Friday, September 6, 2019
Practical Play Analysis Essay Example for Free
Practical Play Analysis Essay Theme/Vision Guan Hanqing’s Snow in Midsummer centers on the idea of social injustice and human suffering particularly the unfair treatment of poor people during the Chinese Golden Era. The play must transcend a great sense of oppression as intended by its playwrights to reflect the dark side of the society they were in, as the main character (Dou E) leaves a horrifying curse as her unjust death served as a living proof of how under-class people like her are taken for granted and are short-lived despite living a virtuous life while the evil ones prevailed. This issue still continues in the modern world so it is important that the story lives up to its purpose of making the audience reflect on the existence of tyranny in the society and what should be done in order to put an end to it. Every main character’s role should be well emphasized in order to make the message of the story more understandable. The characters must be very much convincing to the extent that they are almost taking the audience back to Yuan Dynasty. An article made by Huo Jianyi, Yuan Dynasty Zaju, tells about how Guan Hanqing himself gave up his profession of being a doctor and chose to serve the public by writing plays that exposed the dark side of the society, particularly the indulgence in wine and women as a way of life especially for the Yuan rulers. He and his fellow playwrights used their talents and knowledge in exposing tyranny and through their theatrical creations, spoke on behalf of the suffering masses despite the Yuan rulers forbidding it. The success of this play will be achieved if the same fiery passion is justified by the characters. Stage Type and Settings The play is artistic therefore it would be ideal to use a proscenium or picture frame stage. It is not necessary to use a traditional proscenium stage with its common features like a large archway near the stage front or a curtain in order to close it during act or scene breaks. It is enough that the stage is raised several feet enough for the audience to see the view of the play while directly facing it (â€Å"Stage:†Wikipedia). As the Snow in Midsummer is a classic play based on a Han Dynasty folk tale (although popularized in the Yuan Dynasty), the prevailing theme should be based on the said period. The backdrop must contain both unique and artistic images depicting a usual old Chinese scenario like that of a painting. Images of courtyard houses should be used. These residences would represent the different social status that coexisted in that period. Based on Spiro Kostof’s A History of Architecture, traditional Chinese courtyard houses (such as the siheyuan) is composed of several individual houses around a square, where each house is owned by a different member of the family. Aside from this, more houses can also be constructed for additional family members that need to be accommodated. There must be a strong sense of tranquility and privacy which should prevail and be maintained despite strong and loud scenes in the play. Garden and water is also a usual feature with these residences. The outermost part of these residences is where strangers are entertained while the innermost one is set apart for intimate friends and family members of the owner. Since the title of the play contains the word snow, then winter is another requirement for the play, in fact for almost the entirety of the play. This should allow an atmosphere of gloominess to dominate the stage, making the literal coldness of winter almost felt and intensified by the cold hearts of the villains in the play. The snow plays a critical part in this and it should fall dramatically on stage with the proper sad music background going with it.            Last but not the least, there must be flowers included. They should either be illustrated in the backdrop as part of the stage props. Flowers have been a great part of Chinese art just like the dragon and bird illustrations they use in their antique porcelains. As a whole, the entire stage must become a big canvass of living Chinese art. Stage Directions            The director is responsible for bringing out the good quality of the characters’ acting and the stage production. Therefore he must be focused and fully aware of the background of the play so as to properly angle it. Directions are made up of details being heard and seen by the audience. These should be explained well in the script so as not to confuse the director, the actors or even the designers. The three kinds of stage directions must be considered, namely: (1) scene directions, (2) staging directions, and (3) character stage directions. In the script, scene directions are indented at a measurement of 3.5 inches from the left side of the margin and 1 inch from the right. This indicates the fundamental place and time of the scene with details of the events on stage as the lights come up or become dim (â€Å"How to Format a Stage Play†). Let us take scene one, act one of the play Snow in Midsummer as indicated in the script:                                                                                    SCENE ONE (The period was between 1279-1368 A.D. In a typical Chinese village lives MISTRESS CAI, a widow, who appears on stage with a sign of great anticipation on her face. She paces at the center of the stage in her long, loose gown with wide sleeves and narrow cuffs. Then she faces the audience with the same facial expression.) Second is the staging directions. This contains the description of a certain scene such as the entrance, exit, and struggles of characters on stage, as well as the changes in lighting effects or musical background. MRS. CAI: Where? (The Doctor strangles the widow with the rope. Enter Old Zhang and his son Donkey. As they rush forward the Doctor takes to his heels. Old Zhang revives Mistress Cai.) DONKEY: Its an old woman, dad, nearly strangled to death. Last would be the character stage directions. These are short descriptive lines in parenthetical form sometimes placed under the name of the character. This shows the appropriate body language while delivering a certain line (â€Å"How to Format a Stage Play†). This particular direction puts more identity on acting. Here is another example. MRS. CAI (crying): Ah, poor child! How am I going to break this to you? Make up The characters’ makeup for the Snow in Midsummer need not look like that from a Chinese opera although it may be elaborated to reflect its rich culture. It must enhance their acting and facial expression. A kabuki effect is suggested if the production team would like to add a little animation to it and lessening its tragic base. Dou E and Mistress Cai’s makeup may use thick foundation with a rosy base to show femininity. However the application must be heavier on Mistress Cai to distinguish her age along with some fake wrinkles. The eyebrows must be enhanced with a thick black color while the lips are pouty and deep red. As for the elder male actors (Doctor Lu, Dou Tianzhang, and Old Chang), a yellow base makeup can be used contrasted with a thick pink blush on. The eyebrows may also be enhanced however for the male antagonist (Donkey Chang), eye brows should be enhanced with an upward effect at both ends. Once again the appearance of wrinkles should distinguish ages. Basic Pointers for applying stage makeup According to Kate Hillard on her article Application of Stage Makeup, makeup is often applied on thick layers. Unlike the movies where the camera can focus on the actor’s face, audiences cannot afford to this kind of facility on stage plays. The makeup used for the Snow in Midsummer should be elaborate and bright especially with characters representing the high-class society. There may also be gradual moderation of the makeup for the middle and lower class members but the artist must make sure that it is enough in maximizing the actor’s emotions on stage. Sometimes even the dark layers of makeup disappear on the glaring lights. A thick, heavy cream foundation should be applied first which be a little bit darker than the skin tone. The placing of foundation should be started on the forehead and blended well up to the hairline after which the remaining of the face is covered together with the ears, eyelids, and neck