Role of Computers in Architectural Design Process

Role of Computers in Architectural Design Process Introduction Outline Intentions The intention of my research is to investigate the role computers play as a visualization and representational tool in the architectural design process. The thesis proposes to ascertain an appropriate understanding of our experience of the emergent digital realms.This involves investigating the need to visualize a building before it is created in practice and the degree to which CAD programs are used as a design tool as a means of testing and evaluating architectural processes. As part of examining the benefits computers has in the field of architecture I assessed the degree to which they have distanced the practitioners in architecture from hand drawings and physical model making and how virtual architecture could be detrimental to the disciplinary field Involving the emergence of paper architecture showing theoretical proposals using visualizations. Many architects believe that the traditional hand renderings and conceptual sketches have now become a lost art to the cost of archit ectural design. The research examines how these digital technologies help architects to design and how visualizations act as a way of communication between client and designer. This involves researching into architectural graphics as a marketing tool and looking into the future of computational methods as a visual and development tool for building design. The question will therefore be proposed of whether architects and designers have maintained the hands on approach associated with the discipline, or whether this has been abandoned in favor of computer graphics as a visual tool. Are computers taking away from the traditional methods and if so what are their advantages to the discipline? Methodology To assess the degree to which CAD software helps architectural design firms, I looked at two firms which rely heavily on CAD software as a design tool and one firm, which not only believe in a traditional approach, but use predominantly models and hand drawings for conceptual stages. This involved assessing critics views, personal judgment and analyzing the pathways they took in relation to initial brief and concepts to construction stages. The three case studies selected are intended to show the varied use of computing software and its adaption to various styles of office organization and philosophies. A description of the three firms working methods is analyzed and comparisons drawn against these case studies focusing on the diverse working methods. The study then formed the basis of a conclusion in which a summary of the results is documented. Chapter 1:   Literature Review of Current Computation Trends What should be the exact scope of the computer involvement within the architectural discourse? This question has been present since the beginning of the use of computer aided architecture software. It is notable that many of the designs we see in todays architectural world could not have been achieved without use of computer visualizations and extensive 3D graphics, However the question of how much should computation techniques be used is always present. Will the age old two dimensional flattened image give way to the intelligent three dimensional digital models as a way of communication? As apparently simple as this question might be, the answers are considerably more complex. An architect throughout the ages has communicated via a pen or pencil and a piece of paper. They have quick ability to identify their projects functioning and particularities with a simple doodle.   This method of working has not changed.   However according to Vesselin Gueorguiev (2008, p.6) the architectural and design visualization industry is predicted to grow by 23% over the next 7 years'[2].   A new generation of structures and concepts is being created that recognizes the computer not only as a drafting and rendering tool, but also as a potentially powerful tool in the generation of designs themselves; in other words an intelligent drafting machine.   With the use of 3D modeling, renderings and visualizations, an architect has an excellent opportunity to play with your imaginations or thoughts, enabling the creation of pieces of architecture that could never have been rationalized with the use of pen and paper technique alone.   An increasing number of digital designs are now being published and praised by critics as meaningful and influential to the architectural field.   This emergence of paper and theoretical architecture is rapidly expanding with many architects adopting a research approach to practice, led dominantly by computers as a means of experimenting in forms, aesthetics and expressing the investigations achieved.   Helen Castle for instance describes how cities shapes might be grown in digital laboratories in order to aid evolved urban design (2009, p.4)'[3].   Evidence of this is shown in Figure 1 showing a digitally produced master-plan for a carbon-neutral resort and residential development on Zira Island in the Caspian Sea.   For a long time architecture was thought of as a solid reality and entity: buildings, objects, matter, place and a set of geometric relationships.   But recently, architects have begun to understand their products as liquid, animating their bodies, hyper-surfacing their walls, crossbreeding different locations, experimenting with new geometries.   And this is only the beginning (2005, p.22)[4]. It is undoubtedly evident that advanced rendering and 3D systems can help to envisage of what architecture might be, however the computer is not a human being and should not be treated as such.   Ultimately it is the architect who is controlling the ideas, programming and concepts and the computer merely facilitates instructions. Therefore the computer is just a way of copying, simulating or replacing manual methods of design, simply a tool to replace the pencil.   Kosta Terzidis concurs with the argument stating that unlike humans, computers are not aware of their environment (2006, p.37)[5].   In this computer age, architects are constantly striving to generate and introduce a new way of thinking about design.   The problem is that often neither the designer is aware of the possibilities that conceptual schemes can produce nor the software packages are able to predict the moves or personality of individual designers.   The result therefore is that the computer is used mor e as a medium of expression rather than a structural foundation for architectural experimentation.   Has the emergence of digital realms as a result of computer formulated design led to architecture being produced as a mass media image rather than a piece of beautifully crafted, functional and creative architecture? Architects such as Beatriz Colomina took the subject of media of architecture as an exhibition piece from the 1920s to the 1950s, therefore this fanciful image of architecture was not just brought to light by the digital age.   This notion of extremely visual 3D architecture has however been condemned by many critics, with many believing that the actual computer image is surpassing the reality of the building itself.   Branko Kolarevic points out the problem that; There seems to be a sense among the generation of school leavers that because they have mastered a software they are sufficient as architects, and they almost immediately seem to be leaving to set up their own practice, which usually turns into a graphics company for websites (2005, p.70).[6] The notion of using computers more as a marketing tool is very prominent in todays culture.   This is especially important in times of economic recession where every niche a practice has will be exploited to offer a more attractive service to the client.   Images sell buildings.   As a result, many architecture graduates are employed solely to use their skills of computer renderings rather than their knowledge of design; in effect turning into CAD monkeys and simply key based operators rather than architects.   The perception that computer graphics is enhancing buildings is viewed as a myth by many.   As [8] to simply draft the drawings required and preparing a project for construction and tender documentation.    For many designers, the computer is just an advanced tool running programs that enable them to produce sophisticated forms and to better control the realization of a design.   Critic Kosta Terzidis states that, whatever capabilities a computer may have it lacks any level of criticality and its visual effects are nothing but mindless connections to be interrupted by a human designer (2006, p.48).[9]   I agree with this point as to fully determine a solution; an architect should be intrinsically linked with their proposal via physical models, sketches and general hands on approaches.   A computer does not have the ability to reflect and respond to an environment set by the user; in other words the computer output is simply a response to the designers input.   Due to the nature of complexity in many 3D programs, architects can become lost in their designs with a loss of control over the fundamental solution to the problem.   Balakrishnan Chandrasekaran from Ohio State University states the very vagueness and ambiguity of sketches plays an important role in the early stages of design (2007, p.65),[10] see figure 2, which explains with the use of color to highlight the dominant architectural elements. It is vitally important that we do not loose this affinity with sketching that our architectural discourse has been built on.   In this digital age the benefits computers can bring to the design process is profound however, we must not let computers control architecture.   Let humans control architecture and allow a combination of sketches, CAD or virtual models and computation control our future worlds.  Ã‚  Ã‚   However the terms, concepts and processes that seem inconceivable, unpredictable and impossible by a designer can be explored, implemented and tested into new design strategies and solutions within the digital world.   This experimentation has given rise to new design processes and concepts such as genetic algorithms, parametric design and isomorphic surfaces.   Branko Kolarevic (2005) makes the argument that; Digitally driven processes, characterized by dynamic open-ended and unpredictable but consistent transformations of three dimensional structures, are giving rise to new architectonic possibilities (2005, p. 2).[11] CAD programs assist in helping an idea to be physically realizable creating a new dynamic solution.   Computers simply assist in reinforcing our creativity and making us capable of doing things, which would be considered impossible by traditional means.   This rise of algorithmic design as a result of digital design may be particularly beneficial to that of urban master planning for the future of our cities.   Michael Batty for example talks about algorithms stating: This new species has mutated the way man perceives architecture and his place within it.   It has allowed a different thought process to be applied to how we exist in this world, and how we build up the world around us, and how the world builds itself (2009, p. 47).[12] From this quote it can be said that 3D visual programs can help us understand and analyze our cities and enable the designers to navigate them in new ways and pave a better way for the future.   However this notion of a digital city is merely conceptual at this point with Planners being unaware of the possibilities of new interventions derived from 3D analysis.   Therefore the spatial development of a digital city at this point in time is still untried, considered unresolved and unaware if the digital mutations emerging from our computers actually work functionally. In conclusion this chapter has emphasized that;all that is digital need not be a Trojan horse of marketisation and all theoreticians and designers that have embraced computer based design and manufacturing need not be neo-capitalistic zealots; Anthony Vidler (2008, p.111).[13] The emergence of computer simulation programs can open up new possibilities of design and push architectural skills in a direction previously not possible via pen and paper.   It is enlightening to know that new CAD programs have implemented change in the design discourse in terms of freedom of experimentation.   