This document discusses the use of the television show "The Mary Tyler Moore Show" as a teaching tool to help students understand Second Wave feminism. The instructor had students analyze a scene from the first episode where the main character Mary Richards goes for a job interview. In the scene, Mary faces sexist questions and assumptions from her potential boss related to her gender. Analyzing this popular cultural text helped students recognize workplace biases that Second Wave feminism aimed to address. Students commented that the show provided insights into both feminist issues of the 1970s and how language was used in gendered ways. Overall, using a relatable television program helped bring to life challenges faced by career women during Second Wave feminism that students may otherwise find difficult to
Python Notes for mca i year students osmania university.docx
College of Engineering and Computing Department of Civil a.docx
1. College of Engineering and Computing
Department of Civil and Environmental Engineering
CGN 2420 - Computer Tools for Engineers
HOMEWORK 7:
Recommended Practice:
Chapter 4: 4.2, 4.3, 4.6, 4.9, 4.10, 4.12.
Chapter 5: 5.1, 5.6, 5.7, 5.9, 5.11, 5.16, 5.18, 5.19, 5.20.
Mandatory Problems:
1.- Given the following matrices and vectors:
� =
4
6
−1
3
� =
2 1
2 6
5 9
2. 4 −4
� =
1 3 2 5
2 10 2 −6
� =
2 3 7 11
1 4 3 9
0 6 5 1
1 8 4 2
Define the matrices in Mathcad and solve for the following
operations:
a) BT transpose of matrix B.
b) B . V multiply matrix B by vector V.
c) |C| determinant of matrix C.
d) C-1 inverse of matrix C
e) AT+ B add matrix A transposed to matrix B.
f) AT . V multiply matrix A transposed by vector V.
g) [C] . x = V, solve for x using Cramer’s rule.
h) [C] . x = V, solve for x using function lsolve, then check
solution as x = C-1 . V
3. 2.- Let us suppose you got a job with Calculus City, and your
tremendous mathematical skills
made your boss give you the following assignment:
Determine the area of a park under development, so that the
correct amount of some very
expensive grass can be purchased for it. In the city records you
find the following data that
correspond to the streets bounding the park, dimensions are in
kilometers.
1.- Coral Av. can be represented by the equation
y(x) = x – 1
2.- Flagler St. is perfectly horizontal.
3.- Coordinates for Avila St. are as follows
x y
0 0
0.1 0.3
0.2 0.4
0.3 0.5
0.5 0.65
0.75 0.87
1 1.00
1.4 1.18
1.8 1.34
2.2 1.48
5. VIEWPOINT
Using The Mary Tyler Moore Show as a feminist teaching tool
Allyson Jule*
School of Education, Trinity Western University, 7600 Glover
Road, Langley, British
Columbia, V2Y 1Y1, Canada
Taylor and Francis LtdCGEE_A_377114.sgm
(Received 14 July 2008; final version received 14 January 2009)
10.1080/09540250902769446Gender and Education0954-0253
(print)/1360-0516 (online)Viewpoint2009Taylor &
Francis0000000002009Dr. [email protected]
This paper explores the use of The Mary Tyler Moore Show as a
teaching tool used
with a group of final-year undergraduate students who gathered
together last
academic year (2007–8) to explore Women in Leadership, as
part of a
Communications course. The research focus was: How can the
use of The Mary
Tyler Moore Show (a 1970–7 American situation-comedy) serve
as teaching tool
concerning an understanding of Second Wave feminism and
women in the
emerging role for women in the workplace? The particular
connection with
televisual texts suggests that the use of popular culture can
connect today’s college
students with the often distant issues of Second Wave feminism.
Keywords: college teaching tool; feminism; Second Wave;
women at work
6. Introduction
For several years now, I have taught a university undergraduate
class in the
Communications department, entitled Women and Leadership.
