how to determine your sample size using Calmorin's formula
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how to determine your sample size using Slovin's formula.
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simple reminders on how to determine the sample population in your quantitative research
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An Overview of Chapter 3 - Research Methodologyschool
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how to determine your sample size using Calmorin's formula
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how to determine your sample size using Slovin's formula.
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simple reminders on how to determine the sample population in your quantitative research
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An Overview of Chapter 3 - Research Methodologyschool
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Biological screening of herbal drugs: Introduction and Need for
Phyto-Pharmacological Screening, New Strategies for evaluating
Natural Products, In vitro evaluation techniques for Antioxidants, Antimicrobial and Anticancer drugs. In vivo evaluation techniques
for Anti-inflammatory, Antiulcer, Anticancer, Wound healing, Antidiabetic, Hepatoprotective, Cardio protective, Diuretics and
Antifertility, Toxicity studies as per OECD guidelines
Model Attribute Check Company Auto PropertyCeline George
In Odoo, the multi-company feature allows you to manage multiple companies within a single Odoo database instance. Each company can have its own configurations while still sharing common resources such as products, customers, and suppliers.
Synthetic Fiber Construction in lab .pptxPavel ( NSTU)
Synthetic fiber production is a fascinating and complex field that blends chemistry, engineering, and environmental science. By understanding these aspects, students can gain a comprehensive view of synthetic fiber production, its impact on society and the environment, and the potential for future innovations. Synthetic fibers play a crucial role in modern society, impacting various aspects of daily life, industry, and the environment. ynthetic fibers are integral to modern life, offering a range of benefits from cost-effectiveness and versatility to innovative applications and performance characteristics. While they pose environmental challenges, ongoing research and development aim to create more sustainable and eco-friendly alternatives. Understanding the importance of synthetic fibers helps in appreciating their role in the economy, industry, and daily life, while also emphasizing the need for sustainable practices and innovation.
Acetabularia Information For Class 9 .docxvaibhavrinwa19
Acetabularia acetabulum is a single-celled green alga that in its vegetative state is morphologically differentiated into a basal rhizoid and an axially elongated stalk, which bears whorls of branching hairs. The single diploid nucleus resides in the rhizoid.
18. The Old Pond
An old silent pond...
A frog jumps into the
pond,
splash! Silence again.
Editor's Notes
.The Analects (Lun-yü) is a collection of moral and ethical principles enunciated by the Chinese thinker Confucius (K’ung Fu-tzu) in conversations with his disciples. These principles set standards for individual conduct and the administration of government and community. After Confucius died in 479 BC, his followers compiled his teachings in the form of dialogues between him and his students. The resulting collection highly influenced educational, social, and cultural thought in China and elsewhere. http://www.cummingsstudyguides.net/Guides4/analects.html
.The passages in The Analects appear as dialogues between Confucius and his disciples. In 479 BC, when Confucius died, these disciples began collecting and compiling the dialogues. Over the next two-and-a-half centuries, followers of Confucian ideals saw the work through to its conclusion in 221 BC. http://www.cummingsstudyguides.net/Guides4/analects.html
.Running through the teachings of Confucius is this theme: A man should lead an upright life, educate himself, and contribute to the betterment of society. The superior man, he says, respects elders, cultivates the friendship of good people, presides over his subordinates with a fair and even hand, continually educates himself, overflows with love for fellow human beings, and in general sets a good example for others to follow.
.The passages in The Analects are terse and easy to understand. Many of these passages, though presented in the form of conversation, are epigrams that stand alone as wise and memorable admonitions. The statements make frequent use of parallel structure and antithesis, as in the following passages from The Analects:
The golden ruleTsze-kung asked, saying, "Is there one word which may serve as a rule of practice for all one's life?' The Master said, "Is not RECIPROCITY such a word? What you do not want done to yourself, do not do to others" (Book 15, Chapter 23).Comment: This precept is similar to the golden rule of the Christian Bible, as enunciated in the Sermon on the Mount and reported by Matthew (Chapter 7, Verse 12: All things therefore whatsoever you would that men should do to you, do you also to them) and Luke (Chapter 6, Verse 31: And as you would that men should do to you, do you also to them in like manner).
EducationThe Master said, "Learning without thought is labour lost; thought without learning is perilous" (Book 2, Chapter 15).1. The Master said, "At fifteen, I had my mind bent on learning.2. "At thirty, I stood firm.3. "At forty, I had no doubts.4. "At fifty, I knew the decrees of Heaven.5. "At sixty, my ear was an obedient organ for the reception of truth.6. "At seventy, I could follow what my heart desired, without transgressing what was right" (Book 2, Chapter 4).
