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The Cultural Literature Review includes a review of the literature regarding the influences of culture and application of this information in programs serving children along with a personal reflection of works cited. Please see attachment for additional instructions. .

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“The Dark Side of the Force” Language & Process Risk Aversion & Risk Culture Corruption & Unethical Behaviors Reading : Please note, you have to log on to the NSU library to complete the link. Ballante, Don & Link, Albert N. (1981). Are public sector workers more risk averse than private sector workers? Industrial and Labor Relations Review , 34, 3, 408-412. http://lib.nova.edu/333 (Links to an external site.) Baumol, W. J. (1990). Entrepreneurship: Productive, unproductive and destructive. Journal of Political Economy , 98(5), 893-921. http://lib.nova.edu/148 (Links to an external site.) Boettke, P. J. &, Coyne, C. J. (2003). Entrepreneurship and development: Cause or consequence? Advances in Austrian Economics, 6 , 67-88. Retrieved from the Mercatus Organization web site: http://mercatus.org/uploadedFiles/Mercatus/Publications/Cause%20or%20Consequence.pdf (Links to an external site.) Cohen, S., Eimicke, W., & Salazar, M. P. (1999, November). Public ethics and public entrepreneurship . Paper presented at the Annual Research Meeting of the Association of Public Policy Analysis and Management, Washington, D.C. Retrieved from ResearchGate: http://www.researchgate.net/publication/252936584_Public_Ethics_and_Public_Entreprenuership (Links to an external site.) Schacter, H. L. (1995). Reinventing government or reinventing ourselves: Two models for improving government performance. Public Administration Review , 55 (6), 530-537. http://lib.nova.edu/138 (Links to an external site.) Simmons, R., Yonk, R., & Thomas, D. (2011). Bootleggers, Baptists, and political entrepreneurs: Key players in the rational game and morality play of regulatory politics. The Independent Review , 15 (3), 367–381. http://lib.nova.edu/183 (Links to an external site.) Due : Essay 6 Question: Entrepreneurial governance sounded like such a good idea, didn't it? What do you make of the critique against entrepreneurial governance/public management? Do you think the critique is valid, and why/why not? .

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The Criminalization of American Business What do Bank of America, Citigroup, JPMorgan Chase, and Goldman Sachs have in common? All paid hefty fines for purportedly misleading investors about mortgage-backed securities. In fact, these companies paid the government a total of $50 billion in fines. The payments were made in lieu of criminal prosecutions. Today, several hundred thousand federal rules that apply to businesses carry some form of criminal penalty. That is in addition to more than four thousand federal laws, many of which carry criminal sanctions for their violation. From 2000 to 2019, about 3,200 corporations either were convicted or pleaded guilty to violating federal statutes or rules. Criminal Convictions The first successful criminal conviction in a federal court against a company—the New York Central and Hudson River Railroad—was upheld by the Supreme Court in 1909 (the violation: cutting prices). Many other successful convictions followed. One landmark case developed the aggregation test , now called the Doctrine of Collective Knowledge. This test aggregates the omissions and acts of two or more persons in a corporation, thereby constructing an actus reus and a mens rea out of the conduct and knowledge of several individuals. Not all government attempts at applying criminal law to corporations survive. Courts have sometimes found insufficient evidence to show that a company acted with specific intent to commit a crime. Often, however, companies choose to reach settlement agreements with the government rather than fight criminal indictments. Many Pay Substantial Fines in Lieu of Prosecution More than four hundred corporations reached so-called non-prosecution agreements with the government from 2000 to the beginning of 2019. These agreements typically involve multimillion- or multibillion-dollar fines. This number does not include fines paid to the Environmental Protection Agency or to the Fish and Wildlife Service. According to law professors Margaret Lemos and Max Minzner, “Public enforcers often seek large monetary awards for self-interested reasons divorced from the public interest and deterrents. The incentives are strongest when enforcement agencies are permitted to retain all or some of the proceeds of enforcement.” Questions Presented 1)Why might a corporation’s managers agree to pay a large fine rather than to be indicted and proceed to trial? 2)How does a manager determine the optimal amount of legal research to undertake to prevent her or his company from violating the many thousands of federal regulations? .

