Soccer, The Golden Era Research Paper Example | Topics and Well Written Essays - 1500 words

Soccer, The Golden Era - Research Paper Example All these attributes have been affiliated to the beautiful game of soccer since times immemorial. â€Å"The 1960s was a golden era for soccer. Even better, it was when television coverage started to get serious, which means that 50 years later we can see the legends of the ‘60s in all their glory on our laptops.† ("Total Soccer Show: 1960s Golden Era.") Soccer players like Pele dominated the world during the 60s and this was the era when they had reached their peak; the madness that followed with the pursuit of both playing as well as watching soccer had never been experienced before and was at its level best during this age, according to most people today. Brazil at the time had been producing some of the world’s best soccer players with beautiful tactics, making the game a complete showmanship of entertainment. Players like Garrincha also carved their niche during this era, fooling the fullbacks of the opposition despite suffering from attention deficit disorder. One of the first soccer players to embrace the status of a superstar, George Best, also made his mark on soccer during this time; thus the period being rightfully called the golden age. English clubs like Manchester United were beginning to show the world what they were really made of, and soon after followed the diligence of clubs from Arsenal to Chelsea and Liverpool to Newcastle United. Competition grew not only around the world but within countries as well. In Portugal, Brazil, Spain etc, football began to take another shape altogether; South America at the time was the hub of enjoying the sport to the fullest, even though the rest of the world was hooked onto it as well. Every country, every club, every team as well as each and every player faced his own golden era during the three to four decades following the 60s. At the same time however, there were a number of countries were the sport was not followed at

Three Business Types Essay Example for Free

Three Business Types Essay Barber Shop This is a small service oriented business. It is established by one individual with the purpose of providing barbing services to the community. It provides the people of the community a place to go and have their hair cut without having to go extra distance to get hair cuts. Setting up a barber shop is not so financially demanding as all you will need is a location (shop), hair clipper(s), chair(s) and mirrors. I essence if you are renting a shop the bulk of the expenses in setting up the barber’s shop will be the shop itself. The owner of the barber’s shop in my community is skilled in the barbing of hair and so when he started out he was alone and did not have to employ the services of another barber. It was the skill he possessed that prompted him to choose to start a business of barbing. Today, with prudent financial management, excellent services and perfect customer relation he has grown the barber shop so much that he has 10 barbers working for him; and he doesn’t have to do barbing jobs himself except for very important customers. What led the owner to choose this business are:Â   (1) he has the skills; (2) proximity to market, and; (3) it is not so financially demanding to set up. Football Club The community football club is a business that is listed on the stock exchange and thus provides for general ownership by everybody within and outside the community. The business of this football club is entertainment which is also more of service inclined. It also does merchandising of its jerseys and other club memorabilia. What must have led the initial owners of this business to form it was to provide entertainment and also bring popularity to the community through the sporting prowess of her football team. In other words, it was not established for profit but overtime and with stronger popularity, the money started coming in. Energy Company This corporation started with exploration and exploitation of oil then realising that it could maximise profit going full circle into the energy industry built its own refinery and power generation machine that runs on the fuel it exploits and refines. Today it not only generates and sells electric energy and petroleum fuel; it also builds refineries and electric plants for other companies and governments across the world. The global demand for energy and the need to meet this demand must have prompted the owners of this business to set up the company that has become one of the world’s leading energy corporations. Because of the huge energy demand on a global scale there is a guarantee of huge returns on investment. Reference http://strategis.ic.gc.ca/sc_mangb/stepstogrowth/engdoc/step3/ssg-3-5.php#industry; sourced 00:45 GMT +1, 2/10/06

The Fibonacci Sequence and the Golden Ratio