As a Communications
class, its main objective is to connect students with theories
about the use of language;
in this case, the use of language concerning women (and, by
extension, men) in the
workplace. The module itself was an optional one: most
students enrolled because of
their own interest in the subject. Last year, I tried something a
bit different: I brought
in the first episode of the popular American television classic,
The Mary Tyler Moore
Show. My idea was to use the show as a teaching tool in the
hope of making connec-
tions concerning Second Wave feminism, an aspect of feminism
I have found a diffi-
cult one in which to engage college-age students, yet one I think
of as foundational in
understanding women in the workplace and in positions of
power.
This paper, then, explores the use of The Mary Tyler Moore
Show as a teaching
tool as used with a group of final-year undergraduate students
who gathered together
in the academic year 2007–8 to explore the issue of women in
positions of leadership
by focusing on the use of language in the workplace. The
research focus is: How did
the use of The Mary Tyler Moore Show (a 1970s American
situation-comedy) serve
as a teaching tool concerning the understanding of Second Wave
feminism?
7. Using The Mary Tyler Moore Show
By using the feminist discourse methodology of Judith Baxter
(2003) as well as
cultural theorists Bonnie Dow (1996) and Susan Faludi (1991), I
understand the
*Email: [email protected]
124 A. Jule
fictional character of Mary Richards as functioning as a symbol
of an emerging femi-
nist consciousness, one who maintains a connection in
traditional femininity as well
as searches for new more self-reliant ways to be in the business
world. The particular
power of television characters rests largely in the connection
with audiences. I hoped
my students would also relate to the very likable character of
Mary Richards and, as
a result, would be better able to understand mid-twentieth-
century American feminism
as a point of reference regarding more current understandings of
Third Wave Identity
theory and post-feminist theory concerning women in today’s
workplace. Also, as
popular cultural texts, such TV shows can both reflect and
construct perceptions of
women in the workplace (Hollows 2000; Klein 2006). In their
capacity to construct
perceptions of reality, the texts offer an important insight into
women’s and men’s
understandings and expectations of their workplace.
8. I had noticed from previous years of teaching that Second Wave
feminism is defi-
nitely the hardest aspect of feminism to explain. Why do I say
this? It has seemed to
me that the uniquely American/British-style 1960s/1970s
feminism is where today’s
young undergraduate students get stuck. First Wave feminism,
roughly spanning from
the Enlightenment through to when women could vote, seems
easier for students to
connect with: most students accept the idea of women having
equal rights in society
and that the suffragist movement was an important one for
Western society. Likewise,
Third Wave feminism (emerging in the 1980s to now) sits more
comfortably with the
students I have encountered because of its more accessible
focus on individual gender
identity, and gender and cultural diversity.
None of my students at the University of Glamorgan, Wales,
had ever seen The
Mary Tyler Moore Show. Ranging in age from 21 to 23 years,
they had never heard of
it. I gave a brief introduction to why I wanted to use Mary as a
hook for discussing
Second Wave feminism and language use. I had two reasons: (1)
I loved the show, and
(2) I felt the show could serve as a powerful tool in
understanding Second Wave femi-
nist ideas that were taking shape in the late 1960s and 1970s,
particularly in the USA.
Most of us understood that lots had changed since the early
1970s, but I hoped to make
clear how so and whose imperative it is to understand what the
9. issues were and how
language use aligned with them.
A brief reminder: The Mary Tyler Moore Show was an
American sitcom created
by James Brooks and Allan Burns that aired on CBS from
September 1970 to March
1977. It was understood at the time as a breakthrough for
female characters because it
was the first time that a central figure on a television show was
a single career woman
– not married, not wanting to get married, and had no children.
The show is named for
the actress, Mary Tyler Moore, who played the 30-year-old
Mary Richards, who had
moved to Minneapolis, Minnesota, after breaking off a serious
relationship with a man
somewhere in rural Minnesota. She looks for work in the big
city, finds a job as Asso-
ciate Producer of the evening news and, as a result, finds herself
in a position of some
power. The following seven years followed Mary Richards
through various aspects of
being a woman at work at a time America was experiencing
significant social change
regarding women’s roles.