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The Creation of the Ocean Floor SCI/209 Running head: THE CREATION OF THE OCEAN FLOOR 1 THE CREATION OF THE OCEAN FLOOR 5 The Creation of the Ocean Floor One scientific speculation about the beginning of ocean water declares that as Earth developed from a gas and dust cloud more than 4.5 billion years ago, an enormous quantity of insubstantial elements such as oxygen and hydrogen became confined inside the liquefied inner part of the newly formed planet (Advameg, 2013). In the course of the first few billion years following planets formation, these basic gases emerged across thousands of miles of red-hot and liquefying rock to discharge on the Earth’s surface through fissures (long narrow cracks) and volcanoes. Inside the earth and atop the exterior, the gas hydrogen joined oxygen developing water. Massive amounts of liquid blanketed the planet as an extraordinarily heavy atmosphere of water cloud. Close to the uppermost part of the atmosphere, where high temperature may possibly dissipate to outward reaches of the earth, water vapor concentrated to a liquid form and dropped into the stratum below, chilling the level. This atmospheric cool down procedure lasted till the initial precipitation dropped to the planet’s young exterior and flared into a misty haze. This came to pass as the creation of an astonishing downpour that through the course of time, progressively filled the ocean cavities. There are three major classes of tectonic plate boundaries: divergent boundaries, covergent boundaries, and transform boundaries. The divergent boundaries outstanding features are fresh crust is produced as two or more plates tear away from one other. Oceans are generated and grow broader where plates deviate or pull apart. Seafloor expanding is a process in which the molten rock produces new ground underneath water. This progression takes millions of years to establish a 10 foot hill because growth fluctuates from two to 10 centimeters yearly. The convergent boundaries outstanding features are here crust is demolished and reprocessed back into the inside of the Earth as one plate descents under another. These are recognized as Subduction Zones - volcanoes and mountains are often discovered where plates come together. The kinds of volcanoes that can occur depend on the chemical composition of the molten rock that decides its fluidity. There are three kinds of convergent boundaries: Oceanic-Continental Convergence, Oceanic-Oceanic Convergence, and Continental-Continental Convergence (Platetectonics, 2010). The transform boundaries outstanding features are when two plates are skimming parallel by each other. These are additionally identified as transform boundaries or in addition normally called faults. The San Andreas Fault is the best known and considered the most lethal translational line. One natural event that occurs as a direct result of plate boundary interactions is a tsunami. Plate tectonics are the secondary trigger of tsunamis. When a maj.

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The creation of a weak acid titration plot is described in chapter 1.docx

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The Dark Ages: World History Crash Course #14 1. The period between ________ and _______________ is often called the ________________________ in Europe because it came between the Roman Empire and the beginning of the modern age. And it’s sometimes called the Dark Ages because it was purportedly ________________________. 2. What is feudalism? 3. How was feudalism an economic system in addition to the political system described above? 4. Regarding Islam in the Dark Ages, the Umayyad Dynasty was overthrown in _________ and was replaced by the ______________________. They moved the capital to Baghdad and were welcoming of _________________________________ into positions of power. 5. The “golden age” of Islamic learning was centered in Baghdad. What were five accomplishments of this time-period you found to be the most interesting? a. b. c. d. e. 6. Meanwhile, China was experiencing a golden age of its own where it ruled over _______________________________ across four million square miles. 7. What necessitated the Chinese inventing the use of paper money? 8. By the 11th century, the Chinese were writing down their recipe for a mixture of saltpeter, sulfur, and charcoal that we now know as ________________________. Here is the link to the video ...... https://youtu.be/QV7CanyzhZg .