The Fibonacci Sequence and the Golden Ratio The Fibonacci Sequence was firstly introduced by Leonardo of Pisa, known as  Fibonacci, in the year 1202. He studied on the population of rabbits. Firstly he assumed that a newly-born pair of rabbits, one male, one female, are put in a field; one month later, rabbits become adult and are able to mate so that at the end of its second month a female rabbit can produce another pair of rabbits; he also assumed that rabbits never die and a mating pair always produces one male and one female rabbit every month from the second month on. The question that Fibonacci posed was: how many pairs will there be in one year? At the end of the first month, the pair mate, however they dont produce a pair, therefore there is still one only 1 pair. At the end of the second month the couple produces a new pair, so now there are 2 pairs of rabbits in the field. One of them is adolescent and the other is leverets. At the end of the third month, the original pair produces a second pair, the leverets become adolescents hence a total of 3 pairs in all in the field. For the next month, two adolescent pairs produce two new pairs and the newly-born pair become adult. Therefore, our field consits five pairs of rabbits. The terms of the sequence are given as, The Golden Ratio is a special type of ratio that can be seen on many structure of living organisms and many objects. It is not only observed in the part of a whole subjects, but also in arts and architecture for centuries. The Golden ratio gives the most compatible sizes of geometric figures. In nature, The Golden Ratio can be seen on the bodies of human beings, shells and branches of trees.  For Platon, the keys of the cosmical physics is this ratio. Also, this ratio is widely believed that it is the most aesthetic ratio for a rectangle. The Golden Ratio, is an irrational number just as pi or e and its approximate value is 1,618033988à ¢Ã¢â€š ¬Ã‚ ¦ To define the Golden Ratio, ÃŽÂ ¦ or PHI is used. The Golden Ratio has been used for many years for different purposes. Some studies of the  Acropolis, the approximate value of golden ratio can be seen on many of its proportions. Parthenon is a typical example of this. The Parthenons facade including elements of its facade and elsewhere are said to be circumscribed by golden rectangles.  For many classical buildings, either the building itself or the elements of the buildings have a proportion which is equal to the golden ratio. This information gives a result that their architects most probably knew the golden ratio and consciously employed it in their buildings. On the other hand, the architects may use their senses and found a good proportion for their desgins, and their proportions closely approximate the golden ratio. Beside this, some analyses can always be questioned on the ground that the investigator chooses the points from which measurements are made or where to superimpose golden rectangles, and the proportions that a re observed are affected by the choices of the points. Some scholars disagree with the idea that Greeks had an aesthetic association with golden ratio. For instance, Midhat J. Gazalà © says, It was not until Euclid, however, that the golden ratios mathematical properties were studied. In the  Elements  (308 BC) the Greek mathematician merely regarded that number as an interesting irrational number, in connection with the middle and extreme ratios. Its occurrence in regular pentagons and decagons was duly observed, as well as in the dodecahedron (a  regular polyhedron  whose twelve faces are regular pentagons). It is indeed exemplary that the great Euclid, contrary to generations of mystics who followed, would soberly treat that number for what it is, without attaching to it other than its factual properties.[1]  In Keith Devlins opinion,  the claim that measurements of Parthenon is not supported by actual measurements even though the golden raito is observed. In fact, the entire story about the Greeks and golden ratio seems to be without foundation. The one thing we surely know that Euclid showed how to calculate its value, in his famous textbook  Elements, that was written around 300 BC.  Near-contemporary sources like  Vitruvius  exclusively discuss proportions that can be expressed in whole numbers, i.e. commensurate as opposed to irrational proportions. A geometrical analysis of the  Great Mosque of Kairouan  reveals a consistent application of the golden ratio throughout the design, according to Boussora and Mazouz.[22]  It is found in the overall proportion of the plan and in the dimensioning of the prayer space, the court, and the  minaret. Boussora and Mazouz also examined earlier archaeological theories about the mosque, and demonstrate the geometric constructions based on the golden ratio by applying these constructions to the plan of the mosque to test their hypothesis. The Swiss  architect  Le Corbusier, famous for his contributions to the  modern  international style, centered his design philosophy on systems of harmony and proportion. Le Corbusiers faith in the mathematical order of the universe was closely bound to the golden ratio and the Fibonacci series, which he described as rhythms apparent to the eye and clear in their relations with one another. And these rhythms are at the very root of human activities. They resound in man by an organic inevitability, the same fine inevitability which causes the tracing out of the Golden Section by children, old men, savages and the learned.[23] Le Corbusier explicitly used the golden ratio in his  Modulor  system for the  scale  of  architectural proportion. He saw this system as a continuation of the long tradition of  Vitruvius, Leonardo da Vincis Vitruvian Man, the work of  Leon Battista Alberti, and others who used the proportions of the human body to improve the appearance and function of  architecture. In addition to the golden ratio, Le Corbusier based the system on  human measurements,  Fibonacci numbers, and the double unit. He took Leonardos suggestion of the golden ratio in human proportions to an extreme: he sectioned his model human bodys height at the navel with the two sections in golden ratio, then subdivided those sections in golden ratio at the knees and throat; he used these golden ratio proportions in the  Modulor  system. Le Corbusiers 1927 Villa Stein in  Garches  exemplified the Modulor systems application. The villas rectangular ground plan, elevation, and inner structure closely approximate golden rectangles.