ForesightThe Master said, "If a man take no thought about what is distant, he will find sorrow near at hand" (Book 15, Chapter 11).Prudence
ForesightThe Master said, "If a man take no thought about what is distant, he will find sorrow near at hand" (Book 15, Chapter 11).Prudence
The essence of haiku is "cutting" (kiru).[1] This is often represented by the juxtaposition of two images or ideas[2] and a kireji ("cutting word") between them, a kind of verbal punctuation mark which signals the moment of separation and colours the manner in which the juxtaposed elements are related.[3]In Japanese haiku a kireji, or cutting word, typically appears at the end of one of the verse's three phrases. A kireji fills a role somewhat analogous to a caesura in classical western poetry or to a volta in sonnets. Depending on which cutting word is chosen, and its position within the verse, it may briefly cut the stream of thought, suggesting a parallel between the preceding and following phrases, or it may provide a dignified ending, concluding the verse with a heightened sense of closure.[15]The fundamental aesthetic quality of both hokku and haiku is that it is internally sufficient, independent of context, and will bear consideration as a complete work.[3] The kireji lends the verse structural support,[16] allowing it to stand as an independent poem.[17][18] The use of kireji distinguishes haiku and hokku from second and subsequent verses of renku which, although they may employ semantic and syntactic disjuncture, even to the point of occasionally end-stopping a phrase with a shōjoshi (少女詩 sentence ending particle), do not generally employ kireji.[3]In English, since kireji have no direct equivalent, poets sometimes use punctuation such as a dash or ellipsis, or an implied break to create a juxtaposition intended to prompt the reader to reflect on the relationship between the two parts.The kireji in the Bashō examples "old pond" and "the wind of Mt Fuji" are both "ya" (や). Neither the remaining Bashō example nor the Issa example contain a kireji although they do both balance a fragment in the first five on against a phrase in the remaining 12 on (it may not be apparent from the English translation of the Issa that the first five on mean "Edo's rain").Traditional haiku consist of 17 on (also known as morae), in three phrases of 5, 7 and 5 on respectively.[4] Any one of the three phrases may end with the kireji.[5] Although haiku are often stated to have 17 syllables,[6] this is incorrect as syllables and on are not the same.A kigo (seasonal reference), usually drawn from a saijiki, an extensive but defined list of such words. The majority of kigo, but not all, are drawn from the natural world. This, combined with the origins of haiku in pre-industrial Japan, has led to the inaccurate impression that haiku are necessarily nature poems.- - A haiku traditionally contains a kigo, a defined word or phrase that symbolizes or implies the season of the poem.Modern Japanese gendai (現代) haiku are increasingly unlikely to follow the tradition of 17 on or to take nature as their subject, but the use of juxtaposition continues to be honoured in both traditional haiku and gendai.[1] There is a common, although relatively recent, perception that the images juxtaposed must be directly observed everyday objects or occurrences.[7]In Japanese, haiku are traditionally printed in a single vertical line while haiku in English often appear in three lines to parallel the three phrases of Japanese haiku.[8]Previously called hokku, haiku was given its current name by the Japanese writer Masaoka Shiki at the end of the 19th century.http://en.wikipedia.org/wiki/Haiku
Hokku is the opening stanza of an orthodox collaborative linked poem, or renga, and of its later derivative, renku (or haikai no renga). By the time of Matsuo Bashō (1644–1694), the hokku had begun to appear as an independent poem, and was also incorporated in haibun (a combination of prose and hokku), and haiga (a combination of painting with hokku). In the late 19th century, Masaoka Shiki (1867–1902) renamed the standalone hokku to haiku.[23] The latter term is now generally applied retrospectively to all hokku appearing independently of renku or renga, irrespective of when they were written, and the use of the term hokku to describe a standalone poem is considered obsolete.[24]http://en.wikipedia.org/wiki/Haiku
In the 17th century, two masters arose who elevated haikai and gave it a new popularity. They were Matsuo Bashō (1644–1694) and UeshimaOnitsura (1661–1738). Hokku is the first verse of the collaborative haikai or renku, but its position as the opening verse made it the most important, setting the tone for the whole composition. Even though hokku had sometimes appeared individually, they were always understood in the context of renku.[25] The Bashō school promoted standalone hokku by including many in their anthologies, thus giving birth to what is now called 'haiku'. Bashō also used his hokku as torque points within his short prose sketches and longer travel diaries. This sub-genre of haikai is known as haibun.[26] His best-known book, Oku no Hosomichi, or Narrow Roads to the Interior, is counted as one of the classics of Japanese literature[27] and has been translated into English extensively.Bashō was deified by both the imperial government and Shinto religious headquarters one hundred years after his death because he raised the haikai genre from a playful game of wit to sublime poetry. He continues to be revered as a saint of poetry in Japan, and is the one name from classical Japanese literature that is familiar throughout the world.