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The Culturally Responsive Social Service Agency: The Application of an Evolving Definition to a Case Study Julian Chun-Chung Chow PhD & Michael J. Austin PhD To cite this article: Julian Chun-Chung Chow PhD & Michael J. Austin PhD (2008) The Culturally Responsive Social Service Agency: The Application of an Evolving Definition to a Case Study, Administration in Social Work, 32:4, 39-64, DOI: 10.1080/03643100802293832 Published online: 11 Oct 2008. Page 39 ABSTRACT. Most of the attention in the last few decades in the human services field has been on the development of culturally competent practice with little attention to the context of this practice. This analysis and case study focuses on the organizational context of social service practitioners seeking to respond effectively to an increasingly diverse client population. Specific attention is given to the development of a working definition of a culturally responsive social service agency. This definition is used to assess a case study of a public sector county social service agency that has a substantial history in promoting culturally responsive practices. The implications for future management practices are noted in the conclusion. Julian Chun-Chung Chow, PhD, is an Associate Professor affiliated with the School of Social Welfare, University of California, Berkeley. Michael J. Austin, PhD, is a Professor affiliated with the School of Social Welfare, University of California, Berkeley. The authors want to acknowledge the significant roles played by Zonia Sandoval Waldon, MSW, and Gil Villagran, MSW, in the development of a culturally responsive organization prior to their recent retirements in 2004 from the Santa Clara County Social Service Agency. We also want to acknowledge the contributions of the following graduate students: Tiffany Woo, MSW; Allison De Marco, MSW; Jill Nielson, MSW; Sarah Taylor, MSW; Sunshine Wu, MSW; Christine Lou, BA; and Ericka Leer, MSW. Address correspondence to: Michael J. Austin, School of Social Welfare, University of California, 120 Haviland Hall, MC 7400, Berkeley, CA 94720–7400 (E-mail: [email protected]). Administration in Social Work, Vol. 32(4) 2008 Available online at http://www.haworthpress.com © 2008 by The Haworth Press. All rights reserved. doi:10.1080/03643100802293832 Page 40 KEYWORDS. Social services delivery, organizations, cultural responsiveness, ethnicity INTRODUCTION Since the War on Poverty in the 1960s, social service organizations have been searching for ways to become responsive to the cultural diversity of their client populations. Beginning in the 1970s, concerted attention was given to helping agency staff members become more culturally aware (Green, 1999), more culturally knowledgeable (Cox & Ephross, 1998; Davis & Proctor, 1989; Harrison & Wodarski, 1992), and recently more culturally competent (Devore & Schlesinger, 1999; Fong & Furuto, 2001; Leigh, 1998; Lum, 2003). With regard to training.

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The cult of Machismo (masculine superiority) appeared early in Latin America (page 23 in this week’s assigned reading), yet many colonial Latin American families contradicted this stereotype. Explain the evidence the authors present that contradicts this prevailing gender image. Be sure to review the culture box “Elite Women and Economic Power” on page 24. Textbook provided Modern Latin America, 9th Edition - 180 Day Option .

The cult of Machismo (masculine superiority) appeared early in Latin.docx

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The Culture Books du r ing t he f ir s t se a son of her cr i t i- cally acclaimed HBO series, Girls, Lena Dunham’s character Hannah Horvath, high on opium, tells her parents, “I don’t want to freak you out, but I think that I may be the voice of my generation—or at least a voice of a generation.” The line made waves as people conflated the fictional character with her creator, perhaps not wrongly. How dare a young woman make such a bold claim? All too often our culture tells young women their voices don’t matter or deserve to be heard. In her debut essay collection, Not That Kind of Girl: A Young Woman Tells You What She’s “Learned,” Dunham demon- strates her 28-year-old voice’s admirable range. While some celebrity essay col- lections and memoirs are lackluster, even embarrassing to read, Not That Kind of Girl suffers few missteps. Dunham’s cinematic flair translates to the page with vigor and clarity—not unlike the late Nora Ephron, to whom she is often compared and to whom the book is dedicated (along with Dunham’s family and her boyfriend Jack Antonoff of the indie-rock band fun.). Instead of tossing pithy, pseudo-motivational observations at the reader, Dunham has crafted warm, intelligent writing that is both deeply personal and engaging, clustered in five topical sections: “Love & Sex,” “Body,” “Friendship,” “Work” and “Big Picture.” Each of the 29 pieces—essays mixed with lists, like “18 Unlikely Things I’ve Said Flirtatiously”—is confident and assured, sidestepping self-deprecation and instead offering intense self- examination. Dunham’s self-awareness can almost overwhelm with truthiness, as in “Barry,” her glancing, tragicomic account of being raped by a “mustachioed campus Republican” who, among other nonconsensual acts, removes his condom without her permission or knowledge. “A sexual encounter that no one can classify properly” sounds precisely like a voice of her generation, one struggling to come to terms with rape culture. (And yet, “I feel like there are fifty ways it’s my fault . . . But I also know that at no moment did I consent to being handled that way” sounds like a voice of every generation of women.) Unlike Hannah Horvath, Dunham in her self-awareness does not come across as self-obsessed. When she is absurd, she acknowledges that absurdity. “13 Things I’ve Learned Are Not Okay to Say to Friends” is among the most drolly enlightened of the lists, made up of osten- sible real-life Dunham quotes like “No, please don’t apologize. If I had your moth- er I’d be a nightmare, too” and “There’s nothing about you in my book.” She reveals her vulnerabilities in a deadpan manner, showing us how she loves and has been loved, how she has wronged and been wronged. But it’s not all laughing around the hard stuff. At the end of “Barry” comes a teary phone call with Antonoff, in which she tells him what happened with the hipster rapist; here the narrative tur.

