Best Writer

Must write about 3 literary devices embedded in the play of the Glass Menagerie along with those devices need to be a valid critism for each. There also needs to be 1 real life issue mentioned in the paper that can be backed up by a criticism as well

Prepare a brief questionnaire (15 questions: 5 nominal, 5 ordinal, 5 interval level variables) to study perceptions of crime near John Jay. Include questions asking respondents to describe a nearby area where they either are afraid to go after dark or think crime is a problem.
Operationalize each question/variable (list the attributes of the variable, aka answers). How you ask a question and operationalize it determines the level of measurement.
Indicate the codes you would utilize to input the data collected from administering these surveys into a statistical program like SPSS . So, numbers associated with the available responses.
A sample of a survey which includes operationalized variables and coding is attached.

You are required to write a two-page report on the following based on the approaches.
Branding occurs in multiple areas within the sports ecosystem. In professional sport, brand is important as it give a professional sport club _______. ⇐ Choose the correct answer from the options below. Support your response in the report with examples and concepts outlined in what has been covered so far in the coursework – especially when it comes to sports business management and decision making.
(a) A creative color scheme
(b) The best mascot possible
(c) A positive image
(d) The ability to differentiate from their competition

Essays should be not more or less than 2,250 – 2,500 words in length (not including citations) (approximately 10-12 pages not including your title page and bibliography and appendix if any.) Standard (Arial or Times New Roman type fonts) 12 pt font, cursive or non-cursive, black, double spaced text, standard 2.5 cm margins, 11” X 8 ½”. Pages must be paginated and submitted with a cover page containing no art or decorative elements. The cover page must have: your name, student number, course number, and essay title and the number of words (not including citations.) Essays not conforming to these standards will not be accepted and late penalties will be imposed until the essay is resubmitted in the required format.
Essays must be based on a minimum of seven academically acceptable sources (not including course texts but seminar readings are acceptable), and should not include, encyclopedias, textbooks, or general or popular histories, or unapproved websites as described above in Part 1.
Any relevant images, maps, graphs included in the essay are to be placed into an Appendix at the back.
The essay should have a single descriptive title or a creative title with a descriptive subtitle. For example: Generals in Blue: Lives of the Union Commanders or The Architect of Genocide: Himmler and the Final Solution, etc. “History Essay” is not a title. Marks will be deducted for essays submitted without a title and/or title page.
Any essay not conforming to the above standards will be penalized.
Reference Citations (read carefully)
A history essay is like a courtroom argument—it is based on the presentation of proof conforming with the rules of evidence in an expositive argument. The way hearsay is not admissible in court, Wikipedia for example, is likewise not admissible as evidence in historical discourse. Just as court evidence is presented in a disciplined system: Exhibit A, Exhibit B, Exhibit C, etc, in the written historical argument, the Chicago Style footnoted citation is used to lead and guide the reader through the evidence backing the persuasive discourse of the text above it.
Why Chicago Style Footnotes? See: Yale University Why Are There Different Citation Styles
Many of the journal readings in this course will be using Chicago style citations and are appropriate models for the citation style required for your essay.
Essays must have a bibliography and have footnoted citations in the Chicago style (at the bottom of the page). Parenthetic in-text or inline style citations (APA for example) are not unacceptable for a history essay. A well-researched essay integrating multiple sources into its argument contains on average four to six citations per page — approximately 40 to 60 citations per essay. However, keep in mind this is only a ‘rule of thumb’ average, and the number of citations is variable essay to essay, depending upon the topic and density of sources and your essay text.

Citations are not included in the word count and when you use MS-Word word count in the Review tab to determine the word length you must indicate on the front cover, you have an option to exclude footnotes from that count.
As a general rule, references should be given for direct quotations, summaries or your own paraphrases of other people’s work or points of view, and for material that is factual, statistical, controversial, assertive or obscure. You must cite more than just direct quotes. WHEN IN DOUBT, IT IS BETTER TO PROVIDE A REFERENCE. You do not need to cite items of general knowledge like, for example: water is wet, fire is hot, the sun rises in the east or Elizabeth II is the Queen of England.