The seemingly impossible is now very much realizable thanks to the computer.   However the worry by many critics is that architecture becomes more about novelty as a result.   It has become apparent that the image produced on screen can often be misleading and act as a misrepresentation of the actual materiality. To summarize Digital technologies act as almost organic rather than prosthetic and provide an extension to the hands of the maker, freeing up time for other important work to be done.   Problem solving is an action which we perceive in multiple modalities and so various methods should be encouraged to benefit the future of architecture.   However when and to what degree we should use CAD as a form developer, visual agent and general helper to the design process? The next chapters will use case studies to examine how three well known architect firms use CAD in their practices.   It will highlight the various positions and attitude towards the use of CAD software and determine the stages at which computer visualization software is used in the design process as a development tool. Chapter 2:   Caruso St. John Architects:   The attraction of tradition Since their inception in 1990 established by Adam Caruso and Peter St John, Caruso St. John architects have strove to maintain traditional qualities of architecture such as ornament and decoration, texture and color.   Caruso and St. John have learned from figures like the Smithson, Robert Venturi and Adolf Loos that architecture is good when it is enmeshed in the patterns of everyday reality and not virtual reality.   Over the last 20 years, the partnership has very much avoided the high tech, shiny newness associated with the modern world of architecture.   The trend of globalization and constant expansion is a route which this firm has not taken.   This non-heroic stance has involved rejecting new methods of technology engaging solely on the past as a generator for the future of the city.   As David Leatherbarrow states, originality is only genuine when it is unsought (2009)[14].   This rationality and belief in the architects hand, calling upon memory and feelings is what makes Caruso St Johns work remarkable in a modern way.   It should become apparent in the following case study that computer digital aids can be used sparingly and effectively to produce emotional, human led architecture. It is unrealistic and utterly frivolous to reject computer aided software completely and Caruso St John is no exception to this.   It is however more about the way in which they embrace the computer as an architectural design tool and at precise working stages that is of particular interest.   The computer does not rule their practice, rather the architect controls the decisions via skills intrinsically and traditionally linked with the architect.   Adam Caruso in a conversation with Paul Vermeulen states, Foreign Office Architects say that new overlaid programmes and, more bizarrely, new ways of working with computers will allow you to have new spatial urban possibilities, and that architecture, rather than being resistant to the forces of global capitalism, should respond, should represent it.   I still believe that architecture should be resistant (2002, p. 88).[15] It is clear that Caruso St John follow a framework of refraining from the extensive use of technology in a rhetorical way.   In their approach to a project, the firm use a lot of large models to visualize the projects internally, however they tend not to do many presentation drawings using CAD renderings.   Rather they take photos of models (evident in Figure 3), use sketches and perform verbal presentations with their clients.   They avoid at all costs the shiny visualizations associated with computer visual programs. Even with the negative feelings towards computer led architecture, the firm use CAD software quite early as a design tool and as Adam Caruso in an Architects Journal article states, we dont think it changes the form of our architecture.   Our production drawings are much like what they were when we were hand drawing (2006).[16]   Inevitably the partnership still use the hand as a design tool in which the architect creates spaces to which they are emotionally linked, while a tangible connection is made in relation to the computer at the appropriate stage of the design. Rowan Moore an architectural critic states the point that where other architects give primacy to technology, or the image of modernity or abstract form making, the consistency of Caruso St Johns work is in the attitudes behind it (2002).[17]   Caruso St John has no predetermined attitudes towards modern or traditional design methods but choose to select the appropriate at a particular moment in time.   The firm has carefully embraced CAD as a design tool within the office without it superseding their principles and beliefs where a pen and paper should sit comfortably beside a computer running CAD software. CAD drawings, graphics and photos were translated into machine milling instructions, allowing positives to be cut from resin board and hard latex moulds then made to form the faà §ade of the building.   Without the ability to produce a 3D computer model this would never have been achieved.   Caruso St Johns approach is not simply about knowing how to apply CAD techniques, but when to apply them to achieve the best response.   Models and sketch drawings will always lead the way within this office, however CAD software is consistently used to aid with ideas, facilitate construction drawings and to rationalize themes and ideas.   Its all about moving between the two worlds of the real and the virtual to achieve a homogenous whole.   Caruso St John often remark on how little computer technology has affected the development of architectural form and in their essay Frameworks the duo state they are doubtful whether completely new forms can exist (1996, p.41)[18].   For them, it is cheating to muck around with algorithms and mapping programs to generate forms.   Adam Caruso in Tyranny of the New states his distaste for computers used in this way condemning how the forms: lack the complexities and ambiguities that are held within the tradition of architectural form, these shapes quickly lose their shiny novelty and achieve a condition of not new, but also not old or ordinary enough to become a part of the urban background (1998, p.25)[19].   Effectively the belief is that computer generated forms have no place in our current urban context and lack any particular sense of place.   In Contemporary Architecture and the Digital Design Process Andrew Kane remarks that there is an increased belief amongst experienced clients that digital representation of design proposals is essential to close the gap between their understanding of the conceptual ideas and the realized finished form (2005 p.vii)'[20].   This is not the case in Caruso St Johns practice.   A multitude of models and a close communicative relationship with their clients ensures complete understanding of the project on both without the need for extensive use of computer generated form.   Through a physical and verbal understanding of design elements, a computer can have no advantage over a close relationship developed with a client. To summarize, it must be noted that this affiliation with traditional values and qualities is an admirable approach in the face of modernity in a high tech world.   The formulation of design within Caruso St Johns office involves a multitude of mediums with CAD software being one of those.   However, their use of it doesnt restrict the design formalities but merely assists them in engaging with the project more intrinsically.   Computers are used frequently within the office like every other architects business; however they do not use its powers as a form, plan or aesthetic generator.   Caruso St John avoid the extensive use of the computer image generation path and the stardom associated with this archetype in favor of being linked with the physicality, a model or a pen and paper can bring, rather than the autonomous production of a drawing filtered via a software program with no sense of personal touch.   To conclude it can be stated that Caruso St John have avoided the nostalgia of digital realms of visualization but have embraced the use of CAD software programs as a communicative tool with contractors, as an aid in production design and as an aid in visualizing their initial sketch idea in its contextual environment. The next chapter is the second case study of a practice with a different approach to the use of CAD in their everyday work.   Chapter 3:   Zaha Hadid:   Towards a new realm This chapter will use the practice of Zaha Hadid to examine how they use CAD in their working methods and allow an examination of the effect it has had on their design philosophies and the work they produce. Zaha Hadid has defined a radically new approach to architecture by creating buildings with imaginative geometry to evoke the hectic nature of modern life.   She transcends the realm of paper architecture to the built form creating archetypes never envisaged before.   Her work is known widely for the dramatic images produced of seemingly impossible pieces of architecture yet many of these complex images have been realized and built contrary to many beliefs. All of this would not have been impossible without the advent of computer-aided software to allow architects almost infinite freedom to create any shape they wanted.   In particular the use of computer aided manufacturing (CAM) has become increasingly popular in Hadids practice.   The ability to manufacture a physical model from a 3D computer model has allowed the firm to fabricate scale models using CAM technology and therefore allow an appreciation and review of what could be realized at full scale on site.   Subsequent ly full scale components are then created from the computer model.   It is through this extensive use of computers, that has enabled Zaha Hadid to minimize the need to dumb down her architectural wonders and requires contractors to build her works of complexity.   Her decision to virtually leave the drawing board in the 1980s in favor of graphic paintings to express her visions was a bold statement.   One of her paintings displayed in Figure 5 demonstrates the complexity of her ideas.  Ã‚   The emergence of computer visualizations simply begged Hadid to embrace it to express her bold, flowing spaces. The critic Aaron Betsky remarks how she does not invent forms of construction or technology; she shows us a world in new ways by representing it in a radical manner (2009, p6).[22] The influence of the computer in Hadids working method is clearly visible in the Phaeno Science Center in Wolfsburg, where the architects started the project at conceptual stages by deforming a hypothetical grid and depressing it at points using a 3D visualization program.   This push and pull of elements using CAD software is evident in Figure 6.   However often what happens in practice is that the more experienced architect such as Hadid will delegate the computer generative work to a younger colleague to visualize.   As Aaron Betsky remarks; she sketches and does all the precise lines that indicate her design objectives, her co-workers render the work at a larger scale and fill in the spaces between her gestures she now produces paintings that are only white lines on black paper, ghosts of a future city (2009, p.11).[23]   It is notable therefore that the perceived heroes of the architectural world such as Hadid still will connect with their spaces and concepts via a pen and paper before ever conceiving any manifestations on a computer.   The question that keeps coming back to us therefore is whether all architecture still stems from the simplicity of the hand?   Patrik Schumacher a partner in the office proclaims of the primacy of the computer, arguing that it is the technologies that rely on its power that are allowing us to create what we consider to be truly modern structures (2009, p.14).[26]   As her paintings and sketches disappear into computer renderings and forms, their imaginative qualities begin to disappear too as a flattened, sterile computer visual image can never be a substitute for the emotion a hand drawing can bring.   The digitally produced image can often be a misrepresentation of the actual building product The use of computer visualization programs in Hadids office however has enabled the emergence of reweaving reality.   