Feminist pedagogy as personal
Using The Mary Tyler Moore Show allowed me to use personal
narrative with my
students, helping them to locate the time and place of Second
Wave feminism by
relating it to someone they knew: me. I think this method of
personalising content
10. Gender and Education 125
resonates well with feminist pedagogy and the power of using
the personal as political.
For example, I was able to say that I was five years old in 1970
and that my early
memories of Mary are wrapped up intensely in the memories I
have of my mother,
who loved the show. She would have been about Mary’s age:
both were pre-baby-
boomers who came of age in the late 1950s, a highly traditional
time for men and
women – an idealised time for the nuclear family as seen in the
immense growth of
suburban communities. This time and place is revealed in the
show: that Mary was
emerging from a more rural and traditional background and with
conservative values
concerning women but that she was facing the reality of her
own less traditional life
and this reality clashed with a lingering ideal.
For example, my mother was a traditional woman: married, had
children, and kept
a tidy home. She worked only part-time (as a nurse) all through
my childhood, some-
thing she expressed very mixed feelings about, often saying she
wished she could be
home full-time if this was affordable: staying home would be
the ideal choice for a
woman. My mother’s life path was different from Mary
Richards’ single, career track,
more carefree-life, yet I think she related to Mary’s reactions to
things, to her femi-
nine tendencies and desires. I think this is part of what made the
11. show so appealing to
many women at the time. They could admire Mary’s hopes and
her cheerfulness and
not be alienated by a more aggressive woman or a more cynical
message. The show’s
optimism was affirming to women – married or single, with
children or not. Most
could relate to Mary’s loveliness and combination of
independence and delicate
vulnerability.
Using the show in today’s college classroom permitted a kind of
reference point
for other facts and realities. In this way I consider what I did as
feminist pedagogy:
pedagogy as personal. By locating myself, including my age and
ethnicity (Canadian),
I was able to say that things were different ‘back then’. For
example, in 1970, a
woman in Canada (like in other Western countries at the time)
could not work while
pregnant. There was no such thing as maternity leave for
another 10 years, and there
was no unemployment insurance for new mothers who wished to
stay home with their
young babies and then return to work. Birth control was illegal
until 1969. Until 1971,
a woman could be fired from any paid employment upon
marriage. Sexual harassment
in the workplace was not considered a criminal offence until the
1980s. In short, the
1970s were a tumultuous time and Second Wave feminism
contributed a great deal in
creating a fairer world for women. I didn’t want Second Wave
feminism to be a minor
footnote in the understanding of women in the workplace for my
12. students: I wanted
the era to come alive.
Data: Mary’s job interview with Lou Grant
In this spirit, I focused on a scene from the first episode, Mary
Richards’ job interview
with Lou Grant. The class watched the whole episode and were
to watch for specific
things, particularly regarding language – what was said, how it
was said, and why.
(See Appendix 1 for scene transcription.) This scene reveals the
clash of the traditional
woman (the one Mary was planning to be) with the new woman
who emerged in the
early 1970s and the one Mary herself was becoming.
My students were asked to focus on Mary’s interactions with the
males in the news-
room, including Murray whom she encounters first. Murray’s
initial and enthusiastic
reaction to a female presence in the room is obvious. However,
it is the encounter with
Mr Grant that reveals the sexist realities of the time: he calls
her ‘miss’ while she refers
126 A. Jule
to him as ‘Mr Grant’. He says he wants a man for the available
position of Associate
Producer and she accepts this as understandable. He asks for her
age, religion and mari-
tal status and, while she stumbles over how to respond to these
personal questions,
answers them all fully. Finally, Mr Grant decides to hire her
13. with no clear reason and
she accepts the tenuous condition that it depends on his liking
her (not her liking him).
Using these televisual images with the class allowed for much
discussion concern-
ing the significance of the sexist conversations – that is, in the
1970s, men in the work-
place had more legitimacy than women and that 1970s feminism
provided an
important corrective and framework in which to challenge sexist
assumptions
concerning competence and quality of work.
Thirty students, just over half women, commented on paper and
submitted their
comments to me before class discussion on the episode. The
following comments
appeared the most common concerning the job interview scene
and are a compilation
of the full class reflections:
(1) When Mary arrives, she is not acknowledged until someone
notices her
appearance.