[24] Another Swiss architect,  Mario Botta, bases many of his designs on geometric figures. Several private houses he designed in Switzerland are composed of squares and circles, cubes and cylinders. In a house he designed in  Origlio, the golden ratio is the proportion between the central section and the side sections of the house.[25] In a recent book, author Jason Elliot speculated that the golden ratio was used by the designers of the  Naqsh-e Jahan Square  and the adjacent Lotfollah mosque.[26] [edit]Painting Illustration from Luca Paciolis  De Divina Proportione  applies geometric proportions to the human face. Leonardo da Vincis illustrations of  polyhedra  in  De Divina Proportione  (On the Divine Proportion) and his views that some bodily proportions exhibit the golden ratio have led some scholars to speculate that he incorporated the golden ratio in his paintings.[27]  But the suggestion that hisMona Lisa, for example, employs golden ratio proportions, is not supported by anything in Leonardos own writings.[28] Salvador Dalà ­Ã‚  explicitly used the golden ratio in his masterpiece,  The Sacrament of the Last Supper. The dimensions of the canvas are a golden rectangle. A huge dodecahedron, with edges in golden ratio to one another, is suspended above and behind Jesus and dominates the composition.[2]HYPERLINK http://en.wikipedia.org/wiki/Golden_ratio#cite_note-28#cite_note-28[29] Mondrian  used the golden section extensively in his geometrical paintings.[30] A statistical study on 565 works of art of different great painters, performed in 1999, found that these artists had not used the golden ratio in the size of their canvases. The study concluded that the average ratio of the two sides of the paintings studied is 1.34, with averages for individual artists ranging from 1.04 (Goya) to 1.46 (Bellini).[31]  On the other hand, Pablo Tosto listed over 350 works by well-known artists, including more than 100 which have canvasses with golden rectangle and root-5 proportions, and others with proportions like root-2, 3, 4, and 6.[32] 3. Math in Arts: Carla Farsi  straddles two fields that many people believe are diametrically opposed: as well as being a professor of mathematics at the University of Colorado at Boulder, she is a working, exhibiting artist. After years of pursuing both interests separately she declared 2005 her Special Year for Art and Maths, and in an impressive effort put on various exhibitions, classes, movies, lectures, concerts, plays and an international conference all to deepen the understanding of the relationship between maths and art. Plus interviewed her to find out just what this relationship is about, and what it feels like to have a foot in both worlds. Painting by numbers? When you look at some of Carlas artwork, you might be forgiven not to recognise any maths in it. Some of her installations in particular appear impulsive, even disordered, and made from recycled objects belong very much to the realm of reality. There are no meticulously worked out geometrical patterns, intricate fractals or perfectly recreated perspectives, as you might expect from an artist-mathematician. So what makes the connection between maths and art? Is there more to it than the fact that maths underlies patterns and perspective? Visualisation is one of the main points, Carla says, especially in geometry you can prove things visually, and the pictures can say as much as the actual theorem. But you can even go beyond geometry. Something that is logical, that makes a mathematical theorem, also makes some kind of a visual statement about structure and composition. Its almost like a piece of art, it has its own structure, logic, meaning. In a mathematicians head, the mathematica l ideas, even if theyre very abstract, can appear to be almost visual, intuitive. Carla thinks that with the advance of computers, the visual and artistic aspects of maths will become more and more prominent: Computers are developing so fast and we dont really know yet what they could do for us in the future. Maybe one day it will be sufficient to think about the images involved in a mathematical idea or proof, and a computer will compute the underlying equations for us. Right now, just drawing a picture is often not enough a proper proof has to be more rigorous than that. But computers are already being used to prove theorems [seePlus  article  Welcome to the maths lab], and maybe one day a mathematician could simply present the computer with a picture, and the computer will be able to read off the maths in it. In this way, mathematicians could spend more time on the creative aspects of maths having the ideas and computers could do the boring, automatic parts. At that point maths may be closer to art than it appears now. So, what does it  feel  like, being an artist and a mathematician at the same time? Does proving a theorem feel very different from creating a piece of art? No, the two dont feel very different. Of course, when youre doing maths, youre bound by rules much more than when youre doing art. In art you can change the rules what you initially planned to do half-way through, and I do that a lot. In fact, even if Ive made up some rules at the beginning, I often find that Im unable to stick to them, the practicalities involved force me to seek other routes. Do Carlas motivation for doing maths and her