as if this is the actors’ true complexion. The neck application should also be blended well so as not to create a mask-like appearance. When it comes to male actors, foundation is applied on the entire neck and back sometimes but this can appear messy. Following the general foundation, a lighter color is placed over the shadows under the nose and on the chin. When the foundation is done, the blush would follow. A rosy color is used for the female actresses but this should be applied on a lesser degree with male actors. It is spread over the cheekbone and about halfway down the cheek mixing it with a down and up motion. A naturally rosy tone is needed for male actors while it should be darker for the females enough to maintain its visibility on stage especially under the hot lights. Blush must also be placed over the nose and forehead where it is very slightly blended. The most difficult part would be the eye makeup. A very white â€Å"highlighter†is first placed along the brow bone (right underneath the eyebrow) and under the eye. The makeup artist should make sure to give the surrounding eye areas a lightened appearance without leaving white smears. Following this, an eye makeup should be placed just above the eyelid, below the brow bone, and also beneath the eye which should be a little darker than skin tone. This should be topped with an even darker color along the eyelid top through a downward blending which can also be used as an eyeliner especially with male actors. For women, an even darker and rosier tone that gives the appearance of a natural eye shadow should be placed over. It should however be more recognizable on stage and should be placed a little above the eyebrow. A less rosy color is recommended for male actors though not required. Furthermore, a dark brown or similar-colored eye lining is placed. Black color is to be used for dramatic roles that need wild makeup. Lastly, mascara is placed on top of the lashes. In order to avoid or lessen the errors of putting mascaras, it is suggested to make the actor blink after putting the wand on his/her lashes. Following the eye makeup is the simpler part of putting on the lipstick. A color that is a little darker than the usual lip color is used for male actors and should be matched with a lip liner. Either can go first depending on the actor’s or makeup artist’s preference. The liner should be placed on the outside of the lips and not on the natural line otherwise this will obviously look fake. It can also be applied all over the lips to make it last better and longer. A dark lipstick should be applied enough to be seen from the stage even if it looks like a Halloween makeup up close. It goes otherwise with male actors who should slightly be more natural even on stage. Last but not the least would be the loose powder. Before it is applied over the face, dip a large brush unto a powder container then shake it to get most of the powder off in order to avoid leaving white smears over the makeup and therefore ruining it. Loose powder is for holding the actor’s make up even when they are sweating. Costumes Costumes are very important. They help audiences identify and understand the actor’s character and social rank as well as his traits and gender. The style and color would greatly suggest the occasion happening on stage. Colorful clothes and elaborate makeup may bring more life to Snow in Midsummer as this pertains to rich Chinese culture. The main character, Dou E, may use the traditional Ruqun which is used by ordinary women during the Yuan Dynasty. This is made up of an upper jacket and lower skirt. The jacket is made of a red marten or sheepskin garment with loose sleeves and gray collars and cuffs. This is tucked below a maroon skirt with a gray sash accent to maintain its simplicity. The same type of robe costume may be used by the widow, Mistress Cai as they do not necessarily belong with the Mongolian Aristocrats who wore cur coats and fur caps. Their costumes must reflect their lifestyle and their role enough to bring out the emotion from the audience, however they should not look like paupers but more like average Chinese people however obviously struggling to maintain their dignity. However, after her execution, Dou E’s costume must change to loose, ghostly white robe with its light fabric. The red smear of blood from the execution must appear on the cloth as well. The male actors may use the Yiseyi or Zhisunfu garments where upper and lower short garments were put together while adding folds to the waistline. Furthermore, big beads were hung on shoulders and the back. The garments can either be course or of fine quality depending on the social rank the actor is representing (â€Å"Costume in the Yuan Dynasty†). Donkey Chang and Old Chang may use costumes may use colors that shows a status that is more advantages compared to Dou E and Mistress Cai, however not as luxurious as an upper aristocrat. Donkey Chang’s costume must be provoking and reflective of his selfish being. Of course the apparent hairdo must not be forgotten. For male actors, it should be the traditional snail-head, seated Buddha feature. As for females actors (Dou E and Mistress Cai), the hair must be long with the upper portion tied and placed with some simple white floral accents. Mrs. Cai’s hair must be all brushed up however with a bulky onion bulb appearance. Lighting This is perhaps the counterpart of camera trick. One of the things that make stage plays breath-taking is the lighting effect. In fact thanks to modern-day stage lighting, audiences now are able to afford richer visibility of the entire play, thus connecting more with the intense emotions of the actors. A careful outline of Bill William’s Stage Lighting Design shows four important objectives of stage lighting: (1) Visibility, which helps the audience understand the play. It is influenced by contrast, size, color and movement. (2) Naturalism (and Motivation), where a sense of time and place is indicated. (3) Composition, the overall image of the stage. Lighting must reveal actors, objects and scenery depending on their importance. (4) Mood (and Atmosphere), which is the psychological reaction of the audience is influenced by lighting effects that gives the stage a sense of happiness, sadness or even boredom. Dou E’s execution would be a perfect example where lighting is â€Å"highlighted†as this scene indicates a transition from a normal way of life to a cursed one. In this case, the lighting effects must create a great sense of grief , heaviness, and fear among the audience. Casting            A play cannot be a play without the cast. As the front liners of the production, they are mainly responsible for leaving an impression for the play since they are the ones who have direct contact with the audiences. Casts are like the main course of a meal. Prof. Audrey Stanley from the University of California at Santa Cruz presents at least eight points to consider when casting a play: (1) Interpretation of character type and function; (2) Type-casting; (3) Casting against type; (4) Cross-gender casting; (5) Gender- or race-neutral casting. (6) Generational relationships and differences between characters (for instance, how old are Lears daughters?); (7) Physical and vocal requirements of different roles; (8) Audience associations and expectations of individual actors.            