Joseph Giovannini states that, In Hadids laboratory, the mediums of design were not tethered to representation but instead encouraged ways of seeing released from convention.(2006, p.23)[27]   Computers allowed Hadids office to break away from conventional architectural expression in favor of shifting simulations of representation.   The pedestrian bridge at Zaragoza, Spain is based on a computer procedure called lofting, a term used in the computer program Rhino.   It involves the continuous morphing of one architectural section into another as the initial shape transforms through the ends of its trajectory.   Figure 8 demonstrates this morphing shape achieved via this CAD process.   Something never possible via traditional means.   As Aaron Betsky states, The latest software allows her to take the existing landscape and unfold it, to pan, swoop, swerve, cut, slow down and speed up (2009, p.12).[28]   The software allows her to intertwine elements and shift forms too complicated to model quickly via conventional methods.   Therefore I would argue that the use of computational tools actually allows for speed of manipulation and not creation itself. Zaha Hadid has an extraordinary ability to transform perceptions and dream like paintings and drawings into representations.   The firm quite clearly relies on computer software to create fully integrated, large scale buildings and manage the process from conceptual stage to practical completion however, whether or not she can pull off many of these virtual worlds as realized functional buildings remains to be seen.   Zaha Hadid has an enormous catalogue of conceptual designs but surprisingly a small number of developed projects. Therefore this tendency towards graphic representation in the conceptual stage via computer has yet to be truly tested at construction stage.   This pastiche of virtual worlds created in Hadids studios is very much intriguing to the architectural world however pursuing the elusive commissions remains another matter.   In Hadids office, the computer acts as an enabler to model on screen, pushing and pulling objects similar to a hands on approach and a s Joseph Giovannini states, like all tools she has used, the computer helps Hadid become more Hadid (2006, p.32).[29] To summarize this chapter has shown that to create complex forms and shapes such as that of the work of Zaha Hadid, CAD modeling used in conjunction with CAM offers extraordinary benefits and acts as a communication tool to reassure clients and contractors that the design is possible.   It has emerged that computer software is more of a business tool, with the birth of a concept and design still stemming from the hands of the maker via a sketch or painting.   The problem identified is that the final computer images do not accurately reflect the finished product as the shiny, reflective and vibrant colors and textures viewed on the computer screen does not follow through in the finished building. The next chapter is the third case study of a practice with another different approach to the use of CAD in their everyday work, where working methods, beliefs and outcomes in relation to computers will be assessed.   Chapter 4:   Greg Lynn:   Architectural animation and the paperless office The majority of architectural practices produce paper drawings, then use design visualization software to assess the form and produce a full repertoire of working drawings, however Greg Lynns paperless practice located in California brings computers into the design mix from the start.   He is considered one of the most influential figures in computer generated architecture and has been named in Times magazine 100 innovators of the next century.   Considering he is the pioneer of computer designed architecture using biomorphic shapes and the creator of blob architecture, the architectural critics of CAD software can undoubtedly be impressed with his merging of science, calculus, art, photography, film, organisms and architecture all into one futuristic idea.   He envisages ideas of science fiction as Mark Rappolt states: Gregs work has become a form of porn pored over, leered at, and more or less successfully emulated thats resolutely hardcore in its use of the new digital technologies and pioneering exploration of new (architectural) positions in the latest special effects (2008, p.6).[30]  Ã‚   His use of computers and other advanced digital technologies as a design tool has paved the way for the future of the architectural discourse.   Undoubtedly graphic content in architecture has opened up the discourse to popular media; however Gregs use of visualization software goes beyond the mere formulated, repetitive and regular approaches to expand the possibilities of the building world.   For example in the design for Cabrini Green Urban Design Competition in 1993, Greg used adjustable triangles, a computer spreadsheet for dimensions, a ruler and a parallel bar.   Existing buildings in the Cabrini Green neighborhood were measured and drawn along a linear bar and then their shape and size averaged from one to another.   A technique subsequently adopted and used in new computer programs Alias and Maya 5 years later as blend shape tools.   The harmonious scales are shown in figure 9. This project was also one of the last achieved in his office by hand initially on a drawing board and simply extruded by the computer.   Everything is now done digitally.   His approach to projects involves the use of computers from the initial brief and one method adopted is testing the boundary of animation software called editing spline functions.   As Greg Lynn points out, the very first projects designed using animation software did operate through happy accidents:   the port authority competition and citron house, specifically (2008, p.280).[31]   Basically trial and error methods were used using basic CAD packages until a satisfactory outcome emerged from the screen.   In the port authority triple bridge gateway competition (1995) animation tools and splines were used as a design medium for the first time by any architect and was more a computer analysis outcome than a design project.   The project was produced in less than a week using dynamics and the pseudo-quantitative indexing of statistical data.   The outcome is shown in Figure 10. This then became a primary technique for Gregs future projects using blebs'[34]   It must be stated that in Gregs office computer design software is never simply used as a representative medium but more as an architectural tool to expand the possibilities and boundaries of architecture.   For example prototypes of concepts are built at Lynns office during the design phases using his own computer controlled 3D cutter known as Computer Numerical Control.   The intent as a result is to really focus on how these amorphical forms are created to achieve the maximum potential of a computer, as well as actual build-ability using CAM.   Full scale models are built of sections of buildings to allow a person to physically walk through and engage with a product not yet reality.  

A Psychoanalytic Analysis of To His Coy Mistress by Andrew Marvell Essa

A satisfactory understanding of a literary work necessitates a multi-level investigation—of the poem’s context, of the text itself, of the poem’s socio-political implications, of the poem’s trans-cultural implications, and of the Christian implications. To see a great work of fiction or a great poem primarily as a psychological case study,it means that we have to miss its real significance,its real meaning.Literary interpretation and psychoanalysis are two different field,though they are closely associated,they can in no sense be regarded as parts of one discipline.The literary cristic who views the masterpiece only through the lens of Freud, sees art only through a glass darkly,on the other hand,the reader who rejects psychoanalysis deprives himself of valuable tool in understanding not only literature,but human nature and himself as well. One of the most celebrated carpe diem poems in British literature,it has been praised by numerous literary scholars and critics fot its brilliantly wrought form,thematic significance,metaphysical conceits,paradox and irony.Unfortunately,not many of the readers thoroughly understand this poem.They will notice that its male speaker,an erudite man,tries to persuade a reluctant mistress to accept his proposal of physical love,those who are unfamiliar with the conventions of seventeenth century metpshysical poetry may feel that the poem is merely â€Å"weird†,†strange† or â€Å"sexiest†.They recognize that there is something questionable about the male suitor’s use of flowerly language in the first stanza.They also do not like the â€Å"bizarre† images in the second stanza â€Å"That long-preserved virginity/And your quaint horror turn to dust/And into ashes all my lo... ... begins his proposition of love by stating an impossible condition:†Had we but world enough,and time/,This coyness,Lady,were no crime.† His objective,despite the contradictory deceptiveness of â€Å"vegetable love†,is nevertheless the same:the woman must capitulate to his desires.It is only matter of time.From the eternal burning of vegetable passion,in the face of reality,we see that the love must end,the same as sexual profligacy,in dust.In the final stanza the speaker relaxes his harsh irony,here,too,the sexual image is evident.The fire image,which smolders in stanza one and turns to ashes in stanza two,explodes into passion in this concluding stanza.The poet conveys a sense of desperate ecstasy. Marvell’s great poem is not only a glorification of sexual activity,it deals with the total human psyche,many facets of which are both unpleasant and unconscious. A Psychoanalytic Analysis of To His Coy Mistress by Andrew Marvell Essa A satisfactory understanding of a literary work necessitates a multi-level investigation—of the poem’s context, of the text itself, of the poem’s socio-political implications, of the poem’s trans-cultural implications, and of the Christian implications. To see a great work of fiction or a great poem primarily as a psychological case study,it means that we have to miss its real significance,its real meaning.Literary interpretation and psychoanalysis are two different field,though they are closely associated,they can in no sense be regarded as parts of one discipline.The literary cristic who views the masterpiece only through the lens of Freud, sees art only through a glass darkly,on the other hand,the reader who rejects psychoanalysis deprives himself of valuable tool in understanding not only literature,but human nature and himself as well. One of the most celebrated carpe diem poems in British literature,it has been praised by numerous literary scholars and critics fot its brilliantly wrought form,thematic significance,metaphysical conceits,paradox and irony.Unfortunately,not many of the readers thoroughly understand this poem.They will notice that its male speaker,an erudite man,tries to persuade a reluctant mistress to accept his proposal of physical love,those who are unfamiliar with the conventions of seventeenth century metpshysical poetry may feel that the poem is merely â€Å"weird†,†strange† or â€Å"sexiest†.They recognize that there is something questionable about the male suitor’s use of flowerly language in the first stanza.They also do not like the â€Å"bizarre† images in the second stanza â€Å"That long-preserved virginity/And your quaint horror turn to dust/And into ashes all my lo... ... begins his proposition of love by stating an impossible condition:†Had we but world enough,and time/,This coyness,Lady,were no crime.† His objective,despite the contradictory deceptiveness of â€Å"vegetable love†,is nevertheless the same:the woman must capitulate to his desires.It is only matter of time.From the eternal burning of vegetable passion,in the face of reality,we see that the love must end,the same as sexual profligacy,in dust.In the final stanza the speaker relaxes his harsh irony,here,too,the sexual image is evident.The fire image,which smolders in stanza one and turns to ashes in stanza two,explodes into passion in this concluding stanza.The poet conveys a sense of desperate ecstasy. Marvell’s great poem is not only a glorification of sexual activity,it deals with the total human psyche,many facets of which are both unpleasant and unconscious.