inspiration to do art come from the same place? Yes, I certainly think so, Im absolutely positive about that. There is the same kind of fascination for me in both maths and art. Its all about expressing ideas, and sometimes maths works better and other times its art. Maths and art are just two different languages that can be used to express the same ideas. In some periods of my life Im more attracted by the rigour and formality of maths, and at other times I prefer art. I think maths and art are just different languages that can be used to express the same ideas. What are these ideas? Thats a very difficult question! I think its how I relate to the world, how I see and understand the world. I feel a relationship with certain objects, or objects of the mind, and I want to express that. For example, I may be touched by the idea of an explosion [Carla indeed painted a series of pictures on the subject of Hiroshima], and to express it, I may prefer to use art, bright colours. If I want to express or understand something more formal, maths may be better-suited. Numbers by painting But Carla didnt put on her Special Year just in order to contemplate those deep connections. First and foremost, she wants to open up the world of maths to those who are scared of it, or feel that it has nothing to do with real life. Emphasising the visual and creative aspects of maths might make people like it more. I created a course at my university, aimed at non-maths students, which teaches maths using the visual arts. I think this could also be of great benefit to maths students, and here we could teach the more formal mathematical ideas. Carla uses paintings and sculptures both to give an overall feel for the subject and to illustrate concrete maths objects and problems. An area that benefits most from the visual approach is topology. This branch of maths studies the nature of geometric objects by allowing them to distort and change. Think of a knot in an elastic band: its defining feature, the way the band winds around itself, remains the same even when you stretch the band. In this spirit, topologists regard any two objects that can be deformed into each other without tearing to be one and the same thing have a look at  Plusarticle  In space, do all roads lead home?  to see how a coffee cup can be turned into a doughnut. Carla teaches topological ideas and methods using the sculptures of North American artistHelaman Ferguson, and also the works of Catalan architect  Antoni Gaudà ­. I usually ask students to bring playdough to the maths class. Fergusons work in particular is good for illustrating the solutions to concrete mathematical problems, such as how to unknot a knot: I usually present first the puzzle and then give them some hints to see if we can work out the solution together. Usually I also ask students to bring playdough to this class, so that we can work hands on. After we have worked out the maths I show them a piece by Ferguson that beautifully illustrate the result. With Gaudà ­ I am a bit more loose. I introduce him when I talk about topological transformations of surfaces and also when I talk about spirals. Some of his work illustrates well the concept of topological deformation and I use it for that, as a general example. This is also useful when students ask (as they often do) how mathematics relates to things they see in the real world. Of course, no class on maths and the visual arts would be complete without fractals. Their often astonishing beauty comes from their infinite intricacy: no matter how closely you zoom in on a fractal, what you see is still extremely complicated and crinkly. Whats more, it often looks similar to the whole fractal, a phenomenon called self-similarity (see the box on the  Von Koch Snowflakebelow). There are various mathematical techniques to measure the crinkliness of a fractal, and Carla teaches them in her classes with the aid of fractals that occur in nature and art: I teach my students how to compute the fractal dimension of a fractal. First I show them some examples from art and other fields, especially nature. Then we study the technique formally, and then apply it to images of fractal art. We also work out the fractal dimension of some of the original examples I presented them with. As Carla points out, there are paintings containing fractals that were never consciously intended by the artist: mathematicians have shown that the drip paintings by abstract expressionist Jackson Pollock can be identified by their own particular fractal structures (see  Plus  article  Fractal expressionism). Symmetry is another concept that is as visual as it is mathematical. We can perceive it almost subconsciously and it has been argued that it plays a vital role in our perception of beauty yet it opens the door to a wealth of mathematical structure. A square, for example, has 8 symmetries: you can reflect it in the vertical, horizontal or diagonal axes, you can rotate it through 90, 180 or 270 degrees, or you can simply do nothing and leave it as it is. Each of these transformations is called a symmetry, because after youve done it, the square appears to be exactly as it was before. If you put all these 8 symmetries together, you get a self-contained system: whenever you combine two of them, by first doing one and then the other, you get one of the other symmetries in your set try it! Such a self-contained system of symmetries is called a  group, and symmetry groups are the gateway to abstract algebra. A simple visual consideration lands you in the thick of some quite advanced ma thematics!