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The Culture Books during the first season of her criti- cally acclaimed HBO series, Girls, Lena Dunham’s character Hannah Horvath, high on opium, tells her parents, “I don’t want to freak you out, but I think that I may be the voice of my generation—or at least a voice of a generation.” The line made waves as people conflated the fictional character with her creator, perhaps not wrongly. How dare a young woman make such a bold claim? All too often our culture tells young women their voices don’t matter or deserve to be heard. In her debut essay collection, Not That Kind of Girl: A Young Woman Tells You What She’s “Learned,” Dunham demon- strates her 28-year-old voice’s admirable range. While some celebrity essay col- lections and memoirs are lackluster, even embarrassing to read, Not That Kind of Girl suffers few missteps. Dunham’s cinematic flair translates to the page with vigor and clarity—not unlike the late Nora Ephron, to whom she is often compared and to whom the book is dedicated (along with Dunham’s family and her boyfriend Jack Antonoff of the indie-rock band fun.). Instead of tossing pithy, pseudo-motivational observations at the reader, Dunham has crafted warm, intelligent writing that is both deeply personal and engaging, clustered in five topical sections: “Love & Sex,” “Body,” “Friendship,” “Work” and “Big Picture.” Each of the 29 pieces—essays mixed with lists, like “18 Unlikely Things I’ve Said Flirtatiously”—is confident and assured, sidestepping self-deprecation and instead offering intense self- examination. Dunham’s self-awareness can almost overwhelm with truthiness, as in “Barry,” her glancing, tragicomic account of being raped by a “mustachioed campus Republican” who, among other nonconsensual acts, removes his condom without her permission or knowledge. “A sexual encounter that no one can classify properly” sounds precisely like a voice of her generation, one struggling to come to terms with rape culture. (And yet, “I feel like there are fifty ways it’s my fault . . . But I also know that at no moment did I consent to being handled that way” sounds like a voice of every generation of women.) Unlike Hannah Horvath, Dunham in her self-awareness does not come across as self-obsessed. When she is absurd, she acknowledges that absurdity. “13 Things I’ve Learned Are Not Okay to Say to Friends” is among the most drolly enlightened of the lists, made up of osten- sible real-life Dunham quotes like “No, please don’t apologize. If I had your moth- er I’d be a nightmare, too” and “There’s nothing about you in my book.” She reveals her vulnerabilities in a deadpan manner, showing us how she loves and has been loved, how she has wronged and been wronged. But it’s not all laughing around the hard stuff. At the end of “Barry” comes a teary phone call with Antonoff, in which she tells him what happened with the hipster rapist; here the narrative turns deeply .

The CultureBooksduring the first season of her criti-.docx

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The critique of the Musical Cats must include the following information: 1- Who was in the play meaning the actors and the characters they played? 2- What era is the play supposed to be taking place in? 3- Where does it take place? 4- How and Why did you connect emotionally and intellectually? 5- What was it about (breif plot synopsis)? 6- Were you able to relate to a part or most of the play (what part if any? This musical was based on Old Possum's Book of Practical Cats by TS. Eliot .

The critique of the Musical Cats must include the following informat.docx

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The CSI effect at university: forensic science students’ television viewing and perceptions of ethical issues Roslyn Weavera*, Yenna Salamonsona, Jane Kocha,b and Glenn Porterc aUniversity of Western Sydney, Family and Community Health Research Group; bUniversity of Technology, Sydney, School of Nursing, Midwifery and Health; cUniversity of Western Sydney, School of Science and Health (Received 3 January 2012; final version received 3 May 2012) Although the so-called ‘CSI effect’ has received attention in the literature for the influence of forensic science television on jurors’ expectations of evidence admitted into trials, less research explores the influence of such television programs on university students enrolled in forensic science degrees. This paper describes the quantitative and qualitative results of a study of forensic science students regarding the forensic-related television programs they watch, such as CSI, Bones and Dexter. We asked students to share their impressions of the accuracy, ethics, professionalism and role models in the programs. The results show that forensic science students are almost universally disparaging about the realism of these programs and have mixed impressions of how the programs portray forensic science professionalism and ethics. Most students believed that the programs gave an unrealistic representation of the profession to the public; yet students were also able to identify positive elements for recruitment and education purposes. Keywords: forensic science; CSI effect; students; television; education; Australia Introduction Popular media have suggested that crime science television programs such as CSI may influence how lay jurors consider forensic evidence during criminal trials1–8. This influence has been described as the CSI effect and named after the popular television drama. It is suggested that jurors confuse the capacity of forensic evidence with the fictional idealisation of forensic evidence as portrayed on the television program2. Goodman-Delahunty and Verbrugge4 suggest that, despite the popular media claims, there is little objective evidence to support the notion that crime scene dramas such as CSI have a negative impact on jury verdicts. Wise5 indicated that there are two issues relating to the ‘CSI effect’ proposition, with each affecting either the prosecution or defence position; (i) the jurors held an inflated value of the forensic evidence producing guilty verdicts2–5,9, or (ii) in the absence of forensic evidence or when the evidence failed to reach the juries’ idealised expectations the juries would acquit2–3,5. Evidence of the influence of the CSI effect, as claimed in the popular media, has been mixed1–9. Although the so-called CSI effect has received attention in the literature for the influence of CSI on jurors’ expectations of forensic evidence admitted into criminal *Corresponding author. Email: [email protected] Australian Journal of Forensic Sciences Vol. 44.