Harvard Writing Style

Library Guide on Harvard Citing and Referencing Contents Introduction2 Choosing a reference style2 What is referencing? 2 Why reference? 2 When to reference? (Plagiarism)3 In-text references4 Reference List5 Abbreviations5 Examples6 Authors6 Books8 Book8 Book chapter8 e-book from a database8 e-book from the Internet9 Encyclopaedia or dictionary9 Secondary citation9 No date10 Journal articles10 Journal article10 e-journal article from a database10 In press article11 Magazine article – no author11 Newspaper articles11 Newspaper article11Newspaper article from a database11 Internet sources12 Discussion list message12 Newsgroup message12 Blogs12 Website documents13 Course notes13 Course notes from RMIT University Library reserve13 Course notes from RMIT University Library e-reserve13 Course notes from Online @ RMIT14 Reports14 Government publications14 Parliamentary debates14 Australian Bureau of Statistics15 Legislation and Legal cases15 Legislation15 Legal cases15 Other sources1 6 Conference paper16 Thesis16 Patent16 CD-ROM16 Film, video, TV and radio program17Personal communication17 Bibliography17 Introduction The author-date system originated at Harvard University, and although they no longer produce a standard guide to referencing, a version of the author-date system is still commonly referred to as the Harvard style. Other author-date referencing styles include: Chicago, APA and MLA. The Harvard Style of referencing is widely accepted in scholarly circles. Each reference is indicated in the text by the author and date of the publication cited, sometimes with added information such as page numbers.The full details of these references are listed at the end of the text in a Reference list. There are many different styles or ways of using the Harvard or author-date system. This document is meant only as a guide. It is important that you check with your School as to what they require for referencing. You may be penalised for not conforming to your Schoolâ⠂¬â„¢s requirements. Further details and examples may be found in the Style manual for authors, editors and printers (2002). Electronic resources are not adequately addressed in theStyle manual for authors, editors and printers (2002) and so the principles of author-date citing have been applied in developing those examples. The information and examples are derived from the following source: Style manual for authors, editors and printers 2002, 6th edn, John Wiley & Sons, Australia. Choosing a reference style The style (i. e. order in which the details of a reference are cited) may vary depending on the requirements of your department, lecturer or supervisor. Some Schools produce their own guidelines for citing references.Check with your School whether they have a preferred Referencing Style. The Library also has a Style Manuals page (http://www. rmit. edu. au/library/reference/manuals) that provides links to websites on various referencing styles. What is referencing? Referencing an information source used in an academic work means to employ a standardised method of acknowledging that source. The full details of the source must be given. All information used in your assignment, thesis, etc. , whether published, or unpublished, must be referenced. Why reference? When writing a piece of academic work (ie. essay, thesis, etc. you are required to acknowledge the sources of information that you have used: Oto prove that your work has a substantial, factual basis Oto show the research you've done to reach your conclusions Oto allow your readers to identify and retrieve the references for their own use Information obtained from the Internet is covered by copyright law. For this reason it is important to cite Internet references just as you would cite print references. Many style guide producers have extended the system used for print resources and applied this to electronic resources. A date of access is very useful as Internet resources change rapidly.When to refere nce? (Plagiarism) You must reference all sources used in a particular work whether you are: Odirectly copying the words of another author (quoting), or Oputting their ideas into your own words (paraphrasing) If you do not acknowledge these sources, then you are plagiarising their work. Plagiarism is defined as the taking, using, and passing off as your own, the ideas or words of another. It is a very serious academic offence, and may result in your work being failed automatically. There is more information on this subject in Copyright, plagiarism and fair use[-;0] (http://www. rmit. edu. u/library/info-trek/copyright). RMIT University definition of plagiarism RMIT has an assessment charter, which elaborates key responsibilities common to all staff and students in relation to assessment and defines the University’s policy on plagiarism. Plagiarism is defined (RMIT 2003a) as stealing somebody’s intellectual property (IP) by presenting their work, thoughts or ideas as tho ugh they are your own. It is cheating. It is a serious academic offence and can lead to expulsion from RMIT. Plagiarism can take many forms – written, graphic and visual forms, and includes use of electronic data and material used in oral presentations.Plagiarism may even occur unintentionally, such as when the origin of the material used is not properly cited. What constitutes plagiarism? Under the charter, you may be accused of plagiarism if you do any of the following: OCopy sentences or paragraphs word-for-word from any source, whether published or unpublished (including, but not limited to books, journals, reports, theses, websites, conference papers, course notes, etc. ) without proper citation. OClosely paraphrase sentences, paragraphs, ideas or themes without proper citation. OPiece together text from one or more sources and add only linking sentences without proper citation.OCopy or submit whole or parts of computer files without acknowledging their source. OCopy des igns or works of art and submit them as your original work. OCopy a whole or any part of another student’s work. OSubmit work as your own that someone else has done for you. Enabling Plagiarism is the act of assisting or allowing another person to plagiarise your own work (RMIT 2003a). It is also a serious academic offence. More detail on what constitutes plagiarism is found in the January 2003 Policy: Plagiarism (http://mams. rmit. edu. au/1oavdg0bdd1. pdf). What is the penalty for plagiarism? Plagiarism is not permitted in RMIT University.Any use of another person’s work or ideas must be acknowledged. If you fail to do this, you may be charged with academic misconduct and face a penalty under RMIT Regulations 6. 1. 1 – Student Discipline (http://mams. rmit. edu. au/j4lb68xx36oj1. pdf. ) Penalties for plagiarism (RMIT 2003c) include: Orecording of a failure for the assignment or course Ocancellation of any or all results Osuspension from the program Oexpulsion from the program Acknowledgement: The information in this section on Plagiarism has been supplied from the Written reports and essays: guidelines for referencing and presentation (RMIT Business 2003, p. 5).In-text references In the text of your essay or thesis you should identify your source by giving, in parentheses, the author's name and year of publication of the work to which reference has been made. From the textual reference, the reader can turn to the alphabetical list of references for full publication details. Page numbers are essential if directly quoting from a work, use single quotation marks and relevant page number. If a work being referred to is long then page numbers may be useful to the reader. For example: Larsen (1971) was the first to propound the theory. OR The theory was first propounded in 1970 (Larsen 1971).For example: Larsen (1971, p. 245) noted ‘many of the facts in this case are incorrect’. OR ’Many of the facts in this case are incorr ect’ (Larsen 1971, p. 245). For example: Larsen (1971, p. 245) questions certain aspects of this case. OR Many aspects of this case have been questioned (Larsen 1971, p. 245). If citing multiple works at one point in the text it is recommended that the authors’ names be ordered alphabetically inside the parentheses, with a semicolon to separate them. For example: Other studies of globalization