(2) During the interview, she is asked personal questions and is
offered a lower
wage, which she accepts.
(3) Mary seems to have broken free from the expected path for
an American
woman in the 1970s. At her age, she would have been expected
to be married
and already have had her children.
14. (4) It’s interesting to consider what was thought of as funny
back then. Today
Mr Grant’s comments would be offensive.
(5) Mary appears able to speak for herself though the power is
all with him; only
if she pleases him, can she be successful at this job.
(6) She seemed not too surprised at the sexist questions the boss
asks her.
(7) The boss even said that he wanted a man for a job but was
willing to consider
her.
(8) It was still her good looks and pleasant personality that got
her the job: there
was nothing of significance asked about her ability to do the
job.
(9) Mary appears nervous here, which is how many of her
generation of women
would be expected to act, even if they weren’t.
Other comments were more general concerning the show and
also more personal
concerning their reaction to the entire episode and all were
positive:
(10) If I had been a young woman 30 years ago, I would likely
have been a feminist.
(11) I liked her too. I would have watched this show just to see
her deal with her
all male newsroom day after day.
(12) I never understood why women were feminists. Watching
15. this show gave me
some sympathy for the women who were young at such a time
as America in
the 1970s. They seemed normal to me – not bra burning nut
cases.
(13) I’m new to the UK and so the reputation of feminism in my
home country is
very bad. Viewing The Mary Tyler Moore Show, actual footage
from 1970,
helped contextualize the women’s movement of the 1970s.
(14) I can’t understand why my own mother was so against
feminism. It seems to
me the issues make sense – maybe they make more sense to our
generation
than they did to some of those living through the 1970s.
Gender and Education 127
I believe that using the authentic images (including the fashion
and 1970s colour
palette) and the glimpse at that generation’s issues provides my
students with an
important connection. The student comments, particularly
response no. 12 (‘They
seemed normal to me – not bra burning nut cases’) confirmed
my hypothesis that the
power of visual imagery and the power of entering narrative are
elucidation. Through
exposure to authentic text, students made practical connections
with the more theoret-
ical accounts of Second Wave feminism. In this group of
16. students, the conversations
continued throughout the term on the issue of women and men
in the workplace
together and what tensions and possibilities continue to exist.
Feminist theory made
more sense. The module continued with its focus on other
aspects of women in lead-
ership roles; but I think that the uniquely engaging
conversations surrounding Mary
Richards helped these other conversations immensely. Because
we were able to
consider previous realities concerning women at work as
prompted by the TV show,
we were able to reflect on current research on women and
language at work and
present tensions and realities. For me, this was the gift of the
experiment: that students
opened up on the lived realities of women at work and remained
open to research and
issues relating to women and language use.
It matters, I think, in understanding feminism to understand the
previous issues
debated – and why they were debated. That my generation did
not fight these battles
while men and women in my parents’ generation did, matters a
great deal and, through
class conversations and assignments, I came to believe that it
mattered to my college
students as well. I think using such rich and authentic stories,
like The Mary Tyler
Moore Show, serves as an important way to connect young
people with the vital and
vibrant Second Wave feminism because of what feminism of
this period did concern-
ing family planning, maternity leave protection, pay equity,
17. career and educational
opportunities for women, and the recognition of women as
relevant and valuable in
the workplace.
The Mary Tyler Moore Show was uniquely posed between the
traditional main-
stream culture reflected in the television of the 1960s (and the
culture most comfort-
able for my own mother and the many like her at the time) and
the more farcical,
cynical, sex-saturated depictions of the young women often
depicted on television
today. The show gives us a televisual text that both reflects and
constructs perceptions
of women in the workplace. It reveals the emerging paradox in
American culture: the
growing freedom for women and men to shape their own lives
that is accompanied by
a new sense of loss and uncertainty. Something important could
be gained but some-
thing important could be lost as well.
