Literature review summary Assignment Example | Topics and Well Written Essays - 2500 words

Literature review summary - Assignment Example Using social media for work: Losing your time or improving your work?  Ioannis Leftheriotis and Michail N. Giannakos  2013  Computers in Human Behavior. To examine whether employees utilize social media for work purposes, what principles boost this usage, and if that utilization is linked with their performance. 1799 employees Feedback in the insurance industry was used to scrutinize the effect of social media on work.   Questioners was the method used   and the questioners were distributed in three ways: (a) Researchers visit the participants work place and give the questionnaire on printed paper. (b) Researchers send an email containing the questionnaire in an on-line form to participants from distant cities. (c)The IIS Institute holds two large conferences all over the country with people from the insurance industry; links to the online questionnaire are distributed to the conference attendees  Results confirmed that in the case of social media for work, employees make extended use of them no matter their age. We found also that both utilitarian and hedonic values influence employees to use more social media for their work, at least in the insurance sector. Last but not least, this study confirms that there is an important relation between the use of social media and the work performance  only a small number of possible motivations based on the literature or experts were exploredThe consumption of the social media has an impact on the ability of the employee. As such the use within an organization is crucial to the employer.

Latrell Sprewell :: Art

Latrell Sprewell In the event that the National Basketball Association or any specific basketball organization is forced to make an important decision they must take into account that there are many factors at play. Prior to making the decision you must consider all the possible outcomes of each solution. Recently, a professional basketball player known as Latrell Sprewell assaulted his coach physically and orally. There has been a lot of controversy over what the NBA and Golden State Warriors should do with him. Many different things would be affected by the decision that they make. The three most notable are the financial issues, the players, and the public relations. Just like any business the most important thing that they must consider is money. The financial reasons play the most dominant role in this decision. Latrell should be considered an investment, on the team's part, and the team should stick by their investment. If they suspend him, the team would have no chance of getting to the playoffs and, without the possibility of winning the basketball championship, a dramatic decrease of income happens. No matter how devoted a fan is they do not want to spend hard-earned money on a losing team. A good portion of the income from a basketball team is derived from home games. Without many fans, fewer people buy tickets and therefore, fewer people go to the games. The team gets hit hard in the financial books. Another financial issue is that a lot of companies had hired Latrell to advertise certain products for them. Is Latrell the image the retailer is looking for? If he gets suspended and no one sees him play, why would they want to purchase a pair of shoes endorsed by him? If, ultimately, the league decides on fining him, how much should they fine him for? Another issue in the financial area is the possibility that many laypersons would say, "He'll get away with it, he's rich." Is that the kind of signal that you want sent out to the American public? Another large factor is how are the players of the NBA are going to react to the decision. What are they going to think? There is always the possibility of a strike. What would happen if Latrell got kicked out of the league, and his teammates and other NBA players decided that they did not like that decision and managed to go on strike.