Deism and Changes in Religious Tolerance in America Essay -- Deism Rel

Deism and Changes in Religious Tolerance in America      Ã‚  Ã‚   Religious conscience in America has evolved considerably since the first settlers emigrated here from Europe. Primary settlements were established by Puritans and Pilgrims who believed "their errand into the wilderness [America] was above all else a religious errand, and all institutions - town meeting, school, church, family, law-must faithfully reflect that fact" (Gaustad 61). However, as colonies grew, dissenters emerged to challenge Puritan authority; indeed, many of them left the church to join untraditional religious sects such as "the Ranters, the Seekers, the Quakers, the Antinomians, and the Familists" (Westbrook 26). Debates over softening the stance on tolerance in the church engendered hostility in many religious leaders, priming some officials to take action. Whether it was in direct response to "the liberalizing tendencies beginning to take hold in some [. . .] New England churches" (Westbrook 65), or a "reaction against the attempt in the Age of Reason to reduce Christian doctrine to rationalistic explanation" ("Great Awakening"), the Great Awakening impressed upon the issues of religious conscience. Moreover, what spawns from this controversy is a query over the juxtaposition of morality and spirituality: the question of whether these conditions are actually related. The gradual escalation of unconventional thinking in religious affairs facilitated new ideas on what defined spirituality; one religious theory, boosted by Thomas Paine and his book, The Age of Reason, denounced both Christianity and Atheism, proposing instead, a new concept: the middle path of Deism.    As a progressive religious view rising in popularity during the middle of the e... ...ns, it is quite possible that American's would not have religious freedom today.       Works Cited    Gaustad, Edwin S., ed. A Documentary History of Religion in America to the Civil War. Grand Rapids: William B. Eerdmans, 1982. "Great Awakening." Colliers Encyclopedia. 1996 ed. Paine, Thomas. The Age of Reason. Ed. Moncure Daniel Conway. New York: G.P. Putnam's Sons, 1930. Richmond, B.A. "Deism: It's History, Beliefs, & Practices." Ontario Consultants on Religious Tolerance. 25 July 2000. http://www.religioustolerance.org/deism.htm. Walters, Kerry S. The American Deists: Voices of Reason and Dissent in the Early Republic. Lawrence: UP of Kansas, 1992. ---. Benjamin Franklin and His Gods. Chicago: University of Illinois, 1999. Westbrook, Perry D. A Literary History of New England. Cranbury: Associated University, 1988.

