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The final project for this course requires you to communicate your analysis of a text multi-modally. Theories of multi-modal communication recognize that we experience the world through multiple senses simultaneously. It’s through these senses that we make sense of the world. Analyzing multi-modally provides an opportunity for you to better understand your chosen topic and to work on your communication skills. The project is divided into 2 parts: the proposal paper andthe final project. The purpose of the proposal is to explain your project. The proposal should specify which text or texts you’ve chosen to work with, which modes of communication your project will incorporate, why you’ve chosen the text(s), why those modes of communication are best suited to your analysis, and how those modes of communication will come together in your project. For example, if I chose to work with two poems from the last unit of the course I would start by naming which poems and explaining why they interest me. Then I would specify which modes of communication I would be incorporating and why. I might choose to work with visual, verbal, and aural communication, for example, if I were working with poetry because poetry communicates much of its meaning through figurative language and sound. Finally, I would explain how those modes of communication would work together in the project—I might be working with visual art, such as painting or drawing, and music; or I might be working with digital art and a voice recording. You don’t need to know your exact thesis or which theme you’ll be focusing on, at times that only becomes clear once you start the work of analysis. Requirements: 500-600 words, double-spaced, Times New Roman, 12-point font, MLA format .

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While we have been focusing on public and business writing in this class, college-level writing includes a wide-range of writing strategies and options including descriptive, argumentative, and expository writing. In most college classes, there is a decided emphasis in most classes on writing essays that either explain or inform or essays that use persuasive research—as is the case in this class. Yet, it is important to recognize the role of creative writing in connecting with an intended audience. Creative writing is most often considered in the context of fiction, non-fiction, poetry, personal journals, or diaries. Yet, the foundation of this mode is not vague or abstract or open to endless interpretation. Creative writing pays very close attention to language: how it sounds, what it says, what it implies. Creative writing investigates the power of words to create meaning and sensations. Like music—language may have a finite alphabet but an infinite ability to create new realities. Option One: Describe a favorite creative work and explain what attracts you to it. Be specific about the creative elements of the piece such as language, story or plot, theme, characters. Be sure to include specific title, author, and publication information on which creative work you chose. Option Two: Is there ever a place for creative writing or creative thinking in a professional setting? How might you use creative writing effectively in a business setting? If you choose this option, think about the different modes of writing we have explored over the course of this term. Is creativity ever appropriate in a business email? What about a business proposal? Have fun with this assignment! .

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Formal Analysis Paper Assignment -Papers are Due 4/18 (Tuesday) - AT THE BEGINNING OF CLASS -Late papers and emailed papers will NOT be accepted -Choose any work that we have NOT covered in class Description: A formal analysis includes an analysis of the forms appearing in the work you have chosen. These forms give the work its expression, message, or meaning. A formal analysis assumes a work of art is (1) a constructed object (2) that has been created with a stable meaning (even though it might not be clear to the viewer) (3) that can be ascertained by studying the relationships between the elements of the work. To aid in writing a formal analysis, you should think as if you were describing the work of art to someone who has never seen it before. When your reader finishes reading your analysis, she/he should have a complete mental picture of what the work looks like. Yet, the formal analysis is more than just a description of the work. It should also include a thesis statement that reflects your conclusions about the work. The thesis statement may, in general, answer a question like these: What do I think is the meaning of this work? What is the message that this work or artist sends to the viewer? What is this work all about? The thesis statement is an important element. It sets the tone for the entire paper, and sets it apart from being a merely descriptive paper. Format for the Paper: Two to three pages (not including title page, if you use one), black ink, double spaced, 12 pt type (Times New Roman only), 1” borders. Make sure you proofread your papers for adhering to the information listed above, as well as incorrect grammar, spelling, punctuation, and other errors. In addition, make sure your paper includes a thesis statement. Your grade will reflect your ability to follow these guidelines. In the first paragraph, called the introduction, you will include: •the name of the artist (if known), title (which is underlined or italicized every time you use the title in your paper), date, and medium (if known) •what you think is the subject •a very brief description of the work •thesis statement - usually the last line or so of your first paragraph. From that point, the rest of the formal analysis should include not only a description of the piece, but especially those details of the work that have led you to come to your thesis. Yet, your paper should not be a random flow of ideas about the work (i.e. stream of consciousness writing). Rather, your paper should have a sense of order, moving purposefully through your description with regard to specific elements (ex: one paragraph may deal with composition, another with a description of the figures, another with the background, another about line, etc.). Finally, in your conclusion (the final paragraph) you should end your paper with a restatement of your thesis. It is important to remember that your interest here is strict.

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Poem analysis Poem analysis refers to the process of examining a poem closely, dissecting its various elements, and interpreting its meaning, themes, structure, language, and poetic devices. It involves a detailed study and critical analysis of the poem’s content and form to gain a deeper understanding of the poet’s intentions and the poem’s significance. When analyzing a poem, there are several key aspects to consider: Theme: The central idea or message conveyed by the poem. It can be explicit or implicit and often explores universal human experiences, emotions, or philosophical concepts. Structure: The organization and arrangement of the poem’s lines, stanzas, and overall form. It includes examining the poem’s rhyme scheme, meter, rhythm, and any unique patterns or repetitions. Language and Imagery: The specific words, phrases, and figures of speech used by the poet to create vivid imagery, evoke emotions, or convey complex ideas. Metaphors, similes, personification, and other literary devices are often employed to enhance the poem’s impact.