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The Covid-19 pandemic caused a slow time during the Thanksgiving festival last year. At the time, my aunt decided that since we would not be inviting family from all over, as it was tradition, we would make it into a neighborhood Thanksgiving. She invited their neighbors over; I bumped into one of their new neighbors on the block, Mr. Landry, in the kitchen while he conversed with my aunt. As I walked into the kitchen, he went silent with no eye contact, and as soon as I left the kitchen, he got back to the conversation. I overheard part of the conversation where Mr. Landry talked about Mrs. Boudreaux’s hospitalization while describing how she looked to be reeling in pain when he visited her. By that snippet of the conversation, I assumed that Mr. Landry was a gossip, only to find out later that he was a doctor in the hospital where Mrs. Boudreaux was. He was pleading with us to visit Mrs. Boudreaux and offer blood donations for her upcoming surgery. I was mortified, having learned this later. According to the social psychology theory, individuals make first impressions based on traits, beliefs, and non-verbal cues from people one meets. Aronson et al. (2019) state that one’s traits from birth or parenting help us interpret social cues. Some of these traits include openness and being sociable is part of these traits show individuals to be social. Flynn (2005) agrees with this, reiterating that non-verbal behavior adds to first impressions on individuals. Therefore, Mr. Landry’s silence when I walked into the room and continually talking about someone else's condition without their consent triggered my perception that he was a gossip. Increasing my reason for the first impression of Mr. Landry was his lack of eye contact on top of his silence when I walked into the kitchen (Flynn, 2005). As an adaptive response, Mr. Landry went silent because of his privileged status of revealing information to children that would later get conveyed in the proper channels. Conclusively, Mr. Landry went silent and did not keep eye contact to remain confidential when I walked into the kitchen. However, my perception of this is that he was a gossip, furthering my first impression that was later in the day debunked when adequately explained. References: Aronson, E., Wilson, T. D., Akert, R. M., & Sommers, S. R. (Eds.). (2019). Social psychology (10th ed.). Boston, MA: Pearson. Flynn, F. J. (2005). Having an Open Mind: The Impact of Openness to Experience on Interracial Attitudes and Impression Formation. Journal of Personality and Social Psychology, 88(5), 816-826. doi:10.1037/0022-3514.88.5.816 .

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The Customer Experience and Value Creation Chapter 4 Objectives Life-cycle Cost and customer value creation Performance and customer value Measuring perceived value MBM6 Chapter 4 1 Life-Cycle Cost and Customer Value Creation In this section we will look at different ways companies can assess the dollar value they create in customer savings relative to competitors. MBM6 Chapter 4 The Customer Experience and Value Creation Southwest Airlines Total Cost of Purchase MBM6 Chapter 4 3 Sources of Life-Cycle Cost MBM6 Chapter 4 4 Life-cycle Cost & Economic Value MBM6 Chapter 4 Economic Value = Life-cycle cost (competitor)- Life-Cycle Cost (company) 5 AirCap Total Cost per Shipment MBM6 Chapter 4 6 Communicating Value MBM6 Chapter 4 7 Lowering Disposal Costs as A Source of Value Creation MBM6 Chapter 4 8 Price-Performance and Customer Value Creation Performance can also include product features and functions that do not save money but enhance usage and create customer value. MBM6 Chapter 4 The Customer Experience and Value Creation 9 Performance vs. Price and Customer Value Customer Value = Product Price – Fair Price Data Source: “Digital Cameras,” Consumer Reports (April 2010) MBM6 Chapter 4 10 Customer Value and Value Map Canon A590 11 Sport Utility Vehicle Value Map MBM6 Chapter 4 How would you evaluate the Toyota Highlander value based on these results? (Data Source: “Best and Worst New and Used Cars,” Consumer Reports (2011): 43.) 12 Relative Performance and Customer Value MBM6 Chapter 3 If the average performance rating of sixty-two printers is 61 according to Consumer Reports, and HP’s performance rating is 73, what is HP’s relative performance rating? Relative Performance = (73/61)*100= 120. Product Performance Rating Average Performance Rating X 100 Relative Performance = 13 Measuring Perceived Customer Value Customer perceptions shape assessments of customer value. In many cases, customers consider more than product performance when they assess the overall value of a product. MBM6 Chapter 4 The Customer Experience and Value Creation 14 Perceived Customer Value MBM6 Chapter 4 Perceived Customer Value = Overall Performance Index (Overall benefits) – Cost of Purchase Index (cost) = (Perceived Product Performance + Perceived Service Performance + Perceived Brand Reputation) – Cost of Purchase 15 Measuring Perceived Product Performance MBM6 Chapter 4 1 2 3 Advantage: When the business is significantly better (>1 points) than a competitor, it gets the relative importance points. Disadvantage: If it is significantly worse (> -1 points), it loses the relative importance points. No advantage/disadvantage: Between -1 and +1 no points are won or lost. 16 Servic.