The social discourse would soon and quickly become more
radicalised, more prob-
lematic. But in September of 1970, the mood seemed optimistic
and hopeful. There
was a short-lived optimism that there were new and better ways
to be men and women
in the modern world. Susan Faludi’s 1991 book Backlash
chronicles the counter-
assault on women’s rights in the 1980s, the attempt to retract
the handful of small and
hard-won victories that the feminist movement in the 1960s and
1970s did manage to
win for women – like the sexual harassment laws, the maternity
18. protection laws, and
breaking of the glass ceiling in university admissions and
promotions for women. And
even Betty Friedan revisited the women’s liberation cause in her
1981 book The
Second Stage, saying that her feminism had ignored the needs
of the family, the differ-
ences between men and women, and the power of women’s
traditional roles.
It is my opinion that the viewing of the episode and the
Interview scene in particular
allowed for necessary conversations concerning the goals of
Second Wave feminism
128 A. Jule
and how the workplace has changed as a result. In my attempt at
a version of feminist
pedagogy and feminist consciousness-raising discussion, the
students seemed to have
understood that the feminism of the 1960s/1970s had legitimate
concerns about women
in the workplace. Second Wave feminists were not ‘bra burning
nut cases’ but ‘normal’
women (and men) who saw the need for a more inclusive and
equal workplace envi-
ronment. In this way, the show allowed me to engage my
students in a more meaningful
way with the issues at the heart of Second Wave feminism.
Conclusion
The fictional character of Mary Richards presented a new
attitude in the 1970s that a
19. woman could be single and still be a whole person. The mood of
the show was cheery,
upbeat, affirming. On one hand, Mary Richards was a
combination of girl-next-door
sweetness and ‘old-fashioned’ honesty and integrity, and on the
other she was a
spunky new woman of the 1970s. By exposing today’s students
to earlier icons of the
time, they can better engage in what the conditions were at the
time and why Second
Wave feminism mattered so much. The character of Mary
Richards rides the currents
of social change, endorsing a modern life in a modern style and
attitude, but she was
highly likable and admirable in many traditional ways. She
liked to cook, entertain,
decorate, have lunch with friends; she was a good listener, a
good neighbour, a loyal
friend. Such qualities are difficult to pull off in real life –
perhaps because of this –
she was a very satisfying fictional character for both men and
women in the 1970s, as
well as today’s college students who encounter her.
There was something possible in the life of Mary Richards that
fascinated people
like my mother, the target audience. There were wonderfully
new ways to be a
woman: she could drive, pay her own bills, run an office, see
through false friends,
live on her own and support herself. This was a major part of
what Second Wave femi-
nism was all about – and something worth considering with
today’s college students.
In this way, the show serves well as a way into Second Wave
feminism which allows
20. for a better understanding of its place between First and Third
Wave feminisms. In
their capacity to construct popular perceptions of reality,
television personalities like
Mary Richards offer an important insight into women and men’s
understandings and
expectations of their workplace and women in new positions of
leadership and power.
References
Baxter, J. 2003. Positioning gender in discourse: A feminist
methodology. Basingstoke, UK:
Palgrave.
Dow, B. 1996. Prime-time feminism: Television, media, culture
and the Women’s Movement
since 1970. Pittsburgh: University of Pennsylvania Press.
Faludi, S. 1991. Backlash: The undeclared war against
American women. New York: Three
Rivers Press.
Friedan, B. 1981. The second stage. New York: Summit Books.
Hollows, J. 2000. Feminism, femininity and popular culture.
Manchester: Manchester University
Press.
Klein, A. 2006. What would Murphy Brown do?: How the
women of prime time changed our
lives. New York: Seal Press.
Gender and Education 129
21. Appendix 1. Script, job interview with Mr Grant (four minutes)
[Mary enters noisy newsroom.]
Mary: Oh. Excuse me, sir. I’m supposed to see a, um, Mr Uh…
I beg your pardon. I wonder if you could tell me…
Excuse me? Hello.
Murray: Hello.
Mary: Hello.
Murray: Hello.
Mary: I’m supposed to see a Mr Grant about a secretarial job.
Murray: It’s been filled.