[28]http://en.wikipedia.org/wiki/HaikuBashō was born Matsuo Kinsaku around 1644, somewhere near Ueno in Iga Province. His father may have been a low-ranking samurai, which would have promised Bashō a career in the military but not much chance of a notable life. It was traditionally claimed by biographers that he worked in the kitchens. However, as a child Bashō became a servant to TōdōYoshitada, who shared with Bashō a love for haikai no renga, a form of cooperative poetry composition. The sequences were opened with a verse in the 5-7-5 mora format; this verse was named a hokku, and would later be renamed haiku when presented as stand-alone works. The hokku would be followed by a related 7-7 addition by another poet. Both Bashō and Yoshitada gave themselves haigō, or haikai pen names; Bashō's was Sōbō, which was simply the on'yomi reading of his samurai name of Matsuo Munefusa. In 1662 the first extant poem by Bashō was published; in 1664 two of his hokku were printed in a compilation, and in 1665 Bashō and Yoshitada composed a one-hundred-verse renku with some acquaintances. Yoshitada's sudden death in 1666 brought Bashō's peaceful life as a servant to an end. No records of this time remain, but it is believed that Bashō gave up the possibility of samurai status and left home. Biographers have proposed various reasons and destinations, including the possibility of an affair between Bashō and a Shinto miko named Jutei, which is unlikely to be true. Bashō's own references to this time are vague; he recalled that "at one time I coveted an official post with a tenure of land", and that "there was a time when I was fascinated with the ways of homosexual love", but there is no indication whether he was referring to real obsessions or even fictional ones. He was uncertain whether to become a full-time poet; by his own account, "the alternatives battled in my mind and made my life restless". His indecision may have been influenced by the then still relatively low status of renga and haikai no renga as more social activities than serious artistic endeavors. In any case, his poems continued to be published in anthologies in 1667, 1669, and 1671, and he published his own compilation of work by him and other authors of the Teitokuschool, Seashell Game, in 1672. In about the spring of that year he moved to Edo, to further his study of poetry. On his return to Edo in the winter of 1691, Bashō lived in his third bashō hut, again provided by his disciples. This time, he was not alone; he took in a nephew and his female friend, Jutei, who were both recovering from illness. He had a great many visitors. Bashō's grave in Ōtsu, Shiga Prefecture Bashō continued to be uneasy. He wrote to a friend that "disturbed by others, I have no peace of mind". He made a living from teaching and appearances at haikai parties until late August of 1693, when he shut the gate to his bashō hut and refused to see anybody for a month. Finally, he relented after adopting the principle of karumi or "lightness", a semi-Buddhist philosophy of greeting the mundane world rather than separating himself from it. Bashō left Edo for the last time in the summer of 1694, spending time in Ueno and Kyoto before his arrival in Osaka. He became sick with a stomach illness and died peacefully, surrounded by his disciples. Although he did not compose any formal death poem on his deathbed the following, being the last poem recorded during his final illness, is generally accepted as his poem of farewell: tabiniyande / yumewakarenowo / kakemegurufalling sick on a journey / my dream goes wandering / over a field of dried grass Popular Poems A Ball of Snow A bee A caterpillar A cicada shell A cold rain startinghttp://www.poemhunter.com/matsuo-basho/biography/Matsuo Basho - BiographyMatsua Basho (1644 - 1694) is one of the most celebrated Japanese poets. His reputation extends from Japan to include a nearly global recognition. Basho is considered to be the master of the haiku. His work is praised for its brevity and clarity; its ability to capture the most suddle transitions is astounding. Many monuments in Japan bear his poems. His works include The Seashell Game, A Shriveled Chestnut, Record of a Weather-Exposed Skeleton, Winter Days, Spring Days, A Visit to Kashima Shrine, Record of a Travel-Worn Satchel, A Visit to Sarashina Village, Wasteland, The Gourd, The Monkey's Raincoat, Saga Diary, On Transplanting the Banana Tree, On Seclusion, A Sack of Charcoal, The Detached Room, Narrow Road to the Interior, and The Monkey's Raincoat, Continued) . To earn a living, Matsuo Basho was employed as a teacher.Matsuo Basho began writing poetry when he was young. He quickly became a fixture amongst the intelligentsia of Edo period Japan. However, he rejected urban life and its literary circles. He was known to take to the countryside to wander in the wilderness. His experiences and observation of nature fueled his work. Stylistically, Matsuo Basho sometimes rejected the strict stylistics of kigo in favor for his hokku. Basho felt he could reveal nature and emotion more directly. Matsuo Basho is also given credit for developing the haiku as a free standing poem. Despite the fact, Matsuo Basho did not always work in the most popular style of poetry, he was widely admired in his lifetime. At the end of the nineteenth century, the Japanese interest in his work became a national obsession. His reputation was so inflated that Shinto bureaucrats made negative critiques of his poetry blasphemy. In the twentieth century, translations of Matsuo Basho’s work into European