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The Creation of the DHS Develop an analytical PowerPoint® presentation (18-22 slides) about the creation of the DHS. Important: Please keep slides “clean and readable” (e.g., do not overload your slides with verbiage). Do include talking points in the presenter’s note section below the slide. In this Assignment, address all of the following: Do you think DHS needed to be formed? Use the following five identified major factors and underlying challenges that led to the establishment of the DHS: A political need for a response to the 9/11 attack, An attempt to better "connect-the-dots" in order to prevent and deter attacks on the USA Homeland, Creation of a more effective response structure to attacks, Creation of a more effective response structure to disasters, Creation of a more cost effective homeland security apparatus. Analyze the above five factors and explain how they contributed to the formation of DHS, then answer the following questions: Did the federal government take too long to move from the Cold War model of homeland protection? Is DHS and the IC (Intelligence Community) properly structured? Does DHS include too many agencies and/or are there some critical agencies missing? In addition to fulfilling the specifics of the Assignment, you should format your presentation in accordance with the following guidelines: Include at least two sources in your presentation. Use one basic slide design and layout. Use charts and graphs as needed. Limit slides to between 6 and 8 lines of content. Use bullets for your main points. Use speaker notes to fully explain what is being discussed in the bullet points as though you are presenting to an audience. Use APA citations on appropriate slides. Pass Turnit in .

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The Criminal Justice System Consists of three agencies: 1. Law Enforcement (Police) 2. Courts 3. Corrections Criminal justice systems include several major subsystems, composed of one or more public institutions and their staffs: police and other law enforcement agencies;trial and appellate courts; prosecution and public defender offices; probation and parole agencies; custodial institutions (jails, prisons, reformatories, half-way houses, etc.); and departments of corrections (responsible for some or all probation, parole, and custodial functions). The Criminal Justice components create a system when they apply their functions together looking for the same objective; to enforce justice into society. Even when the components of the Criminal Justice system are working to accomplish the same objective they work in different fields and the job of each component is very different from the others. Assignment For this assignment you will provide three scenarios on how the agencies work together Resources Course resources Grading Criteria Be sure to answer questions in full. For essay or questions requiring longer answers, more is always better than less. You must have a minimum of 500 words. (This does not include re-writing the question). Lecture Notes: Effectiveness of the System Power Point Presentation Calculating Crime Rates Power Point Presentation Crimes Against Property Power Point Presentation Crimes Against Persons Uniform Crime Report National Crime Victimzation Survey (NCVS) National Incident-Based Reporting System (NIBRS) Power Point Presentation: Classical and Neo-Classical Criminology Power Point Presentation: Classical and Neo-Classical Criminology - Alternative Formats Web Link: Top 10 Pros and Cons Arguments about the Death Penalty Youtube Video: Death Penalty Documentary, Execution Tour of NC Death Row .