Mr Grant: Since this young lady came to see Mr Grant, why
don’t you let Mr Grant handle it?
Right this way, miss.
Murray: It’s been filled.
[Mr Grant directs Mary to his side office.]
Mary: Do you have any idea when Mr Grant will be back?
Mr Grant: I’m Mr Grant.
Mary: You’re back. [clears throat]
Mr Grant: Look, miss, I was just about to have a drink, and I
wouldn’t mind some company.
Want one?
Mary: Uh, no thank you.
Mr Grant: I said I wouldn’t mind some company.
Mary: All right. I’ll have a Brandy Alexander.
Mr Grant: How about some coffee?
Mary: That’ll be fine. Uh, has the job been filled?
Mr Grant: Yeah.
Mary: Oh.
Mr Grant: But there’s another one.
Mary: Oh?
Mr Grant: I figured I’d hire a man for it.
Mary: Oh.
Mr Grant: We can talk about.
Mary: Well, good.
[Mary passes him her resume and sits down.]
Mr Grant: Hey, you live in my favourite neighbourhood.
22. Mary: Oh, really? I just moved in. Is it that nice?
Mr Grant: Nice? Some of the best saloons in town are over
there. How old are you?
Mary: Thirty.
Mr Grant: No hedging? No ‘how old do I look?’
Mary: Why hedge? … How old do I look?
Mr Grant: Thirty.
Mary: Oh.
Mr Grant: What religion are you?
Mary: Uh, Mr Grant, I don’t know quite how to say this, but,
uh, you’re not allowed to ask that
when someone’s applying for a job. It’s against the law.
Mr Grant: Wanna call a cop?
Mary: No.
Mr Grant: Good. Would you think I was violating your civil
rights if I asked if you’re married?
Mary: Presbyterian. Well, I – I decided I’d answer your religion
question.
Mr Grant: Divorced?
Mary: No.
Mr Grant: Never married?
Mary: No.
Mr Grant: Why?
Mary: Why?
Mr Grant: [grunts] You type?
Mary: Mr Grant, there’s no simple answer to that question.
Mr Grant: Yes there is. How about ‘No, I can’t type’ or ‘Yes, I
can’.
Mary: There’s no simple answer to why a person isn’t married.
130 A. Jule
Mr Grant: How many different reasons can there be?
Mary: Sixty-five.
23. Mr Grant: Words per minute. My typing question.
Mary: Yes.
Mr Grant: Look, miss, would you try answering the questions as
I ask them?
Mary: Yes, I will, but it does seem that you’ve been asking a lot
of personal questions that don’t
have a thing to do with my qualifications for this job.
Mr Grant: You know what? You got spunk.
Mary: Well, yes.
Mr Grant: I hate spunk!
Tell you what – I’ll try you out for a couple of week, see if
works out.
Mary: Oh!
Mr Grant: If I don’t like you, I’ll fire you.
Mary: Right. Right.
Mr Grant: If you don’t like me. I’ll fire you.
Mary: Yes, that certainly seems fair.
What’s the job?
Mr Grant: The job is that of Associate Producer.
Mary: Associate Producer?
Mr Grant: Something wrong?
Mary: No. No. No. I like it. Associate Producer.
Mr Grant: The job pays 10 dollars less a week than a secretarial
job.
Mary: That’ll be fine.
Mr Grant: If you could get by on 15 less, we’ll make you
producer.
Mary: No. No. I think all I can afford is Associate Producer.
Mr Grant: You can start tomorrow.
Mary: Oh, well! That’s just wonderful. [extends hand]
See you tomorrow. Associate Producer.
Copyright of Gender & Education is the property of Routledge
and its content may not be copied or emailed to
24. multiple sites or posted to a listserv without the copyright
holder's express written permission. However, users
may print, download, or email articles for individual use.
