furthermore, we emphasized that building interactive narrative based on characters or entities is not entirely about building computational algorithms, but also concerns giving these characters and objects their own life by simulating what it means to exist in any given story orientated environment by simulating communication, emotions, and other complexities of human social interactions. We propose, based on the assumption that real life narrative and behavior – as it is with learning and intelligence – can be described precisely enough for it to be simulated by a machine. (McCarthy, Minsky, Rochester Shannon, 1955, p.1) This suggestion contradicts some authoritarian scholars in the field of narrative structure where they state that narrative is fundamentally a cognitive mental process that makes the human experience meaningful (Polkinghorne, 1988, p. 1) (McQuillan, 2000, pp. 7-8) and should, therefore, be at best a vague concept and hard to objectify. We counter-argue that the relationship between narrative and computer technology is at best ambiguous and that further research is needed to determine what happens to narrative when it is presented by a machine. Simulating Interactive Narrative If we are to reach the state of interactive narrative one needs to generate changes at the core of the narrative structure. If through interaction one is able to decide how the plot progresses by starting and stopping actions and events, and in what order events occur while maintaining a comprehensible plot or story he has achieved the state of interactive narrative. Narrative is there to produce meaning and comprehension, if that fails there is no narrative; only confusion. Based on this, we propose that the plot in an interactive narrative scenario be described on two levels: the author level and the player level. Furthermore, we propose that a procedural and theoretical model is needed to describe in detail the elements that are essential for a narrative to be considered interactive. Two-Level Plot By describing the plot at two different levels a form of balance could be achieved between these key elements in the game narrative: 1.High-level plot – predefined elements are under the author’s control 2.Low-level plot – the elements are freely altered by the player At the high-level, the author could retain the freedom to define the key episodes of the story while their actual implementation in the player time-frame is left to the game engine. While at the low-level the player performance can be dynamically analyzed and logically applied to the lower level details of the how and why of a specific episode or game sequence. Figure 1 shows a model describing the two-level plot. We expect that the overall effect will be that the plot becomes more dependent on the player who gains a part of the control on the development of the story. Moreover, the player is provided with a less predictable, more life-like experience with a different selection of the details in each episode and possibly the (involuntary) triggering of different sequences of episodes altogether. Interactive Narrative Model Interactive narrative needs a model of the narrative structure in any given computer game. This model should be based on analysis of traditional narrative structures and include the key elements or principals needed to successfully execute or reach a state of reciprocal course of action that triggers interactivity. The challenge is to find or construct a model that is suited to the interactive nature of computers. This model should be able to describe the procedurals of interactive narrative and not just a list of its elements. We work under the impression that interactive narrative should be based on a realistic simulation. This means that one needs to replace the action of the author statically writing the plot, with dynamic software capable of simulating the writing that is supported by theoretical structure to ensure that the storyline keeps coherent and intriguing. Therefore, it is necessary to develop a form of procedural model or platform for narrative, where the player engages in interactive communication with the gaming world resulting in a state of interactive narrative or as close to interactive narrative as the simulation allows. This platform would naturally be a computer game with an intriguing storyline or a journey through multiple rising actions, main events, and conclusions manipulated through interactive action by the player. Figure 2 shows a conceptual model of one possible structure of the narrative elements and their relationship to other elements and functions within the game framework. 1.Through the game the player makes sense of the gaming world and brings his perception to it through? the story/game mechanics 2.Narrative causality and logic: Here the rules, including all possible NPC actions at any given time in the narrative, are executed. Gaming world includes the narrative causality and logic and is designed and made by the game developer. 3.Narrative sequences and events: Here the player makes a choice in the narrative; these choices are influenced by all possible actions provided by the execution of NPC rules. 4.Player perception: An adaptive process where the player is affecting and being affected by narrative events. Player is able to affect narrative sequences of events and consequently their perception of events changes. 5. The narrative causality and logic is a constant predefined element but still contributing to narrative sequences of events as perceived by the player. Conclusion We suggest that a model of the narrative is needed to provide visual representation and overview of the components needed for an interactive narrative to be comprehensible and support the plot structure provided in the story. Such a model includes physical elements such as: human like characters, environmental objects (houses, cars, and trees etc.) and subjective elements like emotions, textures, light and shadows, character identities and other references to real entities. We furthermore propose that narrative is not only a cognitive process, but can be presented as concrete units and rules that are subject to changes through interaction. As a consequence we propose that the term interactive narrative describes the result of the interaction between – predefined elements in the game formalized and developed by the author – and the subjective perception that the player will form while interacting with them. The problem is that a comprehensive plot is dependant on a successful execution of the narrative and the relationship between events that need to be established in a meaningful way. The danger is that if we leave this relationship to chance or random interactive functions, we risk that no narrative will be established. However, by analyzing traditional narrative functions and elements it is possible to isolate elements within narratives that can be considered action based and subject to active engagement and justifies the implementation of interactivity into narratives within the framework of an event based story. Having established a relationship between interactivity and narrative we conclude that interactive narrative is a real possibility given that all parameters are met. We further conclude that extensive procedural and theoretic models are needed to explain and execute a state of interactive narrative in a computer game. Reference: Bordwell, D., Thompson, K. (2004) Film Art: An Introduction, New York: McGraw Hill, 2004 (7th ed.), p.69 Cohn D. (1999) The Distinction of Fiction, Baltimore: Johns Hopkins Univ. Press, 1999, p.12 Dansky, R. (2006). Introduction to Game Narrative, In Bateman, C. Game writing: Narrative Skills for Videogames. Boston Mass: Charles River Media. Retrieved 10 November, 2007, from charlesriver.com/resrcs/chapters/1584504900_1stChap.pdf Denk, K. M. (2006). Making Connections, Finding Meaning, Engaging the World: Theory and Techniques for Ignatian Reflection on Service for and with Others, p.17. loyola.edu/Justice/documents/Template_for_Ignation_Reflection.doc Latvala, P. (1999) Finnish 20th Century History in Oral Narratives. Folklore vol.12. December 1999. Retrieved 10 November, 2007, from folklore.ee/folklore/vol12/oralnarr.htm McCarthy. J., Minsky, M. L., Rochester, N., Shannon, C.E. (1955) A proposal for the Dartmouth summer research project on Artificial Intelligence. Retrieved December 6th, 2006, from: formal.stanford.edu/jmc/history/dartmouth.pdf Meadows. M.S. (2003). Pause Effect: The Art of Interactive Narrative. Indianapolis USA: New Riders Mello, R. (2001). The power of storytelling: How oral narrative influences childrens relationships in classrooms. International Journal of Education the Arts. 2(1). Retrieved December 6th, 2006, from: ijea.org/v2n1/index.html WordNet ® -a (2006) Cognitive Science Laboratory Princeton University. Retrieved December 6th, 2006, from: http://wordnet.princeton.edu/perl/webwn?s=narrative Research Papers on Computer Game NarrativesMind TravelIncorporating Risk and Uncertainty Factor in CapitalRelationship between Media Coverage and Social andThree Concepts of PsychodynamicInfluences of Socio-Economic Status of Married MalesBionic Assembly System: A New Concept of SelfAnalysis Of A Cosmetics AdvertisementHonest Iagos Truth through DeceptionEffects of Television Violence on ChildrenThe Masque of the Red Death Room meanings