focus on its cultural and human implications (Bauman 1998; Tomlinson 1999). Reference ListAt the end of your work you should include a list of ALL the references you have cited in your text. In the Harvard Style sources that are not cited in the text but are relevant to the subject may be listed separately as a bibliography. The same method of presentation is used for both a list of references and a bibliography. The Reference List is arranged alphabetically by author, and thereafter chronologically, starting with the earliest date. For example: Jones, AB 2000, †¦ Jones, B 1 995, †¦ Smith, AK 1990, †¦ Smith, AK 1995, †¦ Stein, B 2003 †¦ Stein, B & Reynolds, JS 1995, †¦ Stein, B & Reynolds, JS 2000, †¦Style manual for authors, editors and printers 2002, †¦ Yarbro, CH, Frogge, MH, Goodman, M & Groenwald, SL 2000, †¦ Young, JC 1988a, †¦ Young, JC 1988b, †¦ The format of the citation depends on the nature of the work, ie. whether it is a book, journal article, website, etc. In general the order of elements contained within each reference should include: author – date – title of work – title of larger work (if any) – publishing details – date of access (if electronic). Apart from the author and date, each element is separated from the others with a comma and the citation finishes with a full stop.Abbreviations Acceptable abbreviations in the reference list for parts of books and other publications include: app. c. ch. ed. (eds. )edn. et al. n. d. n. p. no. p. , pp. para. pt. rev. suppl. vol. vols. |appendixcircachapter editor (Editors)edition and othersno dateno placenumberpage/sparagraphpartrevised supplementvolume (as in Vol. 4) volumes (as in 4 volumes) | Examples Authors Whatever type of work you are referencing, the way you list the authors’ names depends on the number of authors. |In-text citation|Reference list| One author|(Jones 1995) or Jones (1995) states†¦Ã¢â‚¬ ¦|Jones, B 1995, Sleepers, wake! technology and the future of work, 4th edn, Oxford University Press, Melbourne. | Two or three authorsWhere there is more than one author, the in-text citation in parentheses will use an ampersand (&) to join them, whilst if the reference is part of the sentence you use the word ‘ and . ’|(Stein & Reynolds 2000) or Stein and Reynolds (2000) argue†¦.. |Stein, B & Reynolds, JS 2000, Mechanical and electrical equipment for buildings, 9th edn, John Wiley & Sons, New York. | Four or more authorsIf there are four or more authors only include the first author in your in-text citation, adding the words ‘ et al. meaning ‘and others. ’ However the Reference List should include all authors. |(Yarbro et al. 2000) or Yarbro et al. (2000) have found†¦Ã¢â‚¬ ¦|Yarbro, CH, Frogge, MH, Goodman, M & Groenwald, SL 2000, Cancer nursing, 5th edn, Jones and Bartlett, Boston. | Multiple works at one point in the textAuthors’ names should be ordered alphabetically inside the parentheses, with a semicolon to separate them. |(Bauman 1998; Tomlinson 1999)|Bauman, Z 1998, Globalization and culture, Polity Press, Oxford. Tomlinson, J 1999, Globalization: the human consequences, Routledge, London. |Several works by same first author and yearSingle author entries precede references with multiple authors beginning with the same name. A 2-em rule can be used to replace the authors’ name(s) that are repeated. |(Heyland 2001) or Heyland (2001) reports†¦.. (Heyland & Novak 2001) or Heyland and Novak (2001) reports†¦.. |Heyland, DK 2001, ‘In search of the magic nutraceutical: problems with current approaches’, Journal of nutrition, vol. 131, no. 9, p. 2591S. —— & Novak, F 2001, ‘Immunonutrition in the critically ill patient: more harm than good? ’, JPEN: Journal of parenteral and enteral nutrition, vol. 5, no. 2, p. S51. | Several works by same author and yearIf you are referring to several works by the same author or group of authors from the same year, designate these a, b, c, †¦. with the order of the listing based on the letter-by-letter alphabetical order of the title of the work. |(Porter 2001a) (Porter 2001b) or Porter (2001a) states†¦. or according to Porter (2001b) †¦|Porter, ME 2001a, ‘Japan: what went wrong', Wall Street Journal – Eastern Edition, vol. 237, no. 56, p. A22. —- 2001b, ‘Strategy and the Internet', Harvard Business Review, vol. 79, no. 3, p. 62. No author givenWher e an item has no named author it is cited by its title. |Style manual for authors, editors and printers (2002) orAccording to the Style manual for authors, editors and printers (2002) †¦|Style manual for authors, editors and printers 2002, 6th edn, John Wiley & Sons, Australia. | Editor/sUse the abbreviation ed. for editor or eds. for multiple editors. |(eds. Muller, Cloete & Badat 2001)oredited by Muller, Cloete and Badat (2001)|Muller, J, Cloete, N & Badat, S (eds. ) 2001, Challenges of globalisation: South African debates with Manuel Castells, Maskew Miller Longman, Pinelands, Cape Town. Books Book Format: Author’s surname, Initials Year, Title of book, Edition, Publisher, Place of publication. Example: Jones, B 1995, Sleepers, wake! : technology and the future of work, 4th edn, Oxford University Press, Melbourne. Book chapter Format: Author’s surname, Initials Year, ‘Title of chapter’, [in] Author of book (if different), Title of book, Edition, Pu blisher, Place of publication, Page number(s). Examples: Crawford, RJ 1998, ‘Plastics available to the designer', in Plastics engineering, 3rd edn, Heinemann-Butterworth, Oxford, pp. 6-18. orChristians, CG 2000, ‘Ethics and politics in qualitative research’, in Denzin NK & Lincoln YS Handbook of qualitative research, 2nd edn, Thousand Oaks, CA, Sage, pp. 133-154. e-book from a database Note: Style manual for authors, editors and printers (2002) does not distinguish between printed sources and those sourced electronically. The following is a suggested procedure for referencing e-books. If an e-book is retrieved electronically from a library database in page image format, eg. in an Acrobat (PDF) file, cite it the same as the original printed book.Where alternative formats are available, it is recommended to choose page image format. If an e-book is retrieved from a library database where it has been reformatted, eg. as HTML or plain text, or from a website, you shou ld cite the source you have used, as images, charts, page numbers, etc. may have been removed. Where the source is a library database give the database name, or if it is from the internet give the URL. Format: Author’s surname, Initials Year of publication, Title of book, Edition, Publisher, Place of publication, viewed day month year, database name.Example: Kung, SY, Mak, MW & Lin, SH 2004, Biometric authentication: a machine learning approach, Prentice Hall, Upper Saddle River, NJ. , viewed 5 August 2005, Safari Tech Books Online. e-book from the Internet Note: Style manual for authors, editors and printers (2002) does not distinguish between printed sources and those sourced electronically. The following is a suggested procedure for referencing e-books. If an e-book is retrieved electronically from a library database in page image format, eg. in an Acrobat (PDF) file, cite it the same as the original printed book.Where alternative formats are available, it is recommended t o choose page image format. If an e-book is retrieved from a library database where it has been reformatted, eg. as HTML or plain text, or from a website, you should cite the source you have used, as images, charts, page numbers, etc. may have been removed. Where the source is a library database give the database name, or if it is from the internet give the URL. Format: Author’s surname, Initials Year of publication, ‘Title of chapter’, [in] Author of book (if different), Title of book, Edition, Publisher, Place of publication, viewed day month year, .Example: Chen, C & Farruggia, S 2002, ‘Culture and adolescent development’, in Lonner, WJ, Dinnel, DL, Hayes, SA & Sattler, DN (eds. ), Online Readings in Psychology and Culture, Unit 11, Chapter 2, Center for Cross-Cultural Research, Western Washington University, Bellingham, Washington USA, viewed 15 September 2005, . Encyclopaedia or dictionary Encyclopaedias and dictionaries should be cited in the i n-text reference only, NOT in the Reference List. Examples: (Literacy in America: an encyclopedia 2001, p. 