Dou E’s character must be portrayed by someone who can show her virtuosity but at the same time must have the ability to transform into a vengeful character. Her father, Dou Tianzhang, must be played as someone who is old of course but has enough strength to do some laborious works. Mistress Cai must reflect the same humility as Dou E’s character but of course with a motherly touch. A trace of burden must be shown on her face from life’s realities as well as how youth has been taken from her. Donkey Chang need not be good-looking however appropriately dressed. But his dignified appearance must not conceal his disgusting character. Rehearsals Based on Simon Dunmores Advice on How to Approach Rehearsals for a Play, rehearsing is composed of thought, discussion, and doing. It is an important part of the play where the whole team gets to figure out what will work or not. That is why it is important to discipline oneself especially when it comes to the script. Even before the rehearsals, the actor must read it several times so he/she will get to be familiar with the character that he is playing. He should carry it one hand somewhere at his side and put emotion to the delivery of the line while looking at the script at a side glance. He must be patient and must take his time in memorizing his line. In case of long speeches, they should be delivered with much care and thought as single or short lines for it is usually a case where a certain idea starts and is connected throughout the story of the play. Stage directions on the other hand, must be read as possible pointers only. If they came from how the play was originally done, take into consideration that the present production might be different with the casts and circumstances being new. Pause and silence is a kind of stage direction that must also be given proper timing and must have appropriate place in the play just like long and short lines. Also in case of abbreviations, the intention of the playwright must be observed so the essence of the communication will not be lost. Writing down notes either from the director or from oneself will be helpful in remembering how to delivery one’s line properly. Notes need not be long. Directors may not be right all the time with regards to the character role. His long experience in theater acting may not give him enough knowledge or understanding of a certain character the way an actor does. Therefore, a careful and rational discussion must always be made between the two. Set and costume designs are also very important. They affect the way an actor moves about the stage. These objects must work harmoniously with the people of the play and not become a hinder.            Rehearsals do not stop within the rehearsal room. Proper focus can be achieved with proper practicing though it should not necessarily occupy one’s private time. Rehearsal for Snow in Midsummer Below is a sample table for the Snow in Midsummer’s rehearsal schedule. It is usually done with six to eight weeks but the production team may change it depending on their needs (Sample Rehearsal Schedule). Sunday Monday Tuesday Wednesday Thursday Friday Saturday Auditions Auditions Call-Backs Post Castlist First Read-Thru Off Construction Crew Meets Block scenes with leads Block scenes with Full Cast Block scenes with leads Begin Set Construction Block scenes with Full Cast Off Work on Set Construction Work scenes with Full Cast Work scenes with leads Work scenes with leads Work on Set Construction Work scenes with Full Cast Work on Set Construction Hang Lights and Set Construction Work through Act I off book Work through Act II off book Work on trouble spots leads only Finish Hang and Rough Focus Act I Run-thru Work on Set Construction Full Cast Paint and Work Day Act II Run-thru Act I Run-thru Act II Run-thru Work on Set Construction First Full Run-thru Complete Set Construction Final Setup Tech and Lights First Tech Rehearsal with Cast Run-thru Full Tech Run-thru Full Tech Costume check Tech Crew Trouble Shooting Run-thru Full Tech Finishing Touches On Set Work on problem areas Full Dress Rehearsal Full Dress Rehearsal Full Dress Rehearsal Full Dress Rehearsal No Makeup Performance Performance Performance The Vision’s Effects on the Audience            The Snow in Midsummer is a play about tragedy and drama. However, the whole production team must keep in mind that as the story is based on real struggles of poor people in the past, it might leave a great sense of grievance to the audience. This is good but only to the extent that it will stimulate their sense of awareness since basically, though the storyline dates back to old times, it is very symbolic of the abuse and tyranny that still exist even in our time. Therefore, there must be a balance by creating a great sense of hope especially during the scenes where a retrial for Dou E’s case was conducted up to the play’s ending. The play must establish to the audience that life goes on and there is hope and justice even in the hardest of situations. Steve Campsall wrote in Write a Successful Play that plays must create a lasting appeal to the audience. Every words delivered by a stage performer should send out both meaning and feeling. That is why it is important to understand the writer’s intention behind the text he has created.  Common methods such as vivid metaphor, powerful imagery, alliteration, use of rhyme or rhythm, etc, are said to be used often by writers (Write a Successful Play: Effects on the Audience). Behind the scene interactions will help bring one’s natural acting and transcend the same energy and passion. The audience must be convinced with everything, from the stage settings to the acting. Not doing so will be crucial and may create passiveness. Conclusion            Behind a play’s success could be in anything that is a part of it. From the director’s vision to the actor’s execution, everyone should make sure that everything works harmoniously so that the flow of the play will be well polished on the grand day itself. It is both inspiring and fun to see actors on stage behaving like they are not actors but rather they own the stage and they are the characters that they are playing.            Lastly, behind the inspiring acts, elaborate costumes, and colorful props, the message of the story must be retained.  This is one important part that can be shared with the audience. The lesson that they can learn from watching a play can help them personally. Once the audience is touched by a play’s story or vision, he/she can use the message or apply it once he goes back to real life. Work Cited â€Å"Stage.†Wikipedia: The Free Encyclopedia. 5 February 2008. 9 February 2008. http://en.wikipedia.org/wiki/Stage_(theatre) Kostof, S. 1995. A History of Architecture. The Oxford Press. 8 February 2008.            http://en.wikipedia.org/wiki/Courtyard Jianyi, H. 2003. Yuan Dynasty Zaju.  8 February 2008.            http://www.chinavoc.com/magicn/yzaj.asp â€Å"How to Format a Stage Play.†Script Frenzy Young Writers Program. 2007. 9 February 2008. http://ywp.scriptfrenzy.org/howtoformatastageplay Hillard, K. 2002. Application of Stage Make Up. 9 February 2008. http://www.essortment.com/applicationstag_rgyu.htm â€Å"Costume in the Yuan Dynasty.†ChinaCulture.org. 10 February 2008. 10 February 2008. http://www.chinaculture.org/gb/en_chinaway/2003-09/24/content_28414.htm Williams, B. 1997-1999. Stage Lighting Design. Objectives of stage lighting. 11 February 2008 http://www.mts.net/~william5/sld/sld-100.htm Stanley, A. 1995-1996. Shakespeare Examined through Performance. 11 February 2008 http://www.tamut.edu/english/folgerhp/Recipes/7cstply.html Dunmore, S. 25 August 1999. Simon Dunmores Advice on How to Approach Rehearsals for a Play. 11 February 2008 http://www.btinternet.com/~simon.dunmore/rehearse.htm Campsall, S. 2008. Write a Successful Play: Effects on the Audience. 12 February 2008 http://www.englishbiz.co.uk/mainguides/play.htm Sample Rehearsal Schedule. Tupelo Community Theatre. 13 February 2008. http://www.tctwebstage.com/schedule.htm
Thursday, September 5, 2019
Commensality Defines As Fellowship At Table Sociology Essay