Prof. C. Bock/Research Worksheet – for EN 102
NAME___________________________________DATE_______
_________
1. Read in EASY WRITER Chapters 13 and 14 on Research for
week of October 29
2. Bring this research worksheet to Library Research Day (in
the MAIN LIBRARY/Gomatos Literacy Room on main floor) on
Monday, October 29
3. Read ahead: Chapters 10-14 in Another Brooklyn for
discussion on November 1 & 5
This worksheet begins the ‘Research packet’ process. This can
be handwritten, or typed. PLEASE WRITE NEATLY. Write in
full sentences. A FINAL COPY WILL BE DUE ON Thursday,
November 15 with your ANNOTATED BILBIOGRAPHY (note
change from syllabus – due date moved forward).
1. What are your ideas for your Research Topic inspired by
Jacqueline Woodson’s Another Brooklyn?
Women’s Rights Movement and how Mary Tyler Moore (The
Show) helped.
2. Why are you interested in this research? What does it
matter to you?
Women’s Rights is an interesting topic for me I’ve always been
interested in this particular topic. I don’t have a specific reason,
but maybe because of the lack of women’s rights in the Middle
East.
3. What is the purpose of your research? What question(s) do
you want to answer?
-When and how did the movement started?
-Who started it?
25. -How did Mary Tyler Moore helped (The Show) changed women
perspective about themselves?
-How did it change the US?
-What rights did women accomplished?
-How is it different from now?
4. What are key words you will use to research your topic? List
the words:
Women’s Rights Movement
Mary Tyler Moore
Women’s right
5. What is your working thesis?
Women’s rights movement is important because it promotes
women engagement in political affairs, sensitizes on social
relations and promotes gender equality.
6. What ‘Pattern of Organization’ do you envision as best-suited
for your paper? (Note: These ‘Patterns of organization’ for your
research will also be reviewed in class).
Problem and solution.
7. What are likely sources of information (peer-reviewed
academic journals, major general interest newspapers geared
toward a college educated audience including: New York Times,
Washington Post, Bloomberg Business, Time Magazine, TRADE
Publications focused on your field)? LIST AT LEAST THREE
sources, including date and author or authority:
Academic Journals:
· Shaw, Jessica. “She Made It after All.” Entertainment Weekly,
no. 208, Feb. 1994, p. 64. EBSCOhost,
proxymu.wrlc.org/login?url=http://search.ebscohost.com/login.a
spx?direct=true&db=a9h&AN=9404271917&site=ehost-live
26. · Grace, Kevin Michael. “Mary Tyler Moore: TV Revolutionary
and a Feminist Icon--but Passive Aggressive.” Alberta Report /
Newsmagazine, vol. 25, no. 45, Oct. 1998, p. 30. EBSCOhost,
proxymu.wrlc.org/login?url=http://search.ebscohost.com/login.a
spx?direct=true&db=a9h&AN=1231981&site=ehost-live.
· Jule, Allyson. “Using The Mary Tyler Moore Show as a
Feminist Teaching Tool.” Gender & Education, vol. 22, no. 1,
Jan. 2010, pp. 123–130. EBSCOhost,
doi:10.1080/09540250902769446.
Newspapers:
https://www.nytimes.com/2018/09/29/us/womens-march-
2019.html
https://www.newyorker.com/culture/culture-desk/everything-i-
learned-from-mary-tyler-moore
Other:
https://www.womensmarch.com/2019/
http://www.youthempower.com
8. What are your concerns (personal and/or professional) as you
approach this project?
-Is the government doing enough towards the women’s rights
movement sustainability?
-Are women engaged in these movements as much as they
should?
-What is the role of institutions in fostering women rights?
![4 −4
� =
1 3 2 5
2 10 2 −6
� =
2 3 7 11
1 4 3 9
0 6 5 1
1 8 4 2
Define the matrices in Mathcad and solve for the following
operations:
a) BT transpose of matrix B.
b) B . V multiply matrix B by vector V.
c) |C| determinant of matrix C.
d) C-1 inverse of matrix C
e) AT+ B add matrix A transposed to matrix B.
f) AT . V multiply matrix A transposed by vector V.
g) [C] . x = V, solve for x using Cramer’s rule.
h) [C] . x = V, solve for x using function lsolve, then check
solution as x = C-1 . V](data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7)