25) states†¦Ã¢â‚¬ ¦ The Macquarie dictionary (1997) defines it as†¦Ã¢â‚¬ ¦ Secondary citationWhile primary sources are essential, sometimes the source you wish to refer to may be unavailable and you must refer to someone else's citation of that source. This is a secondary source and in this case you must include both names in the in-text reference. The Reference List example would include only the source you have seen. In-text citation example: MacDonald (1993, cited in Saunders, Lewis & Thornhill 2003, p. 48) states †¦ or (MacDonald 1993, cited in Saunders, Lewis & Thornhill 2003, p. 48) Reference List example: Saunders, M, Lewis, P & Thornhill, A 2003, Research methods for business students, 3rd edn, Pearson Educational, Essex, p. 8. No date Works that do not have a publication date may be cited using the expression n. d. (no date). In-text citation example: (B rown n. d. ) or Brown (n. d. ) Reference List example: Brown, S n. d. B. B. Bernard, Sunshine Press, London. Journal articles Note: Capitalise the first letter of the first word, and each of the major words of the journal name. Do not use capital letters for words such as on, for, in, and example: The Australian Journal of Language and Literacy Journal article Format: Author(s) of article – surname and initials Year of publication, ‘Title of article’, Journal name, volume number, issue number, page number(s).Example: Zivkovic, B & Fujii, I 2001, ‘An analysis of isothermal phase change of phase change material within rectangular and cylindrical containers', Solar Energy, vol. 70, no. 1, pp. 51-61. e-journal article from a database Note: Style manual for authors, editors and printers (2002) does not distinguish between journal articles from printed sources and articles sourced electronically. The following is a suggested procedure for referencing electronic j ournal articles. If a journal article is retrieved electronically from a library database in page image format, eg. as an Acrobat (PDF) file, cite it the same as the original printed article.Where alternative formats are available, it is recommended to choose page image format. If a journal article is retrieved from a library database where it has been reformatted, eg. as HTML or plain text, or from a website, you should cite the source you have used, as images, charts, page numbers, etc may have been removed. Where the source is a library database give the database name, not the URL. Format: Author(s) of article – surname and initials Year of publication, ‘Title of article’, Journal name, volume number, issue number, page number(s), viewed day month year, database name. Example:Easthope, G 2004, ‘Consuming health: the market for complementary and alternative medicine', Australian Journal of Primary Health, vol. 10, no. 2, pp. 68-75, viewed 30 March 2005, A ustralian Public Affairs Full Text. In press article Format: Author(s) of article – surname and initials in press, ‘Title of article’, Journal name, viewed day month year, database name (if applicable). Example: Mundermann, A, Wakeling, JM, Nigg, BM, Humble, RN & Stefanyshyn, DJ in press, ‘Foot orthoses affect frequency components of muscle activity in the lower extremity ‘, Gait and posture, viewed 15 September 2005, ScienceDirect.Magazine article – no author Note: if the magazine article does NOT have an author then provide details as an in-text citation only, NOT in the Reference List. For example: Electronics Weekly (11 July 2007, p. 4) states†¦Ã¢â‚¬ ¦ Newspaper articles Note: Capitalise the first letter of the first word, and each of the major words of the newspaper name. Note: if the newspaper article does NOT have an author then provide details as an in-text citation only, NOT in the Reference List. For example: The Australian (10 J uly 2002, p. 1) states†¦Ã¢â‚¬ ¦ Newspaper article Format:Author’s surname, Initials Year of publication, ‘Title of article’, Newspaper name, day month, page number(s). Example: Tobler, K & Kerin, J 2002, ‘Hormone alert for cancer’, The Australian, 10 July, p. 1. Newspaper article from a database Note: Style manual for authors, editors and printers (2002) does not distinguish between articles from printed sources and articles sourced electronically. The following is a suggested procedure for referencing electronic newspaper articles. If a newspaper article is retrieved electronically from a library database in page image format, eg. s an Acrobat (PDF) file, cite it the same as the original printed article. Where alternative formats are available, it is recommended to choose page image format. If a newspaper article is retrieved from a library database where it has been reformatted, eg. as HTML or plain text, or from a website, you should cite the source you have used, as images, charts, page numbers, etc may have been removed. Where the source is a library database give the database name, not the URL. Format: Author’s surname, Initials Year of publication, ‘Title of article’, Newspaper name, day month, page number(s), viewed day month year, name of database.Example: Timmins, N 2005, ‘Delay raises doubt in public sector’, Financial Times, 20 July, viewed 21 July 2005, Factiva. Internet sources Discussion list message Format: Author Year of posting, ‘Title of posting’, description of posting, date and month of posting, name of list owner, viewed day month year, . Example: Shively, E 1997, ‘CA pre-1967 information’, list server, 1 July, Chemical Information Sources Discussion List, viewed 3 July 2003, . Newsgroup message Format: Author Year of posting, ‘Title of posting’, description of posting, date and month of posting, name of newsgroup owner, viewed da y month year, .Example: Milinkovich, M 2005, ‘Oracle PL/SQL in Eclipse’, newsgroup, 12 July, News. Eclipse. Technology, 15 September 2005, , Blogs Format: Author Year of posting, ‘Title of posting’, description of posting, date and month of posting, name of list owner, viewed day month year, . Example: Steffen, A 2005, ‘Bird flu can we out-collaborate a pandemic? ’ blog, 15 August, World Changing: another world is here, viewed 15 September 2005, . Website documents Many electronic sources do not provide page numbers, unless they are in PDF format.If quoting or paraphrasing from a website, that is NOT a PDF, then use as part of the in-text reference either:  ·a section heading, (eg. Stone 2004, Usage and prognosis section)  ·a paragraph number (eg. Stone 2004, para. 11) Format: Author/editor. Year of document, Title of document, name of the sponsor of the source, date of viewing, . Reference list example: Stone, A 2004, Headaches due to Wind Cold, Al Stone Acupuncture and Traditional Chinese Herbal Medicines, viewed 10 September 2006, ; http://beyondwellbeing. com/headaches/wind-cold. shtml ;. In-text citation example:It is stated that: â€Å"this formula is about 85% targeting the symptoms of headache and stuffy nose, while only 15% directly addresses the cold or allergies† (Stone 2004, Usage and prognosis section) or It is stated that: â€Å"this formula is about 85% targeting the symptoms of headache and stuffy nose, while only 15% directly addresses the cold or allergies† (Stone 2004, para. 11) Course notes Course notes from RMIT University Library reserve Format: Author’s surname, Initials Year of publication, Title of work, course notes from (number), Publisher, Place of publication, viewed day month year, RMIT University Library.Example: Dixon, C 2002, Mechanical design 2: project resource material, course notes fromMIET1068, RMIT University, Melbourne, viewed 22 July 2005, RMIT University L ibrary. Course notes from RMIT University Library e-reserve Format: Author’s surname, Initials Year of publication, Title of work, course notes from (number), Publisher, Place of publication, viewed day month year, RMIT University Library . Example: Holland, J 2004, Lecture notes 3: bulldozers and land clearing, course notes from CIVE1057, RMIT University, Melbourne, viewed 22 July 2005, RMIT University Library 1];. Course notes from Online @ RMIT Format:Author’s surname, Initials Year of publication, Title of work, course notes from (number), Publisher, Place of publication, viewed day month year, [email  protected] Example: Smith, H 2005, Metadata, course notes from ISYS6655, RMIT University, Melbourne, viewed 8 July 2005, [email  