The footnote citation needs to reference the specific page or one or two pages at which the material you are citing appears – and not the entire page range of the source article. The only time you cite the source article page range is in the initial first Chicago citation of a source, which will also in addition to its page range, include the specific page number within that page range, or on rare occasions when referring generally to an overall thesis or argument of a source article, rather than any specific evidence in it that you are drawing from. Most of your citations will be specific page citations.
Essays submitted without specific page references in each citation will be automatically failed without any further opportunity to resubmit. Chicago style footnotes are the only citation style accepted.
Basically, the first citation of a source should have the full bibliographical data in it, while in subsequent references to that source, just the name of the author and page number(s) will suffice. (If more than one source by the same author is used, then include the title as well.) This is an example of the basic required style for citations which are to inserted at the bottom of each page:
1 Jane Doe, The ABC’s of History (Toronto: Ontario Publishers, 1997), pp. 20-21
2 Jane Doe, p. 43
To create numerically sequential footnotes in current versions of MS WORD go to the “References” ribbon and select [Insert Footnote]; in earlier version of MS WORD, go to the “Insert” menu and then select [Footnote]. The citations should be formatted to “Arabic numerals (1,2,3, etc.)”
It is not necessary to use archaic citation terms like ibid or op cit. and they are even discouraged as word processing drag or cut-and-paste editing can easily displace the logic of these citation terms as you edit your work.
Titles of books are to be put into italics or underlined. Journal article titles are put in “quotation marks” while the journal titles are in italics or underlined. See the below webpages for further details and formats as to how to cite journals, multiple authors, collections, etc. or search “Chicago style footnotes” on Google.]

This week you will be searching the internet for two resources that add to your understanding of the lesson material in chapter 1 of your textbook by Chase on Demystifying Demand Forecasting. Use the template attached to this assignment for your submission. Start your search by first listing key search terms you will use to locate two resources for this essay. Then, search in YouTube, Google, Bing, or any other search engine for a resource that adds to your knowledge of forecasting. Do not source “for-purchase options” such as consultancies or statistical software. As an example, you could source a YouTube video that expands your understanding of the basics of forecasting demand from either the demand or supply side. You will have four sections in this 1000-word paper.
Overview of subject(s) searched for including key-terms used to search
Resource 1: Hyperlink the title of the resource, then complete a thorough review of the content
Resource 2: Hyperlink the title of the resource, then complete a thorough review of the content
Summarize what you learned that added to your understanding of forecasting

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Part ONE. Write a PROPOSAL (short form) for your paper. Click on the “proposal” link above for the full assignment.

A well-done proposal shows that you have done a third to a half of the work on your paper.
This is why it’s weighted as half of your term paper grade.
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CLICK ON THIS LINK for a full description of the proposal, and for further guidance. Please note that you won’t be able to do the assignment well unless you study the full description of the proposal. So:
.CLICK ON THIS LINK!
be sure that your bibliography is solid.
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Your Bibliography must have at least FIVE sources IN ADDITION TO the work(s) of art you will be discussing.ITo give you a solid foundation in your chosen area of study, at least THREE sources in your Bibliography must be BOOKS.
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For assembling the Bibliography I will require you to follow the methodology outlined on the Research Strategy page of the Art History Resources site that I built for my students. For some, this will be comfortably familiar. For others there will be a learning curve.
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Please remember that a Bibliography consisting entirely (or almost entirely) of short articles is inappropriate, as your paper will teeter on a very narrow foundation. So, books must be a substantial part of your bibliography–at LEAST three.
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Please also remember that the proposal MUST be submitted more or less on time: Except in cases of a student needing to elect a grade of Incomplete (which gives an extension to complete the semester’s work) I will not accept a proposal that’s submitted just before the end of the semester, close to or at the same time as you submit your term paper. You must give me time to respond to your proposal with feedback.
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The proposal will be half the grade of your term paper, or 15% of your semester grade. Here is how each section of your proposal will be weighted:
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Problem statement = 30%
Statement of why you chose your topic = 20%
Outline = 20%
Annotated Bibliography = 30%

Each percentage budgeted for each part of the proposal will include a few points for self-assessment questions, which will provide immediate feedback for errors that are most common. This will facilitate your making corrections before you submit your proposal, and will give you a much better chance of earning a higher grade than you otherwise might earn.
You will be submitting your Proposal on Blackboard. Please check the class calendar for deadlines.
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Please note that you must submit your proposal in TWO FORMATS:
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1.) A file submitted to a Turnitin assignment (to discourage the re-cycling of proposals from earlier semesters), and
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2.) Your proposal submitted in a Quiz / Worksheet format. I will check the Turnitin report, then will grade and give feedback on your proposal submitted in the Quiz / Worksheet format.

The Quiz / Worksheet format

a) Ensures that you attend to all the parts of the proposal,

b) Has built-in feedback to guide you. Please read and think about this feedback, and revise your proposal as is appropriate.

c) Streamlines grading and giving individual feedback.
Please keep in mind that if you submit your propsal to the Turnitin assignment only, I will not accept it for awarding a grade any higher than one point.
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There will be an opportunity to submit a first draft of your proposal for my review and feedback, but this must be submitted by the deadline stated in the syllabus and class calendar.

i have picked some sources that can be used
Celenza, Christopher S. “Ideas in Context and the Idea of Renissance Philosophy.” Journal of the History of Ideas, vol. 75, no. 4, University of Pennsylvania Press, 2014, p. 653–.