Commensality Defines As Fellowship At Table Sociology Essay Commensality is eating with other people, and commensal eating patterns reflect the social relationships of individuals (1). According to Mennell et al., (1992), the relationship between food, eating, and society will be discussed in a range of ways that include commensality. Until recently, sociologists expressed relatively little interest in what we eat, how we prepare and consume food, how we feel about it and why. Paradoxically, when the relationship between food, eating and society is discussed, this is often in functionalist terms of commensality, that is, the social significance of living and eating together that is thought to lie at the heart of our sociality. Yet, from time to time, changes take place in the way our structures and interactions are perceived and prioritised. In addition, when children opened their lunch boxes, they displayed some of the opportunities and constraints of familial food choices. In effect, home was made visible. The data also illustrated that womens position in the domestic division of labour was intimately linked to the distribution of food, including that consumed at school. In interviews, parents explained that their influence over what went into the box was mediated by several factors which, together, were described in terms of eating compromises or bargains. The combination of (predominantly) mothers ideas about what was nutritionally balanced with their positioning of a snack meal as a stop-gap to the main meal event in the evening, was mediated not only by childrens food preferences but also by what was affordable and practically stored in a lunch box. Most people get married or spend time living with a partner at some stage in their lives. But what effect does this change have, if any, on their eating habits? The transition from bachelor or spinster to young couple represents a major lifecourse change and this paper looks at the role that eating together plays in the lives of a group of young Scottish couples recently married or cohabiting with their partner. The key question here is what role do meals play in all of this and how are eating activities arranged in these households. In an attempt to move the debate on meals beyond the à ¢Ã¢â€š ¬Ã…“traditional family unità ¢Ã¢â€š ¬Ã‚ it considers what eating à ¢Ã¢â€š ¬Ã…“properlyà ¢Ã¢â€š ¬Ã‚ meant for these couples. The paper looks at the importance of the evening meal as a site for sociability in married and cohabiting couples and examines the process of social interaction, focusing on temporal and spatial aspects of eating together as a couple. It reports on what men an d women said in individual interviews and recorded in personal food diaries, contrasting this with their behaviour when they were living separately from their partners (1) A study explained usual meal partners in commensal units and frequency of eating with others in commensal circles among 663 adults responding to a mailed questionnaire in one community. Meal partner data revealed that most respondents ate alone at breakfast, alone or with co-workers at lunch, and with family members at dinner. Commensal frequency data revealed some eating at the homes of other family members, little eating at friends homes, and almost no eating at neighbors homes. Few demographic variations existed in commensal eating, except that unmarried individuals more often ate breakfast and dinner alone and more often ate with friends. These finding suggest that contemporary work-oriented society may lead people to eat alone during the day but share evening meals with family, and that people maintain commensal relationships primarily with family members rather than friends or neighbors. Peoples social worlds appear to be focused on the nuclear family, and family members are al so the people they usually eat with (2). According to findings from a qualitative study of views and understandings of dietary practices in middle class families. Thirty five parents/main food providers of boys and girls aged 13/14 years, living in Eastern Scotland, were interviewed about their and their teenagers everyday lives, food, health and family practices. One of our aims was to understand more about the social and cultural conditions which might be promoting more positive dietary health and physical well-being amongst middle class families. Most parents accounts appeared rooted in a taken-for-grantedness that family members enjoyed good health, lived in relatively secure and unthreatening environments regarding health and resources, and were able to lead active lives, which they valued. Although controlling teenagers eating practices was presented as an ongoing challenge, active supervision and surveillance of their diets was described, as was guiding tastes in the right direction. Parents described attempts to ach ieve family eating practices such as commensality, cooking from scratch, and encouraging a varied and nutritional adult diet and cosmopolitan tastes, though work and activities could compromise these. These middle class families might be characterized as having future oriented hierarchies of luxury and choice, in which controlling and moulding teenagers food practices and tastes was assigned a high priority (3). As well as, Murcott (1988) has pointed out, public and fictional allegiance to the importance of shared meals persists, along with anxiety about their supposed decline. Together, anxiety about what, how, and with whom we eat has surfaced in relation to the health and physical well-being of adults and children and in cultural concerns about the disintegration of family life and values(4). The above mentioned studies illustrate that commensality in school can and does show a variety of formations. This applies also to understandings about parental choice and influence. At Fieldgate School, family influences were revealed more directly because children brought to school visible aspects of their home life, albeit contained in a school lunch box. Such influences were reinforced and thwarted by a variety of other factors, including peer group influence, but overall, parental choice was considered paramount. It should be the responsibility of both home and school, both really. I mean we need food to grow so that should be an educational thing and also put into practice at home via the parents. Food needs to be taught properly. As well as, the experience of becoming the provider of their own food changes the students food behaviors and representations. Diet quality, patterns of commensality and social representations of food provide input for developing healthy diet care and health promotion (5). According to ALLEN et al., (1970) the strongest relations occurred among the nutrition factors and family commensality was the most influential. The degree of family commensality was related not only to increase in food likes and dietary adequacy but also to health and academic performance. Food likes and diet adequacy were both correlated with academic skills, work rating, expectation of success and college preparation. Conclusion: Sharing meals together, both in terms of common understandings about their construction and the social rules which govern behaviour, is thought to be the very essence of sociality. The individualisation of our eating habits, it is claimed, means that both meals, and by implication, critical aspects of our sociality are disappearing (Burnett, 1989). In response, education has been advocated as a mechanism to halt a trend which is thought to threaten our health, our family life, and our sense of social cohesion. Set at the interface between home and school, the above mentioned papers have explored commensality at home and school, and has considered the overlap between the two, using data which prioritise the views of parents and, to a lesser extent children, rather than the perspectives of educationalists, nutritionists, or teachers. Advocates of nutritional improvement in childrens diets have stressed the importance of a school meals service. The discussion of eating provision in scho ol highlights the complex issues underpinning this assertion, not only in terms of nutritional impact but also in relation to the sociality of eating and the cross-cutting effects of institutional practice, socioeconomic advantage and disadvantage (discussed also by Dobson et al., 1994), and cultural preference. As we discussed in the above sections, the strongest relations occurred among the nutrition factors and family commensality was the most influential. The degree of family commensality was related not only to increase in food likes and dietary adequacy but also to health and academic performance. Food likes and diet adequacy were both correlated with academic skills, work rating, expectation of success and college preparation. 1. Marshall DW, Anderson AS. Proper meals in transition: young married couples on the nature of eating together. Appetite2002 Dec;39(3):193-206. 2. Sobal J, Nelson MK. Commensal eating patterns: a community study. Appetite2003 Oct;41(2):181-90. 3. Backett-Milburn KC, Wills WJ, Roberts ML, Lawton J. Food, eating and taste: parents perspectives on the making of the middle class teenager. Soc Sci Med Oct;71(7):1316-23. 4. Murcott A. Sociological and social anthropological approaches to food and eating. World Rev Nutr Diet1988;55:1-40. 5. Alves HJ, Boog MC. [Food behavior in student residence halls: a setting for health promotion]. Rev Saude Publica2007 Apr;41(2):197-204.