Creative Writing Essay

Specific poetic forms have been developed by many cultures. In more developed, closed or â€Å"received† poetic forms, the rhyming scheme, meter and other elements of a poem are based on sets of rules, ranging from the relatively loose rules that govern the construction of an elegy to the highly formalized structure of the ghazal or villanelle. Described below are some common forms of poetry widely used across a number of languages. Additional forms of poetry may be found in the discussions of poetry of particular cultures or periods and in the glossary. Sonnet Among the most common forms of poetry through the ages is the sonnet, which by the 13th century was a poem of fourteen lines following a set rhyme scheme and logical structure. By the 14th century, the form further crystallized under the pen of Petrarch, whose sonnets were later translated in the 16th century by Sir Thomas Wyatt, who is credited with introducing the sonnet form into English literature. A sonnet’s first four lines typically introduce the topic. A sonnet usually follows an a-b-a-b rhyme pattern. The sonnet’s conventions have changed over its history, and so there are several different sonnet forms. Traditionally, in sonnets English poets use iambic pentameter, the Spenserian and Shakespearean sonnets being especially notable. In the Romance languages, the hendecasyllable and Alexandrine are the most widely used meters, though the Petrarchan sonnet has been used in Italy since the 14th century. Sonnets are particularly associated with love poetry, and often use a poetic diction heavily based on vivid imagery, but the twists and turns associated with the move from octave to sestet and to final couplet make them a useful and dynamic form for many subjects.] Shakespeare’s sonnets are among the most famous in English poetry, with 20 being included in the Oxford Book of English Verse. Shi (poetry) Shi (traditional Chinese: è © ©; simplified Chinese: è ¯â€"; pinyin: shÄ «; Wade-Giles: shih) Is the main type of Classical Chinese poetry.Within this form of poetry the most important variations are â€Å"folk song† styled verse (yuefu), â€Å"old style† verse (gushi), â€Å"modern style† verse (jintishi). In all cases, rhyming is obligatory. The Yuefu is a folk ballad or a poem written in the folk ballad style, and the number of lines and the length of the lines could be irregular. For the other variations of shi poetry, generally either a four line (quatrain, or jueju) or else an eight line poem is normal; either way with the even numbered lines rhyming. The line length is scanned by according number of characters (according to the convention that one character equals one syllable), and are predominantly either five or seven characters long, with a caesura before the final three syllables. The lines are generally end-stopped, considered as a series of couplets, and exhibit verbal parallelism as a key poetic device. ]The â€Å"old style† verse (gushi) is less formally strict than the jintishi, or regulated verse, which, despite the name â€Å"new style† verse actually had its theoretical basis laid as far back to Shen Yue, in the 5th or 6th century, although not considered to have reached its full development until the time of Chen Zi’ang (661-702) A good example of a poet known for his gushi poems is Li Bai. Among its other rules, the jintishi rules regulate the tonal variations within a poem, including the use of set patterns of the four tones of Middle Chinese The basic form of jintishi (lushi) has eight lines in four couplets, with parallelism between the lines in the second and third couplets. The couplets with parallel lines contain contrasting content but an identical grammatical relationship between words. Jintishi often have a rich poetic diction, full of allusion, and can have a wide range of subject, including history and politics. One of the masters of the form was Du Fu, who wrote during the Tang Dynasty (8th century). Villanelle The villanelle is a nineteen-line poem made up of five triplets with a closing quatrain; the poem is characterized by having two refrains, initially used in the first and third lines of the first stanza, and then alternately used at the close of each subsequent stanza until the final quatrain, which is concluded by the two refrains. The remaining lines of the poem have an a-b alternating rhyme.The villanelle has been used regularly in the English language since the late 19th century by such poets as Dylan Thomas, W. H. Auden,and Elizabeth Bishop. Tanka Tanka is a form of unrhymed Japanese poetry, with five sections totalling 31 onji (phonological units identical to morae), structured in a 5-7-5 7–7 pattern.There is generally a shift in tone and subject matter between the upper 5-7-5 phrase and the lower 7-7 phrase. Tanka were written as early as the Nara period by such poets as Kakinomoto no Hitomaro, at a time when Japan was emerging from a period where much of its poetry followed Chinese form. Tanka was originally the shorter form of Japanese formal poetry, and was used more heavily to explore personal rather than public themes. By the 13th century, tanka had become the dominant form of Japanese poetry, and it is still widely written today. Haiku Haiku is a popular form of unrhymed Japanese poetry, which evolved in the 17th century from the hokku, or opening verse of a renku. Generally written in a single vertical line, the haiku contains three sections totalling 17 onji, structured in a 5-7-5 pattern. Traditionally, haiku contain a kireji, or cutting word, usually placed at the end of one of the poem’s three sections, and a kigo, or season-word. The most famous exponent of the haiku was Matsuo BashÃ…  (1644–1694). An example of his writing: Ã¥ ¯Å'Ã¥ £ «Ã£  ®Ã© ¢ ¨Ã£â€šâ€žÃ¦â€°â€¡Ã£  «Ã£  ®Ã£ â€ºÃ£  ¦Ã¦ ±Å¸Ã¦Ë† ¸Ã¥Å"Ÿç” £ fuji no kaze ya oogi ni nosete Edo miyage the wind of Mt. Fuji I’ve brought on my fan! a gift from Edo Ode Odes were first developed by poets writing in ancient Greek, such as Pindar, and Latin, such as Horace. Forms of odes appear in many of the cultures that were influenced by the Greeks and Latins.The ode generally has three parts: a strophe, an antistrophe, and an epode. The antistrophes of the ode possess similar metrical structures and, depending on the tradition, similar rhyme structures. In contrast, the epode is written with a different scheme and structure. Odes have a formal poetic diction, and generally deal with a serious subject. The strophe and antistrophe look at the subject from different, often conflicting, perspectives, with the epode moving to a higher level to either view or resolve the underlying issues. Odes are often intended to be recited or sung by two choruses (or individuals), with the first reciting the strophe, the second the antistrophe, and both together the epode.Over time, differing forms for odes have developed with considerable variations in form and structure, but generally showing the original influence of the Pindaric or Horatian ode. One non-Western form which resembles the ode is the qasida in Persian poetry. Ghazal The ghazal (also ghazel, gazel, gazal, or gozol) is a form of poetry common in Arabic, Persian, Turkish, Azerbaijani, Urdu and Bengali poetry. In classic form, the ghazal has from five to fifteen rhyming couplets that share a refrain at the end of the second line. This refrain may be of one or several syllables, and is preceded by a rhyme. Each