protected] Reports Government publications These may include departmental reports, reports of commissions of inquiry, committees of review and committees of parliament. Format: Author’s surname, Initials Year of publication, Titl e of report, Report series code and number, Sponsoring body or body issuing report series, Publisher, Place of publication.Examples: Kogan, P, Moses, I & El-Khawas, EH 1994, Staffing higher education : meeting new challenges : report of the IMHE project on policies for academic staffing in higher education, Higher education policy series, no. 27, Jessica Kingsley Publishers, London. OR Australia, Parliament 1976, Department of Foreign Affairs annual report 1975, Parl. Paper 142, Canberra. Many government publications are available on the Internet. The following document appeared as a Parliamentary paper, but is also available from the relevant authority's website. The way you access a document may affect your citation. Examples:Australia, Parliament 2003, Fraud control arrangements in the Australian Customs Service, Parl. Paper 32, Canberra. AND Australian National Audit Office 2003, Fraud control arrangements in the Australian Customs Service, viewed August 4 2003, . Parliamentary debates For parliamentary debates and the official records of what has been said in parliament. Example: Australia, Senate 2000, Debates, Vol S25, p. 65. Australian Bureau of Statistics Format: Author’s name, Year of publication, Title of report, cat. no. , Publisher, Place of publication. Example: Australian Bureau of Statistics 2005, Australian social trends 2005, cat. o. 4102. 0, ABS, Canberra. OR Format: Author’s name, Year of publication, Title of report, cat. no. , Publisher, Place of publication, viewed day month year, database name. Australian Bureau of Statistics 2004, Mental Health In Australia: A Snapshot, cat. no. 4824. 0. 55. 001, ABS, Canberra, viewed 18 August 2005, AusStats. Legislation and Legal cases Legislation When referring to Commonwealth Acts, Ordinances and Regulations, the title must be reproduced exactly, without changing the capitalisation or spelling. The words Act and Bill are generally written with a capital letter.An Act or Ordinance may be cited by the short title, which is usually drafted into modern legislation. The first reference must always include the short title in italics. Subsequent references may refer to it by an undated, descriptive title in roman type. Legislation is usually numbered as well as dated. The number follows the date. For Australian State legislation, the State must be included in roman type. Acts of Parliaments of the United Kingdom, New Zealand, Canada and the United States, use roman type. Bills currently before Parliament are presented in roman type, not italics. Examples:Interstate Road Transport Act 1985 (Cwlth) Interstate Road Transport Act Air Navigation Act 1920 (No. 50) (Cwlth) Firearms Act 1936 (NSW) Badgers Act 1974 (UK) Legal cases To fully cite legal authorities list name of case; (date) or volume number, or both; abbreviated name of report series; and beginning page. Example: Greutner v. Everard (1960) 103 CLR 177 Other sources Conference paper Format: Author’s surname , Initials Year of publication, ‘Title of paper’, [in] Editor (if applicable), Title of published proceeding which may include place held and date(s), Publisher, Place of publication, page number(s).Example: Kovacs, GL 1994, ‘Simulation-scheduling system using hybrid software technology’, in Computer Integrated Manufacturing and Automation Technology: Proceedings of the 4th International conference, Troy, New York, October 10-12, 1994, IEEE Computer Society Press, Los Alamitos, California, pp. 351-356. Thesis Format: Author’s surname, Initials Year of preparation of thesis, ‘Title of thesis’, Award, Institution under whose auspices the study was taken. Example: Garland, CP 1986, ‘Structure and removal of non-cellulosic components of eucalypt woods’, MApplSci thesis, Royal Melbourne Institute of Technology.Patent Format: Name(s) of inventor. Name(s) of assignees, Patent title, Patent number Date of patent (including day and m onth). Example: Wilmott, JM & Znaiden, AP Avon Products Inc. , Cosmetic preparation incorporating stabilized ascorbic acid, U. S. patent 4,983,382 Jan. 8 1991. CD-ROM Format: Author/editor’s name, Initials Year, Title, Edition, CD-ROM, Publisher, Place of publication. Example: Young, B & Heath, J 2000, Wheater's functional histology : a text and colour atlas, 4th edn, CD-ROM, Churchill Livingstone, Edinburgh. Film, video, TV and radio program Format:Title of program Date of recording, format, publisher, place of recording, date viewed. Example: What are we going to do with the money? 1997, television program, SBS Television, Sydney, 8 August. Or Swiss ball: exercises for performance and function 1999, video recording, Galaxy Leisure Corporation, 3 February. Note: the in-text reference would be to the title of the program, also in italics. Personal communication Information gained through personal communication, either – face-to-face interview or conversation, telephone call, facsimile, letter, email, etc. – should be provided as an in-text citation.Details of personal communications do not need to be included in the Reference List. The information, including day, month and year, is provided in the text, or parenthically. Details of the organisation that the person represents may also be included. Note that initials precede the family name. Examples: When interviewed on 24 April 1999, Ms S Savieri confirmed†¦.. Ms S Savieri confirmed this by facsimile on 24 April 1999. It has been confirmed that an outbreak occurred in Shepparton (S Savieri 1999, pers. comm. , 24 April). Ms S Savieri (Australian Institute of Criminology) confirmed this by email on 24 April 1999.It has been confirmed that an outbreak occurred in Shepparton (S Savieri [Australian Institute of Criminology] 1999, pers. comm. , 24 April). Bibliography RMIT Business 2003, Written reports and essays: guidelines for referencing and presentation in RMIT Business, RMIT Universit y, Melbourne. Style manual for authors, editors and printers 2002, 6th edn, John Wiley & Sons, Australia. [-;0] – http://www. rmit. edu. au/browse;ID=obcz6j8do3ll [-;1] – http://auth. lib. rmit. edu. au/cat. php? http://eresources. lib. rmit. edu. au/ereserve/notes02/cive1057/31259006935782. pdf

Seperate piece essays

Seperate piece essays In the story A Separate Peace, John Knowles created the world of The Devon School. The story is set in a boarding school during World War II in New England. Two friends, Gene and Finny, learn the dark side of adolescence, which changes their viewpoints forever. The following essay will explain the relationship between the two main characters, Gene and Finny. Gene, the narrator of the novel A Separate Peace was a student at Devon during the early years of World War II. He was known as a hard worker and had excellent academic skills. Though Gene appears to be an innocent and honest person, beneath that surface is a dark side that reveals itself. The accident that occurred at Devon in the summer of 1942 gives Gene the feelings of regret, denial, and fear. Which banishes his world and innocence. Phineas, also known as Finny was Genes best friend and roommate. He is a daring athlete and a troublemaker who never tends to obey set rules. Yet, he is good at heart and with his charm, he has the ability to win people over. Unfortunately, all is changed after Finny falls out of a tree, which was caused by Gene. His right leg becomes shattered. Therefore, Gene takes over Finnys old place and becomes a wonderful athlete. Devon was a boys boarding school set during the early years of World War II. It was known as the most beautiful School in New England. There, Gene and Finny grow close and become best friends. Yet, they both live in denial, but of different types. Gene tries his best to deny that he had hurt Finny. In addition, Finny convinces himself that Gene had nothing to do with the accident. He also denies the existence of the war itself, believing that it is a joke. A Separate Peace is a great novel that teaches about the struggles of adolescence. The following essay explains the two main characters, Gene and Finny. In the beginning, the story is unleash ...