Choose one case study and evaluate it from the perspective of the Behaviourist Approach. Provide strategies for intervention based only on this theory

Abstract This essay evaluates case study 3B through the perspective of behaviourism as identified by Skinner et al (1948). The subject in 3B is named Jethro, who is exhibiting signs of disruptive behaviour in school. His actions are analysed from the view of the Behaviourists, using such theories as classical and operant conditioning. Methods for guidance and improvement based on this analysis are then offered. Introduction Behaviourism is a theory which analyses human behaviour in terms of observable cause and effect, rather than mental processes. It advocates that humans react to positive and negative reinforcement of such behaviour throughout their lives – most notably during childhood and adolescence (Mah, 2007). A behaviourist psychologist named Pavlov (1902) developed the theory of ‘classical conditioning’ through an experiment with using his dogs. The theory then went on to become one of the most vital mechanisms of Behaviourism. This is where un-conditioned responses such as salivation at the sight of food can be associated with the ringing of a bell that accompanies the smell of food; thereby giving the dog a learned conditioned response. Skinner (1948) added to this by developing ‘operant conditioning’; which suggests that positive reinforcement and negative punishment are able to create similar conditioned responses too. It has also been argued by Behaviourist s that humans share this same basic psychology as animals on a fundamental level, and can learn associations between reward and consequence (operant conditioning) and learn conditioned responses to stimuli (classical conditioning) (Costello & Angold, 2000). Because of this how concrete and empirically-based the approach is, it is the most commonly applied theory to basic classroom dynamics; as good behaviours are rewarded with positive reinforcement (i.e. good grades, a ‘gold sticker’) and bad, maladaptive behaviours are rewarded with negative reinforcement (i.e. bad grades, detention or ‘naughty step’). It is the simplest way to discipline a class. Shirley (2009) has argued that no lesson plan can work if there is no behaviourism present. In light of this, the analysis will look at how Jethro’s ‘good’ and ‘bad’ behaviours have been reinforced by both his teachers and his parents, and then how his current actions have developed because of this. Any possible suggestions for intervention will then be given in order to re-balance his previous conditioning. Jethro’s Behaviourist Assessment At first glance, Jethro’s behaviour seems to be a product of a lack of reinforcement from his parents and teachers in both a positive and negative respect (Wheldall & Glynn, 1989). He lacks the balance that operant conditioning offers and classical conditioning can be used to explain the way he has associated subjects he does not enjoy with frustration and even aggression. It seems that neither parent nor teacher has attempted to positively associate a subject Jethro doesn’t enjoy with a reward or method that he does enjoy (Porter, 2006). This can be seen from the â€Å"challenge† that is posed by adults that spark â€Å"angry outbursts† from Jethro. From a behaviourist view, this â€Å"challenge† would be seen as another negative reinforcement for his actions, as opposed to engagement on another level that may interest the boy. For example, he enjoys music and is evidently a creative person – perhaps more creative lesson plans would put an e nd to his aggressive behaviour, as he would then learn a positive conditioned response to that lesson. A large-scale survey of teachers and pupils entitled ‘The Elton Report’ (1989) suggested that schools’ biggest concern was that of low-level but high-frequency disruptions such as talking during lessons, not waiting, running in corridors and fidgeting. These are called â€Å"TooTs† (talking out of turn) by the DFE, and seem to be a very common occurrence in adolescents. Jethro’s behaviours are mostly TooTs such as rudeness, only doing the minimum required and lateness, and could easily be seen as avoidance of activities that he does not gain any sort of positive reinforcement from i.e. truanting classes when he does not like the teacher. Jethro does not gain any reward from these classes, and therefore does not seek to even attempt to participate because he has been conditioned to act out of turn in them and not pay due attention. It is also evident that musical stimulus gives Jethro pleasure. Akin to how the smell of food gave Pavlov’s dogs a ‘hard-wired’ un-conditioned response (McLeod, 2007), it seems that Jethro did not need to learn his response to music; that it was always present. We can infer that his parents did not aid this response, as they are â€Å"too busy† to have even kept any appointments with his head-teacher. This neglect seems to have created these maladaptive behaviours, as children thrive on a token economy with a reward/punishment scheme (Cooper & Upton, 1991). It could be argued that Jethro’s parents’ neglect of his interests and behaviours acts as its own positive reinforcement of his maladaptive behaviours such as truancy, lateness and being confrontational. This would make Jethro believe that these bad behaviours are in fact good or merely neutral. Without punishment from the primary caregiver, the subject will learn to persist in these behaviours as they go without consequence or even reason (Chung & Nolan, 1998). Jethro fits into the first group of unruly children as stated by the DFE – the â€Å"naughty and disruptive, but responsive† group (DFE, 1994). This can be seen in his