Wednesday, September 4, 2019
Environmental sustainability
Environmental sustainability ABSTRACT Universities, as centres for training responsible and knowledgeable humans, prepare students to respond to the intellectual, social, and personal challenges that they will face in community. To this end, universities will take use of various resources. In this regard, the question which rises is to what extent the world leading universities take their environmental responsibility into consideration and how committed they are to environmental sustainability. This paper aimed to explore this issue by studying the world top 10 ranked universities. The study sample included Harvard University (US), University of Cambridge (UK), Yale University (US), University College London (UK), Imperial College London (UK), University of Oxford (UK), University of Chicago (US), Princeton University (US), Massachusetts Institute of Technology (US), and California Institute of Technology (US). The required data was collected through the content analysis of the websites and annual reports of the mentione d universities. Findings of the paper showed that all the studied universities were involved in a number of various environmental activities and were committed to their environmental responsibilities. The findings of the paper can be a benchmark for other universities. Since the environment is an important pillar of corporate social responsibility (CSR) and vital part of sustainability, the findings have important implications for CSR policy of universities. INTRODUCTION All humans have a moral obligation to preserve the planet and there is no excuse for doing nothing to improve the environmental state of the globe. This also applies to institutions of higher education (Christensen et al., 2009). Organizations such as companies or universities are usually responsible for the severe environmental degradation we have witnessed (Alshuwaikhat and Abubakar, 2008; Hoffman and Woody, 2008; Haden et al., 2009). Nowadays, higher education institutions can cause significant environmental impacts (Jabbour, 2010). Many of them, due to their large size, expressive movement of people and vehicles, high consumption of materials, and strong development of complex activities, may be considered as small towns (Alshuwaikhat and Abubakar, 2008). Therefore higher education institutes have a great environmental responsibility toward society. This could be through training graduates with suitable environmental knowledge as well as environmental plans and programs to reduce waste and preserve environment. Now, the question which arises is how aware universities are toward their environmental responsibilities toward society. To answer this question, this study will investigate the issue among world top 10 universities through reviewing their website content and annual reports. Although previous studies have been conducted in this area, they are mainly case studies considering only one university. This study, however, considers 10 International universities at the same time and tries to provide a general picture of how aware and responsible world top universities are toward environment. Since the environment is an important pillar of corporate social responsibility (CSR) and vital part of sustainability, the findings of this study have important implications for CSR policy of universities. ENVIRONMENTAL SUSTAINABILITY IN UNIVERSITIES Sustainability is a pattern of resource use which meets the needs of the present without compromising the ability of future generations to meet their needs. The main idea of sustainable development is to achieve the lasting satisfaction of human needs. Environmental management may be defined as the study of all technical and organizational activities aimed at reducing the environmental impact caused by a companys business operations (Cramer, 1998, p. 162). Although initially targeted for companies, this definition can also be applied to service sector and universities. Universities apply various resources to provide quality education for students. This, in turn, will cause impacts on the environment. Several simple examples of these impacts are electricity consumption, production of waste and CO2 emission caused by daily printing of large numbers of papers. A number of dimensions define environmental management practices (Aragà Œn-Correa, 1998; Klassen Angell, 1998; Klassen W hybark, 1999). As Cà ©spedes-Lorente et al. (2003) mention, Peattie and Ringler (1994) drew a distinction between software and hardware environmental activities. Software activities are those focused on organizational issues such us systems, procedures, audits and manuals, whereas hardware activities are concerned with technological change to reduce the environmental impact of the firm. Environmental sustainability refers to the environmental actions or impacts of what we do. There are a number of studies considering the issues of sustainability and environment in higher education. A study by Wright (2010), examined how a cohort of university presidents and vice-presidents in Canadian universities conceptualize sustainable development, sustainable universities, the role universities play in achieving a sustainable future, key issues facing the university, and the barriers to implementing sustainability initiatives on campus. They showed that although the majority of participants we re well versed in the concept of sustainable development, they were less familiar with the concept of a sustainable university. However, majority of them were dedicated to having their university become more sustainable. The participants also listed financial predicaments, lack of understanding and awareness of sustainability issues amongst the university population, and a resistance to change as the main barriers in the path of sustainability. Pollock et al. (2009) also insisted that complex and ineffective governance, traditional disciplinary boundaries, and the lack of a shared vision at academic institutions often hinder universitys progress toward leading the world to a more sustainable and desirable future. Furthermore, a study by Rauch and Newman (2009) in Yale University explored how an institutional target can lead to greater community action and long-term commitment than if no specific target is established. METHODOLOGY Similar to a related study by Capriotti and Moreno (2007), this paper used a content analysis methodology to analyze the websites of the top 10 world universities ranked by Times Higher Education (THE, 2009). This research studied the content of the university official websites and tried to identify universities environmental practices, procedures and plans. To this end, we have reviewed all the related web pages of the universities (including news, media, department web pages, etc.) and not just direct links from the homepage. The study sample included Harvard University (US), University of Cambridge (UK), Yale University (US), University College London (UK), Imperial College London (UK), University of Oxford (UK), University of Chicago (US), Princeton University (US), Massachusetts Institute of Technology (US), and California Institute of Technology (US). FINDINGS AND DISCUSSION The findings of this research shows that world leading universities are in some way or another involved in environmental practices and committed to their environmental responsibility. Table 1 summarizes the diversity of the areas which these universities are involved in. Table 1 Environmental practices of studied universities Environmental Practice 1 2 3 4 5 6 7 8 9 10 Reduction of greenhouse