Quality Control for All

Quality Control for All Introduction/Executive summary This report involves the statistical analysis of data obtained from the previous jobs conducted by the Allrepairs staff. The performance of individual staff members is evaluated for all the jobs they undertake in terms of the time taken. In conducting this analysis, constraints such as the difficulty of the job are considered alongside the satisfaction of the customer.Advertising We will write a custom report sample on Quality Control for All-repairs Mechanics specifically for you for only $16.05 $11/page Learn More The other factor put into consideration is the number of years that the individual has been in the field, and this is important in determining their level of expertise. These values are independent random variables obtained by coding the raw data obtained during the data collection stage and is shown by the table provided. This analysis is supposed to show the competence of the individual staff members, who collecti vely determine the credibility of the company. In order to come up with this analysis the hypothesis has to first be determined then tested using the available data. This data will then be evaluated using E-views software which will generate the relevant statistics to be analyzed1. Hypothesis This analysis is aimed at establishing the credibility of Allrepairs staff members in relation to their experience, job difficulty, the time taken to complete the tasks and the customer’s response. The null hypothesis states that the staff members are not equally competent while the alternative hypothesis states that they have the same level of competence. In case the null hypothesis holds, the alternative hypothesis is automatically disregarded and vice versa2. Data Analysis The first table in this analysis is a representation of the general statistics of the data objects. It indicates the mean, median, maximum, minimum, standard deviation the skewness and the kurtosis of the individual objects for the 293 observations. Table 1: descriptive statistics DIFFICULTY SATISFACTION TIME YEARS Mean 1.832765 3.225256 34.05461 8.071672 Median 2.000000 3.000000 32.00000 9.000000 Maximum 3.000000 9.000000 97.00000 12.00000 Minimum 1.000000 1.000000 6.000000 2.000000 Std. Dev. 0.604791 1.405875 15.74466 3.884239 Skewness 0.092354 2.914407 0.959621 0.752124 Kurtosis 2.589877 12.97725 4.128666 1.924974 From this data, the mean difficulty of the jobs undertaken is below the median, meaning that most jobs are relatively easy. The mean for the satisfaction indicates that most of the customers are satisfied with the job while that of the time taken to complete the tasks indicates that a larger percentage of jobs is completed within the required time frame.Advertising Looking for report on business economics? Let's see if we can help you! Get your first paper with 15% OFF Learn More On the years of experience however, the statistics indic ate that most of the employees have not been with the company for long, implying a slightly high rate of labor turnover. The standard deviations likewise indicate that the value for the difficulty level is not very deviant from the mean3. This could be interpreted as the jobs have a difficulty level that is relatively similar to each other. As for the level of customer satisfaction, the standard deviation indicates that a majority of the customers approve the services offered to them. The time and number of year’s deviations, as well, indicate little deviation from the mean. To analyze the interrelationship between any two given objects, we will use the covariance matrix generated as follows. Table 2: Covariance matrix DIFFICULTY MECHANIC SATISFACTION TIME YEARS DIFFICULTY 0.364524 -0.110042 0.044497 7.288996 0.438607 MECHANIC -0.110042 1.305898 -0.102529 -1.992277 -4.083507 SATISFACTION 0.044497 -0.102529 1.969738 0.991112 0.349043 TIME 7.288996 -1.992277 0.99111 2 247.0482 6.357861 YEARS 0.438607 -4.083507 0.349043 6.357861 15.03582 The significance of this is in the determination of how the variables change in relation to each other4. The level of difficulty and the satisfaction of the customer seem to be changing in the same direction, implying a proportionate change while that between the mechanic and all the other variables do not change in the same direction. This means that the result of the repair has nothing to do with the mechanic handling the job. We can therefore conclude that the only variable that does not affect the outcome of the job hence the performance of the company is the mechanic. The covariance between the number of years in the company and the time taken to complete the tasks has a high covariance and this can be interpreted to mean that the time changes in the same direction with the years of experience5.Advertising We will write a custom report sample on Quality Control for All-repairs Mechanics specifi cally for you for only $16.05 $11/page Learn More The next element in this analysis is the determination of individual descriptive statistics alongside the histograms so that we can come up with a conclusion on how the individual variables affect the overall reputation of the company. First is the difficulty histogram as shown below. Diagram 1: Difficulty Histogram and statistics From this histogram, the level of difficulty for the majority of the tasks lies at the average difficulty level. The hardest jobs are the least and this implies that the employees in this company have the necessary expertise to handle the jobs at their disposal. The second diagram is that of the mechanics as shown below. Diagram 2: Mechanic Histogram and statistics Advertising Looking for report on business economics? Let's see if we can help you! Get your first paper with 15% OFF Learn More From this, we can conclude that the mechanics do an approximately equal number of jobs as shown by the bars. The difference in the size of the bars is not significant, indicating a fair policy in the company when allocating jobs6. Third is the time taken shown in diagram 3 below. Diagram 3: Time Histogram and statistics The tasks take different amounts of time to complete depending on the difficulty of the job. Most of the jobs however take a time frame below the average and this is an implication of time efficiency in the company which ensures that completed work is delivered to the customer on time7. Diagram 4: Satisfaction Histogram and statistics From this diagram, we can conclude that the numbers of customers who have expressed dissatisfaction over the work done are the least. A majority of the observation indicate a high level of satisfaction, which may mean that the repairs done never recurred and they were completed on time8. Diagram 5: Year’s Histogram and statisti cs From this diagram, the period of time that the employees have been working in the organization differs greatly, with the gap between the first person and the others being the greatest. This person has however handled the highest number of jobs though by a very small margin compared to the others9. The other three seem to have been in the company for an almost equal period of time. Conclusion From these diagrams, we can conclude that going with the data provided here, the company is performing effectively and it is credible enough to be hired to carry out repairs. The success of this company can be considered to be as a result of the strong workforce, and so, the alternative hypothesis holds true, disqualifying the null hypothesis10. The employees have an almost equal level of expertise as realized throughout the analysis. The result of the covariance analysis indicates that it does not matter which employee is undertaking the task, since the result is always relatively equal, im plying an equal level of expertise among the employees. References List Anderson, TW, An Introduction to Multivariate Statistical Analysis, Willey, New York, 1998. Bowerman, BL, RT O’Connell ML Hand, Business Statistics in Practice, Mc-Grawhill, Boston, 2001. Boyle, RG, Descriptive statistics, Victoria College Press, Burwood, 1998. Bradley, T, Essential Statistics for Economics, Business and Management, John Wiley Sons, Chichester, 2007 Dixon, WJ FJ Massey, Introduction to Statistical Analysis 3d ed, McGraw Hill, New York, 1999. Doane, DP LW Seward, Essential statistics in business and Economics, McGraw-Hill Irwin, Boston, 2010. Edwards, AL, Statistical Analysis 3d ed, Rinehart and Winston, New York, 2009. Lind, DA, WG Marcal RD Mason, Statistical techniques in Business and Economics, McGraw-Hill Irvin, Princeton, 2002. McClave, JT, PG Benson T Sincich, Statistics for Business and Economics, Prentice Hall, Upper Saddle River, 2001. Wegner, T, Applied business statistics, 2nd ed, Juta, Cape town, 2007. Footnotes 1. D Doane L Seward, Essential statistics in business and Economics, McGraw-Hill Irwin, Boston, 2010, p.48 2. T Wegner, Applied business statistics, 2nd ed, Juta, Cape town, 2007, 98. 3. McClave, JT, PG Benson T Sincich, Statistics for Business and Economics, Prentice Hall, Upper Saddle River, 2001, p.62. 4. A Edwards, Statistical Analysis 3d ed, Rinehart and Winston, New York, 2009, p.85. 5. D Lind, W Marcal R Mason, Statistical techniques in Business and Economics, McGraw-Hill Irvin, Princeton, 2002, p. 122. 6. R Boyle, Descriptive statistics, Victoria College Press, Burwood, 1998, p.77. 7. T Bradley, Essential statistics for Economics, business and management, John Wiley Sons, Chichester, 2007, p. 82. 8. W Dixon FMassey, Introduction to statistical analysis 3d ed, McGraw Hill, New York, 1999, p. 54. 9. T Anderson, An introduction to multivariate statistical analysis, Willey, New York, 1998, p. 98. 10. B Bowerman, R O’Connell M Hand, Business statistics in practice, Mc-Grawhill, Boston, 2001, p. 23

Is it possible for EU Multinational investment in China to benefit Essay

Is it possible for EU Multinational investment in China to benefit both the EU and China - Essay Example This, Oehler-Sincai (2011:74) notes can be attributed to the high growth rate in these economies and the high level of transformation from efficiency driven economies towards innovation driven economies. China in particular, has experienced the strongest growth among the emergent countries over the past three decades. This has been characterised with a high level of investment projects from various developed countries, the European Union (EU) the world’s leading source and host of foreign direct investment, being among them (Vanino, 2012:70). Both China and the EU are among the largest host and source of foreign direct investment in the world and the two countries have over the past years developed an integrated industrial and commercial relationship (Bustillo and Maiza, 2012: 355). Despite the continuously increasing trading relationship between the EU and China, increase investment flows between the two countries have remained limited in comparison. While the European invest ors agree and concur to the suitability of China as a desirable investment location that has high unexploited potential, there are still high concerns concerning a ‘lack of level playing field’ in the region as well as uncertainty and persistent barriers in the Chinese business environment (European Commission, 2012). In recent years, EU investment in China has reached about 20% of all foreign direct investment (FDI) in China. At the same time, China is also growing to be an active investor globally with a growing share invested in the EU market (Vanino, 2012:70). The high optimism on the growth potential within the Chinese market however does not translate immediately to EU confidence in China market as a predictable and sustainable investment environment. This is mainly because of the persistent barriers in China. Furthermore, the EU feels that China has obtained more benefits from their trading and investment relationship, as EU investment environment is more open to China, than China is to EU investors (Vanino, 2012:70; Bustillo and Maiza, 2012: 355). Taking into account the rising importance of China as an investment destination for EU investors, it is important to examine whether it is possible for EU investments in China to benefit both EU and China. Hence, this paper seeks to accomplish this purpose. Background to EU Multinational investment in China Over the past three decades since the Chinese reforms which liberalised the economy to adopt a more market based economy, China has rapidly experienced high growth rates, which has elevated economic development in the country (European Commission, 2011). Over this period, China has experienced a 9% annual average growth rates with its GDP rising exponentially to 5% of the global GDP. This growth resulted to the highest drop in poverty within a country in world history as the people living under a dollar a day reduced by 170 million between 1990 and 2000, and as the country experienced a sudden surge in middle class with a large purchasing power (Commission of the European Communities, 2006). The increased integration of China into the World’s trading system, mainly spurred by the country’s inclusion in the World Trade Organisation (WTO) in 2001, provided China with export markets that were open, hence elevating the country into a trading power. Furthermore, China became a major recipient of FDI with more than

The Yes Men Fix the World (2009) movie Essay Example | Topics and Well Written Essays - 500 words

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