sometimes aggressive behaviour, but also in his enjoyment of music. His participation in his town’s Community Action Week makes a good example of how Jethro does indeed respond to positive rewards and stimuli i.e. the act of playing guitar at the old people’s home made him feel elated, or ‘good’; whereas other subjects make him unruly (Premack, 1959). Strategies for Intervention The â€Å"chill-outs† that Jethro receives from teachers shed light on his previous conditioning. Although they could be seen as punishments, they are not the correct punishment to give, as they fail to make a negative association with acting ‘out-of-turn’. Especially given the fact that Jethro is sixteen years old, in the midst of adolescence. It should be noted that adolescents require extra stimulation in their field of interest, as they are beginning to progress up the ‘pyramid of learning’ of Bloom’s taxonomy (1956) and start to create more complex associations and responses as well as being more autonomous (White & Renk, 2011). In light of this, perhaps a harsher punishment is necessary to re-balance the boy’s conditioning, for example – a detention. Arguably this could take place during music class, so as to heighten the negative reinforcement of his behaviour. However, a strategy such as this may serve to severely harm the boy if carried out repeatedly, as it is clear that he is passionate about music, and music is one lesson that he has â€Å"no reported problems† in. Care should be taken so as not to permanently damage Jethro’s positive talents and create an even more negative association with every other aspect of school life. Although, if this punishment is reserved for instances of intense aggression, the strategy may prove fruitful. Another intervention strategy may be to actively encourage Jethro with more rewards for trying harder in lessons he currently does not enjoy. Presently, there are no signs of any attempt to condition the student into doing more than the very minimum required. Although he is working at his National Curriculum age appropriate levels, the teachers are seen to only â€Å"complain†; thereby further reinforcing his response of ‘not trying’. If teachers offered some sort of reward as compensation i.e. being able to complete ‘homework’ in class rather than having to take it home, then maybe Jethro would comply more as he would then have more time to pursue his music, for instance. After a while, Jethro would begin to associate going to class with positive responses and rewards through a teaching style based upon classical and operant conditioning. Similar to the DFE’s circular 8/94 entitled â€Å"Pupil Behaviour and Discipline† (1994); strategies should be implemented that promote respect between students and staff. There should be a token economy with formal rewards that focusses mainly on positive reinforcement for successes, rather than purely negative reinforcements and punishments for acting ‘out of turn’. Clear boundaries of acceptable behaviour are required in order to successfully intervene with Jethro and condition him to be a more respectful, academically-minded student. A liaison between home and school should also be encouraged to ensure Jethro adapts thoroughly as a person, not just a pupil (Ayers et al, 2000). Conclusion In conclusion, it is clear that Jethro’s conditioning needs to be re-balanced through a succession of positive and negative reinforcements, coupled with a reward scheme that congratulates ‘good’ behaviour to encourage the student to try harder. At present, his behaviour is un-disciplined because he has not learnt the correct responses to stimuli such as adults’ challenges, work that he does not like and arriving to lessons promptly. With the suggestions offered here, these behaviours will change and make Jethro a more ‘co-operative’ student; to the point of altering his responses to neutral stimuli into positive ones – allowing him to associate the aspects of school life that currently trouble him, with happiness and rewards. References Ayers, H., Clarke, D. & Murray, A. (2000). Perspectives on Behaviour: A Practical Guide to Effective Interventions for Teachers. David Fulton Publishers. ISBN-10: 1853466727. Chung, C. M. & Nolan, P. (1998). Children with Challenging Behaviour: Past and Present in the United Kingdom. Children and Society. Vol. 12. Cooper, P. & Upton, G. (1991). Controlling the Urge to Control: An Eco-systemic Approach to Problem Behaviour in Schools. Problem Behaviour. Support for Learning. Vol. 6 No. 1. Costello, J. & Angold, A. (2000). Bad Behaviour: An Historical Perspective on Disorders of Conduct. Conduct Disorders in Childhood and Adolescence. Cambridge University Press. ISBN-10: 0521786398. DES. (1989). Discipline in Schools. The Elton Report. London. HMSO. DFE. (1994). Discipline in Schools, Circular 8/94. London. Department for Education. Mah, R. (2007). Difficult Behaviour in Early Childhood. Positive Discipline for Pre K-3 Classroom & Beyond. Corwin. ISBN-10: 1412937159. McLeod, S. (2007). Pavlov’s Dogs. Simply Psychology. Accessed: http://www.simplypsychology.org/pavlov.html. Last Accessed 04/07/2014. Porter, L. (2006). Behaviour in Schools: Theory and Practice for Teachers. Open University Press. ISBN-10: 0335220010. Premack, D. (1959). Empirical Behaviour Laws: Positive Reinforcement. Psychological Review. Vol. 66. Shirley, R. (2009). The Behaviourist Approach to Teaching in Class. Accessed: https://suite.io/rachel-shirley/1qz5268. Last Accessed 04/07/2014. Wheldall, K. & Glynn, T. (1989). Effective Classroom Learning. Blackwell. Oxford. White, R. & Renk, K. (2011). Externalizing Behaviour Problems during Adolescence: An Ecological Perspective. Springer Science and Business Media.