gas emissions a a a a a a a a a a Reduction in the use of fossil fuels and increase in the use of renewable resources a a a a a a a a a a Waste recycle and management a a a a a a a a Reduction of water use a a a a a a Green buildings and environmentally responsible architecture a a a a a a a Running an specialized environmental centre/ network a a a a a a a a a a Reduction of the environmental impact due to the use of paper a a a a Increase of environmental awareness among staff students a a a a a a a a a a Minimisation of environmental impact due to materials and services used by the university a a a a a a a a Minimisation of environmental impact due to travel a a a Maintenance of university sites in an environmentally sensitive way a a a a a a Green purchasing for university procurement a a a a a 1: Harvard University (US), 2: University of Cambridge (UK), 3: Yale University (US), 4: University College London (UK), 5: Imperial College London (UK), 6: University of Oxford (UK), 7: University of Chicago (US), 8: Princeton University (US), 9: Massachusetts Institute of Technology (US), 10: California Institute of Technology (US). With the growing concern on climate change around the globe, most of the universities are taking this issue into consideration. For instance, Harvard University monitors and publishes its greenhouse gas emissions statistics across its various schools in North America campus. As shown in their report (Harvard, 2008), the university managed to totally decrease its greenhouse gas emission to the amount of -2.3% in year 2008 compared to year 2006 in their North America campus. At Harvard, they also notice the issue of green buildings through defining Leadership in Energy and Environmental Design (LEED) projects. As mentioned in their environmental report (ibid.), LEED is a rating system for green buildings and provides a nationally accepted third-party verification that a building project meets the highest performance standards. Similarly, in University of Cambridge, a student network named Architecture sans Frontià ©res (ASF) considers the possibilities of a new socially and environmen tally responsible architecture. Through lectures and exhibitions, this network aims to get people thinking about how buildings can respond to the needs of society and the environment (Cambridge, 2007). Yale University also has an office of sustainability where they run various projects such as LEED rating. Similarly, California Institute of Technology utilizes the LEED standard to ensure its buildings meet and maintain a high level of energy, water and resource efficiency. In another instance, Imperial College London was recognised by the Chartered Institution of Building Services Engineers (CIBSE) for the efforts of the Facilities Management department to reduce its carbon production. Interestingly, University of Chicago has an interesting website called green guide where they provide information related to health and environmental topics at the University of Chicago and share tips with visitors on how to live a greener life (Chicago, 2006). The university also provided eco-tip of the month in its website. Overall, all the studied universities take their environmental responsibility seriously and are involved in this regard. CONCLUSION This study showed that world leading universities are aware of their environmental impacts and have taken necessary steps toward sustainability. Many of them have defined annual plans with objectives to achieve. This can be considered as a benchmark for other universities around the globe. However, the key to success of such plans is commitment from all levels of management specially top leaders. As discussed by Wickenberg (2006) and cited by Axelsson et al. (2008), the norm support given by the leaders of the universities is necessary and crucial to success in local implementation of sustainability plans. This is supported by the research of Christensen et al. (2009) who showed that in spite of adopting an environmental policy and signing an agreement to work for sustainable universities, Aalborg University (Denmark) failed to reach its objectives due to the lack of commitment from top management, the missing acceptance from technical staff, and a narrow understanding of the univers itys environmental impacts. Other universities and their leaders can benchmark these plans and culture to organize their own sustainability and environmental plans. ACKNOWLEDGEMENT The first author would like to thank Universiti Sains Malaysia (USM) for supporting this research through providing Vice-Chancellor Award. REFERENCES Alshuwaikhat, HM and Abubakar, I 2008, An integrated approach to achieving campus sustainability: assessment of the current campus environmental management practices, Journal of Cleaner Production, Vol. 16, pp. 1777-85. Aragà Œn-Correa, J A 1998, Strategic proactivity and firm approach to the natural environment, Academy of Management Journal, Vol. 41, No. 5, pp. 556-567. Axelsson, H, Sonesson, K, and Wickenberg, P 2008, Why and how do universities work for sustainability in higher education (HE)?, International Journal of Sustainability in Higher Education, Vol. 9, No. 4, pp. 469-478. Cambridge, 2007, Resources: Volunteering opportunities, Retrieved on February 22, 2010 from http://webservices.admin.cam.ac.uk/outreach/pages/activities.jsp?category=50. Capriotti, P, and Morenob, A 2007, Corporate citizenship and public relations: The importance and interactivity of social responsibility issues on corporate websites, Public Relations Review, Vol. 33, No. 1, pp. 84-91. Cà ©spedes-Lorente, J, Burgos-Jimà ©ne, J D, and Alvarez-Gil, M J 2003, Stakeholders environmental influence. An empirical analysis in the Spanish hotel industry, Scandinavian Journal of Management, Vol. 19, No. 3, pp. 333-358. Chicago, 2006, Green Guide, Retrieved on February 22, 2010 from http://greenguide.uchicago.edu. Christensen, P, Thrane, M, Jà ¸rgensen, T H, and Lehmann, M 2009, Sustainable development: assessing the gap between preaching and practice at Aalborg University, International Journal of Sustainability in Higher Education, Vol. 10, No. 1, pp. 4-20. Cramer, J 1998, Environmental management: From fit to stretch, Business Strategy and the Environment, Vol. 7, No. 3, pp. 162-172. Haden, SS, Oyler, PH and Humphreys, JH 2009, Historical, practical and theoretical perspectives on green management: an exploratory analysis, Management Decision, Vol. 47, No. 7, pp. 1041-55. Harvard, 2008, Summary of Environmental Performance at Harvard, Retrieved on February 22, 2010 from http://www.provost.harvard.edu/institutional_research/Provost_-_09_36_39Green.pdf. Hoffman, AJ and Woody, JG 2008, Climate Change? Whats Your Business Strategy?, Harvard Business School Press, Boston, MA. Jabbour, C J C 2010, Greening of business schools: a systemic view, International Journal of Sustainability in Higher Education, Vol. 11, No. 1, pp. 49-60. Klassen, R D, and Angell, L C 1998, An international comparison of environmental management in operations: The impact of manufacturing flexibility in the US and Germany, Journal of Operations Management, Vol. 16, No. 2, pp. 177-194. Klassen, R D, and Whybark, D C 1999, Environmental management in operations: The selection of environmental technologies, Decisions Sciences, Vol. 30, No. 3, pp. 601-630. Peattie, K, and Ringler, A 1994, Management and the environment in the United Kingdom and Germany: A comparison, European Management Journal, Vol. 12, No. 2, pp. 216-225. Rauch, J N and Newman, J, 2009, Institutionalizing a greenhouse gas emission reduction target at Yale, International Journal of Sustainability in Higher Education, Vol. 10, No. 4, pp. 390-400. THE 2009, Times Higher Education, online, retrieved 09 December 2009, from http://www.timeshighereducation.co.uk/Rankings2009-Top200.html, Accessed on: December 09, 2009. Wickenberg, P. (2006), Norm supporting actors and structures at the very local level of implementation of sustainable development, in Holmberg and Samuelsson (Eds), Higher Education, in Drivers and Barriers for Implementing Sustainable Development in Higher Education. Education for Sustainable Development in Action (Technical Paper No 3), UNESCO Education. Wright, T 2010, University presidents conceptualizations of sustainability in higher education, International Journal of Sustainability in Higher Education, Vol. 11, No. 1, pp. 61-73. 2