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The first selection is the concluding pages of Cyprian Davis' famous book The History of Black Catholics in the United States . It will give us a brief historical account to ground our discussion of race and the Christian tradition. 1. W rite a paragraph about what you learned from Davis' article regarding the Catholic Church and racial justice in the 20th century . Note that this article does not try to clear up some of the ambiguities surrounding race and Christianity... Davis is happy to simply provide you with some stories and offer his thoughts on their significance. So, your paragraph here should indicate that you recognize that things are rather complicated here! One strand you might want to keep an eye on is the relationship between theory and practice... in other words, how did theoretical teachings about race actually work out in real life? The second selection is an article by Brian Bantum, a Christian pastor and scholar. He argues here that Christians cannot be "post-racial" given our current state of affairs. 2. Being "post-racial" initially might sound like it could be a good thing... What does Bantum mean by the term "post-racial" and what are some of his reasons for saying that Christians cannot be "post-racial" (if you're stuck, think about his claims that "race matters" in various ways)? 3. On page 7, Bantum talks about 2 "beasts". Explain the difference between the "beast" of the 1960's and the "beast" of today. 4. Briefly discuss 2 examples from the text that show the difference that Bantum's Christian faith makes for how he understands the topic of race. (hint: he continually talks about discipleship, a word that you all should be familiar with by now...) .

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The final Audit Report and Program Design can now be presented to the Senior Accounting Partner of your accounting firm. The Audit Report will be sent to Apollo Shoes. Create a final Audit Report and Program Design of no more 4,700-words that will include: Audit Report Engagement Letter 404 Audit Audit Program Design Tests of controls, substantive tests of transactions, and analytical procedures for the following Apollo Shoes cycles: Capital Acquisition Cycle Cash Cycle Description of other types of assurance and non-assurance services offered by accounting professionals. Click the Assignment Files tab to submit your assignment. .

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the event is the Fort Hood Massacre 2009- themes to discuss are Terrorism and the Triangle of Communicatio, media related goals propaganda and hero worship and livi with terrorists threats. Quick Links Logout Albert Franks 35 Home Courses Tab 2 of 3 (active tab) Content Collection CJ450 Understanding Terrorism (06-APR-16 - 31-MAY-16 [14176]) Week 8 "How We See It, How We Talk About It, and How We Live Under the Threat of Terrorism" Upload Assignment: W8 Assignment "Paper Four" CJ450 Understanding Terrorism (06-APR-16 - 31-MAY-16 [14176]) Course Home Page Course Study Guide Announcements Instructor Information Supplemental Material Syllabus Help Ask the Instructor: Asynchronous Office Hours Week 1 "Defining Terrorism" Week 2 "Researching Terrorism and How Religion is Used to Justify Terror" Week 3 "The Making of a Terrorist and Understanding Those Who Sponsor Them" Week 4 "Common Threads, Organizational Structures, and the Financing of Terror" Week 5 "Measuring Strategies in Counterterrorism" Week 6 "Homeland Security and the Balance of Liberty and Human Rights" Week 7 "Terrorist Propaganda in the Media and Cyberspace" Week 8 "How We See It, How We Talk About It, and How We Live Under the Threat of Terrorism" Discussions My Grades Upload Assignment: W8 Assignment "Paper Four" By submitting this paper, you agree: (1) that you are submitting your paper to be used and stored as part of the SafeAssign™ services in accordance with the Blackboard Privacy Policy ; (2) that your institution may use your paper in accordance with your institution's policies; and (3) that your use of SafeAssign will be without recourse against Blackboard Inc. and its affiliates. ASSIGNMENT SUBMISSION Text Submission Write Submission Plagiarism Tools ADD COMMENTS Character count: 0 When finished, make sure to click Submit . Optionally, click Save as Draft to save changes and continue working later, or click Cancel to quit without saving changes. .

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The Estrangement of Labour , page 1 of 3 We shall start out from an actual economic fact. The worker becomes poorer the more wealth he produces, the more his production increases in power and extent. The worker becomes an ever cheaper commodity the more commodities he produces. The devaluation of the human world grows in direct proportion to the increase in value of the world of things. Labour not only produces commodities; it also produces itself and the workers as a commodity and it does so in the same proportion in which it produces commodities in general. This fact simply means that the object that labour produces, its product, stands opposed to it as something alien, as a power independent of the producer …. The realization of labour is its objectification. In the sphere of political economy, this realization of labour appears as a loss of reality for the worker, objectification as loss of and bondage to the object, and appropriation as estrangement, as alienation. So much does the realization of labour appear as loss of reality that the worker loses his reality to the point of dying of starvation. So much does objectification appear as loss of the object that the worker is robbed of the objects he needs most not only for life but also for work. Work itself becomes an object which he can only obtain through an enormous effort and with spasmodic interruptions. So much does the appropriation of the object appear as estrangement that the more objects the worker produces the fewer can he possess and the more he falls under the domination of his product, of capital …. The Estrangement of Labour , page 2 of 3 Up to now, we have considered the estrangement, the alienation of the worker, only from one aspect—i.e., the worker's relationship to the products of his labour. But estrangement manifests itself not only in the result, but also in the act of production, within the activity of production itself. After all, the product is simply the resume of the activity, of the production. So if the product of labour is alienation, production itself must be active alienation, the alienation of activity, the activity of alienation. The estrangement of the object of labour merely summarizes the estrangement, the alienation in the activity of labour itself. What constitutes the alienation of labour? Firstly, the fact that labour is external to the worker—i.e., does not belong to his essential being; that he, therefore, does not confirm himself in his work, but denies himself, feels miserable and not happy, does not develop free mental and physical energy, but mortifies his flesh and ruins his mind. Hence, the worker feels himself only when he is not working; when he is working, he does not feel himself. His labour is, therefore, not voluntary but forced, it is forced labour. It is, therefore, not the satisfaction of a need but a mere means to satisfy needs outside itself. Its alien character is clearly demonstrated by the fact that as soon as no physical or.

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