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The Courts and Courtroom Actors Assignment Content 1. Top of Form There are different actors in the courtroom, and each has a specific role in how a trial or session will progress. There are also differences between the federal and state courts that are important to understand. In this assignment, you will outline details about the actors in the courtroom and federal and state courts. You will gain an understanding of the courts that will prepare you to participate in the courtroom process. Imagine you are a court administrator for the local superior court. You have been asked to speak to a high school civics class. Specifically, the teacher would like you to provide a general overview of federal and state courts and discuss the primary actors in each court system. Create an 9-slide Microsoft® PowerPoint® presentation in which you: o Identify actors in the courtroom. o Who are the actors in federal courts and state courts? (Include actors the two courts have incommon and any actors who are different.) o What are their responsibilities? o Why is it important for these responsibilities to be fulfilled adequately? (Consider the effect of overzealousness compared to the effect of underperformance.) o Identify what is different between these actors in federal courts from the same actors in the state courts. o Judges o Defense attorneys o Prosecutors o Juries o Contrast federal and state (your state or the state you’re from) courts (consider creating a diagram/chart/table). o Structure o Jurisdiction o Roles of each court o Case types *Aesthetics and graphic files add great value* Include detailed speaker notes and at least 1 illustration, such as a chart, diagram, table, etc. Cite a minimum of 2 sources (one source for state courts and one source for federal courts). .

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THE CRAB CANNERY SHIP 1 "BUDDY, WE'RE OFF TO HELL!" Leaning over the deck railing, two fishermen looked out on the town of Hakodate stretched like a snail embracing the sea. One of them spit out a cigarette he had smoked down to his fingertips. The stub fell skimming the tall side of the ship, turning playfully every which way. The man reeked of liquor. Steamships with red bulging bellies rose from the water; others being loaded with cargo leaned hard to one side as if tugged down by the sea. There were thick yenow smokestacks, large bell-like buoys, launches scurrying like bedbugs among ships. Bleak whirls of oil soot, scraps of bread, and rotten fruit floated on the waves as if forming some special fabric. Blown by the wind, smoke drifted over waves wafting a stifling smell of coal. From time to time a harsh rattle of winches traveling along the waves reverberated against the flesh. 19 .. 21 KOBAYASHI TAKIJI 20 Directly in front of the crab cannery ship Hakkomaru rested a sailing ship with peeling paint, its anchor chain lowered from a in its bow that looked like an ox's nostril. Two foreign sailors with pipes in mouth paced the deck back and forth like automatons. The ship seemed to be Russian. No doubt it was a patrol vessel sent to keep an eye on the Japanese cannery ship. "I don't have a damned penny left. Shit, look:' One of the fish ermen moved closer to the other, gripped his hand and pressed it against the pocket of the corduroy trousers beneath his jacket. The pocket seemed to contain a small box. The other man silently watched his mate's face. "He, he, he:' chuckled the first man. "They're cards:' The ship's captain was smoking a cigarette and strolling along the deck like an admiral. The smoke he exhaled broke into sharp angles as it passed the tip of his nose, and flew away in shreds. Sailors draggling wooden-soled zori were bustling in and out of the forward cabins, food pails in hand. Preparations had been completed and the ship was ready to sail. The two fishermen, peering down through the hatch into workers' quarters in the dim bottom of the ship, saw a noisy commotion inside the stacked bunks, like a nest full of birds' darting faces. The workers were all boys of fourteen or fifteen. "Where're you from?" "X District:' They were all children from Hakodate's slums. Poverty had brought them together. "What about the guys in the bunks over there?" "They're from Nambu:" "And those?" "Akita:' Each cluster of bunks belonged to a different region. "Where in Akita?" "North Akita:' The boy's nose was running with thick, oozing mucus, and the rims of his eyes were inflamed and drooping. "You farmers?" "Yeah:' The air was stifling, filled with the sour stench of rotten fruit. 'ft," The Crab Cannery Dozens of barrels of pickled vegetables were stored next door, adding their own shit-like odor. "From now on you can sleep hugging your old Dad here:' smil.