Tuesday, September 3, 2019
Suicide :: essays research papers
Suicide is intentional self-inflicted acts that end in death("Suicide," Compton's). After a series of traumatic events, normal coping abilities can be pushed over the edge; the result may be suicide. In each year, an average of 30,000 suicide deaths occur in the United States. It is estimated that 5,000 of those suicides are committed by teenagers(SAVE, 2). One major reason that the suicide rate among teenagers is so high, is that the teenage years are a period of commotion. New social roles are being learned, new relationships are being developed, bodily changes are occurring, and decisions about the future are being made during the teenage years. Teenagers tend to commit suicide after large changes, significant losses, or abuse has occurred in their lives. An important change in a relationship, school or body image may contribute to a teenagers' tendency to commit suicide. The death of a loved one, the loss of a valued relationship, and the loss of self esteem are some significant losses which might be a factor in teen suicide("The Real World [Suicide: Facts]," 1). Perceived abuse such as physical, emotional, psychological, sexual, social abuse or neglect can lead to self-murder("Teen Suicide," 3). Significant changes, losses, and abuse can promote suicidal tendencies. Few suicidal people have some type of depression, yet those who have one can be provoked to commit suicide. There are two main types of depression suffered by (, 2) suicidal people("Suicide," {Grolier}). The first type is reactive depression. This type of depression is the reaction of a difficult and often traumatic experience. Endogenous depression is the second type of depression. It is the result of a mental illness which is diagnosable by a professional. Some suicidal people have a combination of both reactive depression and endogenous depression. Others could have a depression which is undiagnosed. A persistent sad mood, thoughts of suicide, persistent physical pains that do not respond to treatment, difficulty concentrating, irritability and fatigue are some symptoms of depression(American Psychiatric Association, 4). If a person has four or more of the symptoms lasting for more than two weeks, that person could have a type of depression. Those people with mental illnesses such as schizophrenia and clinical depression have much higher suicide rates than average(Tom Arsenault, 2). Teenagers display warning signs of suicide. The indications come in two ways. First exhibited are the early warning signs. These signs include difficulties in school, depression, drug abuse, sleep and eating disturbances, and a loss of interest in activities. Restlessness, feelings of failure, overreaction to criticism, overly self-critical, anger, and a preoccupation with death or Satan are also some signals teenagers contemplating suicide will give("Teen Suicide," (, 3) 3). The other type of clues are late warning signs.
No Christmas :: essays research papers
When Christmas Couldn’t Come      We lived in the farmhouse until my dad lost his job in 1994. No longer able to afford a mortgage, let alone utilities in the old, drafty house we moved into a smaller house two doors down. My mom called the new house â€Å"cozy†– making the best of a situation I couldn’t begin to understand; words like â€Å"WIC†, â€Å"welfare†and â€Å"debt†meant nothing to me at the time. I missed the barn that longed to be explored, the hill where at eight, I saw my first snowfall and of course, my room. The new house wasn’t mine, it was Miranda’s, a friend who moved away, my room wasn’t mine, it was hers. My mind raced with thousands of questions, all of them pitying myself, feeling bad for Andrea, forgetting about my family, all of them until my mom told the four of us that Christmas couldn’t come that year.      The words fell out of my mom’s mouth like hail from a winter sky, pelting me in the face, stinging my entire body. What did she mean Christmas couldn’t come, that we could no longer afford any â€Å"extras†, that things were going to be â€Å"different†? Instantly my eyes swelled with things unfamiliar to a tomboy, my heart raced my shortening breath as I struggled to empathize with my parents, searching for a question, an answer, something to make it better. Before that November day I never thought about money or affording things; I grew up in a upper-middle class family where eating out was a commonality, vacations were assumed and for all I knew money could have grown on tress. I was eleven, self-absorbed in wants and wishes where the new house was a drag not more affordable and sharing a room was suffocating, not compromising. Life, for me, had never consisted in cutting corners or working to make ends meet, I simply lived getting what I wanted, not what I needed. Only after that conversation with my
Monday, September 2, 2019
The Physician Assistant Program
The Physician Assistant Program, on the other hand, delivers a comprehensive masters education teachings that are essential for the aspiring physician assistant (â€Å"Physician Assistants,†n.d.). This program entails thorough learnings in the formal practice of a physician assistant.Furthermore, the master's program for physician assistant equips the aspirants the necessary academic and clinical background in able to achieve professional certification to become qualified, reliable and competent physician assistant (â€Å"Physician Assistants,†n.d.). As an aspiring Physician assistant, I truly understand that my clinical role will include primary and specialty care in medical as well in surgical practice. I understand that a physician assistant position is a complex task to do that focuses to provide of patient care. With this, I hereby accept the fact that the only way to achieve this and be competent in the position is submit myself into the formal education program for Physician Assistant.With the kind of training I had as a Nurse aid for two years, I decided to pursue a career as physician assistant. Although, I hold a masters degree in Library Science from University of Wisconsin, I could not find the appropriate job or work that is in line with the education that I have finished.Hence, in my two years of stay in the hospital as a nurse aid, I came to a point of realization that I am comfortable to work in such position and finally pursue a career in physical assistance.Being in hospital as a nurse aid, I can say my preparation for this objective of is my formal experience in medical field by providing nursing aid. In terms of preparation, I can say that I am on the ideal shape to start a new career as I am familiar with the practice in the clinic and in hospital chores. Moreover, I attended and completed all the prerequisite courses in nurse aid.Being an alumna of the school, I prefer to have my formal physician assistant education program in University of Wisconsin, as I believe that the method of teaching by the university is proven and effective. Therefore, I wish to achieve another milestone in my life as a qualified and ratified physician assistant under the uplifting educational support of the University that I truly trust and believe.In the end, if I get the chance to complete the program and be one of the countries prime physician assistant, my primary goal as a professional is a effect changes that I believe to be the best in providing patient care. Thus, I wish to achieve the reputation that I long as valuable and competent physician assistant, through my whole hearted service with my patient and with the attending physician.ReferencesPhysician Assistants. (n.d.). Retrieved July 10, 2008 from http://www.answers.com/topic/physician-assistant?cat=health