line has an identical meter. The ghazal often reflects on a theme of unattainable love or divinity. As with other forms with a long history in many languages, many variations have been developed, including forms with a quasi-musical poetic diction in Urdu. Ghazals have a classical affinity with Sufism, and a number of major Sufi religious works are written in ghazal form. The relatively steady meter and the use of the refrain produce an incantatory effect, which complements Sufi mystical themes well. Among the masters of the form is Rumi, a 13th-century Persian poet who lived in Konya, in present-day Turkey. Genres In addition to specific forms of poems, poetry is often thought of in terms of different genres and subgenres. A poetic genre is generally a tradition or classification of poetry based on the subject matter, style, or other broader literary characteristics. Some commentators view genres as natural forms of literature. Others view the study of genres as the study of how different works relate and refer to other works. Narrative poetry Narrative poetry is a genre of poetry that tells a story. Broadly it subsumes epic poetry, but the term â€Å"narrative poetry† is often reserved for smaller works, generally with more appeal to human interest. Narrative poetry may be the oldest type of poetry. Many scholars of Homer have concluded that his Iliad and Odyssey were composed from compilations of shorter narrative poems that related individual episodes. Much narrative poetry—such as Scottish and English ballads, and Baltic and Slavic heroic poems—is performance poetry with roots in a preliterate oral tradition. It has been speculated that some features that distinguish poetry from prose, such as meter, alliteration and kennings, once served as memory aids for bards who recited traditional tales. Notable narrative poets have included Ovid, Dante, Juan Ruiz, Chaucer, William Langland, Luà ­s de Camà µes, Shakespeare, Alexander Pope, Robert Burns, Fernando de Rojas, Adam Mickiewicz, Alexander Pushkin, Edgar Allan Poe and Alfred Tennyson. Epic poetry Epic poetry is a genre of poetry, and a major form of narrative literature. This genre is often defined as lengthy poems concerning events of a heroic or important nature to the culture of the time. It recounts, in a continuous narrative, the life and works of a heroic or mythological person or group of persons.] Examples of epic poems are Homer’s Iliad and Odyssey, Virgil’s Aeneid, the Nibelungenlied, Luà ­s de Camà µes’ Os Lusà ­adas, the Cantar de Mio Cid, the Epic of Gilgamesh, the Mahabharata, Valmiki’s Ramayana, Ferdowsi’s Shahnama, Nizami (or Nezami)’s Khamse (Five Books), and the Epic of King Gesar. While the composition of epic poetry, and of long poems generally, became less common in the west after the early 20th century, some notable epics have continued to be written. Derek Walcott won a Nobel prize to a great extent on the basis of his epic, Omeros. Verse drama and dramatic verse, Theatre of ancient Greece, Sanskrit drama, Chinese Opera, and Noh Dramatic poetry is drama written in verse to be spoken or sung, and appears in varying, sometimes related forms in many cultures. Greek tragedy in verse dates to the 6th century B.C., and may have been an influence on the development of Sanskrit drama, just as Indian drama in turn appears to have influenced the development of the bianwen verse dramas in China, forerunners of Chinese Opera.East Asian verse dramas also include Japanese Noh. Examples of dramatic poetry in Persian literature include Nizami’s two famous dramatic works, Layla and Majnun and Khosrow and Shirin, Ferdowsi’s tragedies such as Rostam and Sohrab, Rumi’s Masnavi, Gorgani’s tragedy of Vis and Ramin, and Vahshi’s tragedy of Farhad. Satirical Poetry Poetry can be a powerful vehicle for satire. The Romans had a strong tradition of satirical poetry, often written for political purposes. A notable example is the Roman poet Juvenal’s satires.[128] The same is true of the English satirical tradition. John Dryden (a Tory), the first Poet Laureate, produced in 1682 Mac Flecknoe, subtitled â€Å"A Satire on the True Blue Protestant Poet, T.S.† (a reference to Thomas Shadwell).Another master of 17th-century English satirical poetry was John Wilmot, 2nd Earl of Rochester.Satirical poets outside England include Poland’s Ignacy Krasicki, Azerbaijan’s Sabir and Portugal’s Manuel Maria Barbosa du Bocage. Lyric poetry Lyric poetry is a genre that, unlike epic and dramatic poetry, does not attempt to tell a story but instead is of a more personal nature. Poems in this genre tend to be shorter, melodic, and contemplative. Rather than depicting characters and actions, it portrays the poet’s own feelings, states of mind, and perceptions.Notable poets in this genre include John Donne, Gerard Manley Hopkins, and Antonio Machado. Elegy An elegy is a mournful, melancholy or plaintive poem, especially a lament for the dead or a funeral song. The term â€Å"elegy,† which originally denoted a type of poetic meter (elegiac meter), commonly describes a poem of mourning. An elegy may also reflect something that seems to the author to be strange or mysterious. The elegy, as a reflection on a death, on a sorrow more generally, or on something mysterious, may be classified as a form of lyric poetry. Notable practitioners of elegiac poetry have included Propertius, Jorge Manrique, Jan Kochanowski, Chidiock Tichborne, Edmund Spenser, Ben Jonson, John Milton, Thomas Gray, Charlotte Turner Smith, William Cullen Bryant, Percy Bysshe Shelley, Johann Wolfgang von Goethe, Evgeny Baratynsky, Alfred Tennyson, Walt Whitman, Louis Gallet, Antonio Machado, Juan Ramà ³n Jimà ©nez, William Butler Yeats, Rainer Maria Rilke, and Virginia Woolf. Fable The fable is an ancient literary genre, often (though not invariably) set in verse. It is a succinct story that features anthropomorphized animals, plants, inanimate objects, or forces of nature that illustrate a moral lesson (a â€Å"moral†). Verse fables have used a variety of meter and rhyme patterns. Notable verse fabulists have included Aesop, Vishnu Sarma, Phaedrus, Marie de France, Robert Henryson, Biernat of Lublin, Jean de La Fontaine, Ignacy Krasicki, Fà ©lix Marà ­a de Samaniego, Tomà ¡s de Iriarte, Ivan Krylov and Ambrose Bierce. Prose poetry Prose poetry is a hybrid genre that shows attributes of both prose and poetry. It may be indistinguishable from the micro-story (a.k.a. the â€Å"short short story†, â€Å"flash fiction†). While some examples of earlier prose strike modern readers as poetic, prose poetry is commonly regarded as having originated in 19th-century France, where its practitioners included Aloysius Bertrand, Charles Baudelaire, Arthur Rimbaud and Stà ©phane Mallarmà ©.Since the late 1980s especially, prose poetry has gained increasing popularity, with entire journals, such as The Prose Poem: An International Journal,Contemporary Haibun Onlinedevoted to that genre. Speculative poetry Speculative poetry, also known as fantastic poetry, (of which weird or macabre poetry is a major subclassification), is a poetic genre which deals thematically with subjects which are ‘beyond reality’, whether via extrapolation as in science fiction or via weird and horrific themes as in horror fiction. Such poetry appears regularly in modern science fiction and horror fiction magazines. Edgar Allan Poe is sometimes seen as the â€Å"father of speculative poetry†.