Kastner, Victoria., and Victoria. Garagliano. Hearst Castle : the Biography of a Country House / Victoria Kastner ; Principal Photography by Victoria Garagliano ; Foreword by George Plimpton. H.N. Abrams, 2000.

Jurdjevic, Mark. “A Renissance of Conflicts: Visions and Revisions and Revisions of Law Society in Italy and Spain.” The Sixteenth Century Journal, vol. 36, no. 2, Sixteenth Century Journal Publishers, Inc, 2005, p. 533–.

Challenges facing crime scene investigation and crime scene investigators, including; new techniques and technology, methodology, complex scenes and evidence, legal issues, and ethics.Discuss

[Raise curtains, revealing the ancient Greek city of Thrace. Grecian citizens are dancing in their togas, tables are adorned with grapes and bread, and musicians play their lyres for the crowd.]
NARRATOR: The music from Thrace could be heard miles away from town, but one musician’s tune sang above all the melodies and rhythm from the city. [Enter ORPHEUS.] It was Orpheus, son of Apollo, who was celebrating his wedding to the lovely Eurydice, daughter of Apollo [Enter EURYDICE], who had fallen for Orpheus’ musical talent and noble heart.
[The citizens of Thrace danced in the night to the blissful sounds of Orpheus’s lyre.]
[EURYDICE spins into the center of attention, dancing in a dress of orange and brown that resembles the fall leaves upon the trees of Thrace.]
EURYDICE: [Twirling closer to Orpheus.] Orpheus, play my favorite song again!
ORPHEUS: [Sitting atop a tree overseeing the wedding.] Anything for my love! My music is better when I am with you!
NARRATOR: They were the happiest newlyweds of Thrace. Until the hunter Aristaeus arrived.
[Enter ARISTAEUS. He watches EURYDICE from afar and marvels at the beauty of her dance.]
[Later, EURYDICE goes with her bridesmaids to frolic in the forest. ORPHEUS notices them go, waves to her, and continues to play songs with his fellow men.]
[EURYDICE celebrates with her bridesmaids for some time. Finally, the bridesmaids transform back into forest spirits, and they disappear into the forest. EURYDICE begins to return.]
EURYDICE: [Humming to herself as she marveled at the beauty of the trees.]
[Enter the hunter, ARISTAEUS.]
ARISTAEUS: I’ve never seen such beauty as yours before.
EURYDICE: [Caught off-guard.] Who are you? Reveal yourself to me!
ARISTAEUS: It is I, Aristaeus son of Apollo, and Greece’s greatest hunter.
EURYDICE: [Eyebrows furrowed] What do you want, Aristaeus?
ARISTAEUS: I am going to take you as my bride! A hunter needs a beautiful bride.
EURYDICE: [Defiantly.] You cannot. I am married to Orpheus.
ARISTAEUS: I can provide more for you than just music. I can provide food and protection.
EURYDICE: His song is all I need!
[EURYDICE turns away. ARISTEUS attempts to grab her.]
NARRATOR: But Aristaeus wasn’t willing to take “no” for an answer. He lunged at Eurydice, who seized her chance to flee on foot. Yet Eurydice was far swifter than Aristaeus, and she outran him. Alas, when Eurydice finally stopped under a weeping willow to catch her breath, a venomous serpent was there waiting for her, and she was bitten. [EURYDICE falls dramatically.]
[Enter ORPHEUS from the opposite side.]
NARRATOR: Orpheus went searching for Eurydice when she did not return, and he found her lifeless. The newly-wed was utterly distraught, his grief was overwhelming! He mourned all night.
ORPHEUS: I cannot go on any longer without Eurydice! My life is as good as forfeit. If only I had one more chance to see Eurydice, then I would go even as far as the Underworld itself. Such an act of defiance against the gods – to see Eurydice again, it is the least I could do!
[ORPHEUS picks up his lyre.]
NARRATOR: So Orpheus descended down into the Underworld [dim lights, enter Charon and his rowboat], where he met the citizens of the land of the dead. He convinced Charon, the ferryman of the dead, to row him across the River Styx.
[ORPHEUS plays his lyre and steps into the boat. He sings a sorrowful song as the Charon rows him across the Styx. Enter CERBERUS, teeth gnashing, guarding the gates to the deep Underworld.]
NARRATOR: He then encountered the three headed beast, Cerberus, whose maws drooled with hunger. But when Orpheus played the most soothing tune, the beast was soon in a deep slumber. [CERBERUS sleeps.] Orpheus entered the hall of the god of the Underworld and encountered its ruler, Hades.
[ORPHEUS walks into the dining hall of the lord Hades. HADES sits at the end of a long table, the goddess of spring PERSEPHONE seated at the opposite side. Their night of dining on wine, pomegranates, olives, and semolina bread with tzatziki sauce is interrupted.]
HADES: [Standing, outraged.] Who are you? No living spirit is allowed to enter into my realm!
ORPHEUS: [Stepping forward, tossing his hand across.] It is I, Orpheus! I have come to plead for Eurydice. It was not her time to go. Her death was an accident, and I am here to return her spirit to the World of the Living.