Sunday, September 1, 2019
Assignments essay Essay
|Assessor’s comments | |Qualification |QCF Level 7 : Extended Diploma in Strategic |Assessor name |Atif Kauser | | |Management & Leadership | | | |Unit number and title |4- Developing corporate culture |Learner name | | |Assignment title |Culture, Objectives and improving corporate climate | | | |Assessment Criteria |Achieved? | |AC 1.1: explain how models of organisation culture can be used to achieve organizational objectives | | |AC 1.2: explain the difference between organisational and national culture | | |AC 1.3: analyse the corporate cultural profile in an organisation | | |AC 1.4: discuss the impact of an organisation’s corporate culture in achieving its objectives | | |AC 2.1: evaluate the existing climate of an organisation | | |AC 2.2: recommend ways to improve corporate climate in an organisation | | |AC 2.3: propose a framework of organisational values that meet the specific strategic and operational needs of an | | |organisation | | |AC 3.1: identify inter nal and external stakeholders of an organization | | |AC 3.2: evaluate the effectiveness of an organisation’s existing communication strategies | | |AC 3.3: develop new communication strategies for stakeholders of an organisation that address differences in belief, | | |values, customs and language | | |Assessor Feedback & Action Plan | | | | | | | | | | | | | | | | | |Learner’s Feedback | | | |Assessor signature | |Date | | |Learner signature | |Date | | |Assessment Criteria |To achieve the criteria the evidence must show that the student is able to: | |Task no. | |Evidence | |reference | | | | | | |AC 1.1, 1.3, 1.4 |Culture: culture as shared values; culture at ascending levels; sub-cultures; professional | |1 | | | | |cultures | | | | | | |Models: Charles Handy – power, role, person and task cultures; Johnson and Scholes cultural | | | | | | |web; links to organizational objectives | | | | | |AC 1.2 |Organizational culture: industry culture; national and supranational culture; | |1 | | | | |models of culture eg Trompenaars’s implicit-explicit factors, Schein’s three levels | | | | | | |National cultures: methods of classifying national culture eg the work of Laurent, Hofstede | | | | | | |and Trompenaars | | | | | |AC 2.1, 2.2 |Climate profile: how climate is defined; difference between climate and culture; | |1,2 | | | | |key aspects of organisational climate eg flexibility; responsibility; standards; rewards; | | | | | | |clarity; team commitment; impact of management practices on climate; impact of climate on | | | | | | |efficiency and effectiveness | | | | | |AC 2.3 |Values: values or core values as a part of organisational culture; crisis of ethics | |2 | | | | |in business and the new emphasis on value leadership – framework for developing and supporting| | | | | | |strong corporate core values | | | | | |AC 3.1, 3.3 |Stakeholders: customers, consumers, employees; shareholders; governments; | |1, 2 | | | | |communities, business partnerships and alliances – the increasing need to cooperate with | | | | | | |people from different cultural groupings (including beliefs, values, customs and language) | | | | | |AC 3.2, 3.3 |Communicating effectively: strategies; identifying potential barriers and ensuring strategies | |1, 2 | | | | |overcome them; developing self-awareness of own and organisational culture; benefits of a | | | | | | |diverse workforce; acculturation programmes; intercultural communication skills | | | | | Assignment Cover Sheet |Assignment Title |Culture, Objectives and improving corporate climate | |In this assessment you will have opportunities to provide evidence against the following criteria. Indicate the page numbers where the evidence can be found.| |Attach work where needed. | |Learner’s Name: |Assessor: Atif Kauser | |Date Issue: |Completion Date: |Submitted On: | |Qualification: QCF Level 7: Extended Diploma in Strategic Management & |Unit No & Title: Unit 4: Developing Corporate Culture | |Leadership | | |Learner declaration | |I certify that the work submitted for this assignment is my own and research sources are fully acknowledged. | | | |Learner signature: Date: | |Unit title |4- Developing corporate culture | |Qualification |QCF Level 7 – strategic management & leadership | |start date |01-04-2013 | |deadline |05-05-2013 | |Assessor |Atif kauser | |Assignment title: |Culture, Objectives and improving corporate climate | |Scenario: Suppose you work for a business magazine called ‘The Biz Talk’. The editor has assigned you with the task of producing the Cover Story for the next| |edition. He wants you to write a detailed article with the title ‘CULTURE, Objectives and Improving Corporate Climate’. | |For this you will have to choose one organization of your interest, conduct a primary and secondary investigation to gather facts and figures which will | |support you in writing the article. The article should cover and address the given tasks and outcomes. | |Task 1 | | | |Having done with the primary and secondary research, conduct a critical evaluation to study the current practices of your chosen organization as a case | |study, and Elaborate and explain the profile of your chosen organization by addressing the following tasks: | | | |Analyse the corporate cultural profile of your organisation | |Discuss the impact of your organisation’s corporate culture in achieving its objectives | |Explain how models of organisation culture taught to you in the tutorials can be used to achieve organisational objectives for your chosen organization | |Explain the difference between organisational and national culture by critically observing the presence of your organization in a particular country/region | |Evaluate the existing corporate climate of your organisation | |Identify the internal and external stakeholders of your organisation | |evaluate the effectiveness of your organisation’s existing communication strategies | | | |Provides evidence for: outcome 1, AC: 2.1, 3.1, 3.2 | | | |Task 2 | | | |Based on your analysis, propose recommendations and strategies for further improvement in the areas defined below: | | | |Recommend ways to improve the corporate climate in your organisation | |Propose a framework of organisational values that meets the specific strategic and operational needs of your organization | |Develop new communication strategies for stakeholders of your organisation that address differences in belief, values, customs and language | | | |Provides evidence for: AC 2.2, 2.3, 3.3 | |This brief has been verified as being fit for purpose | |Assessor |Atif Kauser | |Signature | |Date | | |Internal verifier |Wajiha Daud | | Signature | |Date | |
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