languages expanded his influence. His writings would influence Imagist poets (including Ezra Pound) as well as the Beat Generation writers. His use of image has, perhaps, been duplicated but never rivaled.In 1644, Matsuo Basho was born in Iga Province, close to the city of Ueno. He was name Matsuo Kinsaku. His father was probably a samurai, though not one of high reputation. If this is true, Basho would have easily been embraced in the military. Yet when Matsuo Basho was still a child, he came to serve TodoYoshitada. Yoshitada nurtured the boy’s literary and poetic interests. His master encouraged Basho to take part in the collaborative haikai no renga—a collaborative style of poetry from which the haiku was to be derived. In 1662, Matsuo Basho’s first poem was published. In 1664, Matsuo Basho’s first collection of hokku was released.In 1666, Yoshitada died. His master’s death released his from the enjoyable security that the servitude provided the young poet. Many believe that it was at this point that Matsuo Basho rejected his samurai status and left his father’s home. This time was one of confusion for the poet, and the historical record gives no clear reason for his action. Suggested reasons include a possible infatuation with a Shinto miko (priestess) or curiosity about the concept of love for one’s own sex. He was also unclear about whether he wanted to devote himself to his craft or if he wanted to join the governmental apparatus. His reluctance to throw himself completely into his poetic craft was in part due to the low standing of poetry. The styles of poetry Matsuo Basho practiced at the time (renga and haikai no renga) were considered social diversions and not serious pursuits. Throughout the period of indecision, Basho continued to publish collections of his work.In 1672, Matsuo Basho moved to Edo to continue his studies into poetry. He began to make a reputation for himself in the literary community of Nihonbashi. By 1674, Matsuo Basho had become an intimate of those in the haikai profession. He had also received instruction from Kitamura Kigin—a Buddhist intellectual who taught that homosexuality was more natural for priests. Although Kigin’s configuration of homosexual love was more like that of Classical Greece, than the homosexual love of the post-Freudian, post-Liberation era.During this period, Matsuo Basho adopted the nom de plume Tosei. He began to teach. The work of his students would eventually be collected in The Best Poems of Tosei’s Twenty Disciples. Matsuo Basho’s reputation was so significant that the students wanted to promote their connection to the master. In 1680, Basho began to move away from the literary public. He relocated his home to Fukagawa. His students constructed a home for him and planted a banana tree for him. In honor of this event, he adopted the name Matsuo Basho, which means banana tree.Matsuo Basho was unnerved by his success and loneliness. In an attempt to bring order to his mind, he became a practitioner of Zen meditation. He entered a period of personal turmoil when in 1682 his house burnt down, in 1683 his mother died. He went to Yamura to live with a friend for a short while. His students rebuilt his home, but he could not shake his negative mindset. He soon undertook the first of his four major peregrinations. This undertaking was dangerous because of the lawlessness of the period. Many anticipated that Matsuo Basho would be murdered by highway men or (if lucky) simply expire in the wastes between cities. However, Basho met many people and found joy in the experiences of nature. Basho’s poems became less interior as he began to focus on the natural world, the exterior world, in a more focused way.The first trip led him from Edo to Mount Fuji to Ueno and finally to Kyoto. Many poets he met claimed to be his devotees. The clamoured for his wisdom and advice about their poetry. His main advice was to ignore the literary fads of Edo, and to ignore even the work of his that the amateur poets had found in his recent publications. When Basho returned to Edo in 1685, he embraced his role of instructor and began to hold poetry contests. Throughout this period he would alternatively crave and reject visitors. But some of his work revealed a certain whimsy and humor that went beyond his temporary bouts of melancholy.In 1686, Matsuo Basho wrote a poem describing a frog leaping into water. This work, with its myriad of English translation, became the most famous of Basho’s famed literary production. This haiku is seen by many as representing the vast possibility of the subtleties of the genre. In honor of the greatness of this work, a contest was held for haikai no renga that dealt with frogs. These works were collected with Matsuo Basho’s poem as their keystone.In 1688, Matsuo Basho returned to the city of his youth, Ueno. There he celebrated the Lunar New Year. When he returned to his home, he returned to his reclusive ways. In 1689, Basho and his student Kawai Sora would travel through the northern provinces. This journey would be memorialized in The Narrow Road, which was published in 1694.When Matsuo Basho returned to Edo, he was more sociable allowing a nephew and a sick woman to leave with him. He also opened his home to visitors again. At this time in his life, Basho practiced karumi (lightness). With this frame work, he accepted the everyday normalcy of the world, foregoing his rejection of society. In 1694, Matsuo Basho would travel one last time to Ueno, Kyoto and Osaka. Illness struck him. He died in the company of his students.http://www.egs.edu/library/matsuo-basho/biography/