Gambling Outline Essay - 912 Words

Nick Cortese Research Outline Gambling Thesis: Gambling in society has detrimental effects to people in United States. Topic: I. There are certain types of gambling that people should be aware of. A. Gambling is any bet you make that involves chance, a stake, and there is a pay-off. â€Å"Here is the definition of gamble – to play at any game of chance for stakes, to bet on an uncertain outcome† (Brown). â€Å"The following three elements must be present for something to be defined as gambling: a pay-off, the element of chance, and the stake risked by the bettor† (Brown). B. Many events could be considered gambling, but the most popular form of gambling is lotteries. â€Å"Some types of†¦show more content†¦House of Representatives committee on Small Business, for every $1 the state receives in gambling revenues, it costs the state at least $3 in increased criminal-justice, social-welfare and other expenses† (Brown). B. Even though gambling brings in revenue to the state government, the government doesnt help the public when they use the revenue. â€Å"Critics argue that U.S. states should not encourage their residents to waste money on lottery games† (Update: Lotteries). â€Å"Also, critics maintain that lottery revenues do not significantly improve the quality of eduation in most states, and are often diverted to unknown or wasteful purposes† (Update: Lotteries). C. The revenue earned from gambling and lotteries just substitutes the funds for education so the money doesnt add to the education funds. â€Å"In many cases, they argue, lottery proceeds merely replace – rather than supplement – money that states had already earmarked for education† (Update: Lotteries). â€Å" [State] legislators merely substitute general revenue funds with lottery dollars, so the schools dont really gain any additional funding, says O. Homer Erekson† (Update: Lotteries). Topic: III. 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