THE CRAB CANNERY SHIP 1 BUDDY, WERE OFF TO HEL.docx

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The Creativity Crisis By Po Bronson and Ashley Merryman Filed: 7/10/10 at 4:00 AM | Updated: 1/23/14 at 4:19 PM http://www.newsweek.com/creativity-crisis-74665 Back in 1958, Ted Schwarzrock was an 8-year-old third grader when he became one of the “Torrance kids,” a group of nearly 400 Minneapolis children who completed a series of creativity tasks newly designed by professor E. Paul Torrance. Schwarzrock still vividly remembers the moment when a psychologist handed him a fire truck and asked, “How could you improve this toy to make it better and more fun to play with?” He recalls the psychologist being excited by his answers. In fact, the psychologist’s session notes indicate Schwarzrock rattled off 25 improvements, such as adding a removable ladder and springs to the wheels. That wasn’t the only time he impressed the scholars, who judged Schwarzrock to have “unusual visual perspective” and “an ability to synthesize diverse elements into meaningful products.” The accepted definition of creativity is production of something original and useful, and that’s what’s reflected in the tests. There is never one right answer. To be creative requires divergent thinking (generating many unique ideas) and then convergent thinking (combining those ideas into the best result). In the 50 years since Schwarzrock and the others took their tests, scholars—first led by Torrance, now his colleague, Garnet Millar—have been tracking the children, recording every patent earned, every business founded, every research paper published, and every grant awarded. They tallied the books, dances, radio shows, art exhibitions, software programs, advertising campaigns, hardware innovations, music compositions, public policies (written or implemented), leadership positions, invited lectures, and buildings designed. Nobody would argue that Torrance’s tasks, which have become the gold standard in creativity assessment, measure creativity perfectly. What’s shocking is how incredibly well Torrance’s creativity index predicted those kids’ creative accomplishments as adults. Those who came up with more good ideas on Torrance’s tasks grew up to be entrepreneurs, inventors, college presidents, authors, doctors, diplomats, and software developers. Jonathan Plucker of Indiana University recently reanalyzed Torrance’s data. The correlation to lifetime creative accomplishment was more than three times stronger for childhood creativity than childhood IQ. Like intelligence tests, Torrance’s test—a 90-minute series of discrete tasks, administered by a psychologist—has been taken by millions worldwide in 50 languages. Yet there is one crucial difference between IQ and CQ scores. With intelligence, there is a phenomenon called the Flynn effect—each generation, scores go up about 10 points. Enriched environments are making kids smarter. With creativity, a reverse trend has just been identified and is being reported for the first time here: American creativity scores are falling. Kyung H.

The Creativity CrisisBy Po Bronson and Ashley MerrymanFiled.docx

todd241

The course research paper is a formatted APA paper, double-spaced. Paper length requirement content from Title Page through References. The Final papers will contain a title page, abstract, introduction/topic paragraph, summary/conclusion, and reference page. Research paper topics can be on any course-related topic in the field of Information Technology, Governance Concepts, Strategies, and Best Practices. .

The course research paper is a formatted APA paper, double-spaced. .docx

todd241

The Course Project provides an opportunity for you to practice and apply specific project management skills learned in this course. The knowledge learned will help you to further your professional or personal goals. The title of your Course Project is the Getta Byte Software Project. The project is divided in two parts. Every week you are encouraged to complete a section of your Course Project. Part 1 is due in Week 4 and Part 2 is due in Week 8. Course Project Part 1 Cover page Table of contents Introduction Section A: The Project Charter Section B: The Stakeholder Engagement Plan Section C: The Communications Management Plan Section D: The Project Scope Statement Section E: WBS and the Project Schedule (must use MS Project) References Course Project Part 2 Cover page Table of contents Introduction Section A: The Project Charter Section B: The Stakeholder Engagement Plan Section C: The Communications Management Plan Section D: The Project Scope Statement Section E: WBS and the Project Schedule (must use MS Project) Section F: Resource Allocation and Budget Reports (must use MS Project) Section G: Risk Register Conclusion References Part 1 is section A,B,C,D,E Section A: The Project Charter For this section, you will watch the Getta Byte Software video located in the Week 1 Lesson. Populate all sections of this Project Charter Template with content related to the Getta Byte Project Charter and improve its content. There are sections in the template which are not covered in the video for which the student is still responsible to complete by elaborating and adding its missing content. Here is a list of the Project Charter Template sections. Mission or purpose Project and product description Objectives Milestones Budget User acceptance criteria High-Level assumptions High-Level constraints Exclusions and boundaries Major risks Key stakeholders Section B: The Stakeholder Engagement Plan For this section, you will watch the Getta Byte Software video located in the Week 2 Lesson and use the information in the video to complete the Stakeholder Engagement Plan Template for the Getta Byte project. Identify each stakeholder and include influence, interest, and support. Define the approach to each stakeholder or stakeholder group, communication method, and frequency. Section C: The Communications Management Plan In this section, you will create a simple communications management plan for the execution of the Getta Byte project. Complete the Communications Management Plan Template using the information in the Week 2 Getta Byte Software video. Communication vehicle Target audience Description or purpose Frequency Sender Distribution vehicle Internal or external Section D: The Project Scope Statement Populate all sections of this Scope Statement Template with content related to the Getta Byte project scope and improve its content. Watch the Getta Byte Project Scope video in the Week 3 Lesson .

The Course Project provides an opportunity for you to practice and a.docx

todd241

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