HADES: [Shaking his head] Eurydice belongs to me. She died, and she will remain in the Underworld for eternity. You will see her again when your spirit arrives – without your body.
ORPHEUS: But our love was special. Our lives were just beginning. You would not know!
HADES: [Furiously tossing his chalice aside, his eyes ablaze.] You are not even a god. You –
PERSEPHONE: [Gently lifting her hand against Hades] Young man, you will never change Hades’ mind. This is his reign. You must move on without your Eurydice.
[ORPHEUS weeps and falls to his knees. He picks up his lyre and plays a song in memory of Eurydice. It is at first filled with hope and wonder, and then it turns to despair. HADES and PERSEPHONE look on in awe. Tears pour from PERSEPHONE’s eyes as the song reminds her of the love and joy she once felt.]
PERSEPHONE: [Crying] His music is so evocative. Though he is mortal, his gift is special. Hades, allow Orpheus to reunite with his wife! No living heart should be this burdened. He should leave with his beloved.
HADES: [Reluctantly. Glaring at ORPHEUS.] If my wife asks for it, then I will grant it. Orpheus, you may take Eurydice back with you to the as you ascend to the World of the Living, but under one condition! You must not look upon Eurydice, who will travel behind you. If your heart ever wavers and you so much as glance at her, then her soul will be locked within the Underworld eternally, and you shall never see her again – even unto death.
ORPHEUS: [Stopping his music on the lyre.] I accept your conditions!
HADES: [Smiling challengingly.] Then be off with you. Remember, don’t turn around even once!
PERSEPHONE: [Frowning in worry.] Be steadfast, young man.
[ORPHEUS turns and walks out of the dining hall. He continues to walk, lyre in hand, with his eyes bold with courage.]
NARRATOR: So Orpheus, with a strong heart, began to travel upwards to the World of the Living. He climbed up many stairs for many hours, but he couldn’t hear Eurydice behind him.
NARRATOR: Past the deathly caves he went, and he passed the sleeping beast Cerberus. However, he still could not hear Eurydice.
[ORPHEUS’ eyes become less determined. A frown forms on his face.]
NARRATOR: Orpheus began to wonder if Eurydice was truly behind him or if this was a trick by Hades to send him away. He could not leave without Eurydice. Yet he knew that if he broke his promise to Hades, she would be lost forever.
[Enter CHARON and boat. ORPHEUS steps onto the boat and leaves enough space for Eurydice. ORPHEUS and CHARON are visible in the spotlight; the back of the boat is not. ORPHEUS closes his eyes, yet he hears nothing and does not feel the shake of the boat. CHARON begins to row. As ORPHEUS reaches the other side, he steps off, sobbing.]
NARRATOR: When Orpheus finally was about to take the last steps to return to the world of the living, he took a brief pause. His heart was in tatters with longing. He listened closely for Eurydice’s footsteps, or her breathing. He heard neither. He did not want to leave the Underworld alone, so he tilted his head and took the faintest, faintest peek behind him.
[Show spotlight upon EURYDICE, who has been present. Her eyes widen with myriad emotions. Eyes tearing, she reaches out her arms and smiles.]
EURYDICE: [Drifting back away from Eurydice, mouthing the words as no sound comes out of her] I love you forever, Orpheus.
NARRATOR: The lovers shared one last second of each other’s presence, but Hades’ deal was final.
ORPHEUS: [Scrambling to reach his lover] Eurydice, wait!
[EURYDICE suddenly falls through the earth into the depths of the Underworld forever. ORPHEUS lunges for her but grabs nothing in his hands.]
ORPHEUS: [Scratching at the rock of the Underworld] No! [Tearing at his hair foolishly.]

Part 1– Religious Issue–Explain in Detail (depth/clarity) be sure to cite Valid references or resources and proper citation through paper–Discuss how the issue is related to other existing issues–
Part2– discuss your opinion or core belief in this issue and the implications of this issue in American society (or global context)

Please write a four to five-page paper that answers one of the following two-part questions using
evidence from this primary source (Andrey Kurkov’s Death and the Penguin(1996)) and, where warranted, Lovell’s and Kotkin’s texts, or the
documentaries we’ve watched and lectures we’ve heard. The latter may be cited, for example, as
(Blackwell, 3/22).
PLEASE! Focus on using information ONLY from the sources I have stated, I have had a few writers use articles they find online and that gets
bad grades and WILL NOT WORK! Please stick to the sources I state. Thank you to whoever does the work and please communicate with me.
You can ignore the discussion questions on the second page of the assignment if you would like or you can use them as help in a direction of
the sense of the book.