Georgia State Troopers

The Georgia State Patrol Trooper is considered to be the premier uniformed law enforcement job in the State of Georgia. It should be noted that although the Georgia State Patrol is small, this state law enforcement organization is considered to be highly professional. Compared to most other states nationally the State Troopers are the lowest paid? Unfortunately this impacts retention, but moreover morale. Most Trooper Cadets are more status conscious than money conscious. The State of Georgia is experiencing one the nation’s highest unemployment rates.The State is virtually in a hiring freeze. Although the Department of Public Safety has made numerous request for additional State Troopers the state legislature has delayed the passage of a two percent pay increase for all state employees, including the Department of Public Safety. The state legislature has further denied the Department of Public Safety’s requests for two hundred additional Trooper Cadets; the State of Ge orgia is strapped for cash as tax revenues have decreased significantly in recent years.Even Colleges and Universities have consolidated their administrative functions. Two or three Universities within a hundred miles of one another will share admissions, registrar and finance operations. Perhaps on a cursory examination by either a trained professional or a serious criminal justice student, the Georgia Department of Public Safety organization hierarchy can provide a pedantic explanation about the significant recruiting and retention problem areas.The State of Georgia comingles resources and over relies on the Merit System for recruiting and hiring state employees. Every State Department has a Commissioner. For example the Department of Public Safety in the State of Georgia Commissioner is Colonel MarkW. McDonough. Commissoner Col. Mark W. McDonough is a political appointment as is Georgia State Patrol’s Division Head’s and Deputy Division Commissioner. Other examples include Departments of Juvenile Justice and Department of Corrections that have the same organizational profiles.Department and or Divisions have Deputy Commissioners. These higher levels of administrative personnel positions secured through appointments, not elected or necessarily merit based The most interesting employment capacity is Captain Ronnie Rhodes, the head of the Capitol Police. Within the Department of Public Safety the organizational flow chart on page four suggests Captain Rhodes is in field operations and serves and protects the legislature and Governor, the Lt. Governor, and visiting dignitaries.They also direct traffic near and around government buildings. Regardless, many of these State Troopers are assigned in the capitol area, and only in Atlanta, Georgia. Navigating the Department’s Web Site and examining outdated textbooks suggested an organizational structure woefully lacking in critical understanding for the casual observer. Further investigation into the organization hierarchy revealed that Field Operations, Major Ed Grier possesses the supervisory responsibility.Within his purview and field of operations are the State Troopers and Trooper Cadets, they number approximately eleven hundred men and women law enforcement officials. A majority, of eight hundred, and fifty officers patrol the counties, State, and federal roadways. Most female troopers reside and work in municipalities that have a Motor Vehicle Division. Clerical and administrative tasks include license issuance, renewals, and Administrative license renewal hearings for driving under the influence suspects.State of Georgia State of Georgia Department of Public Safety Department of Public Safety Organizational Chart Organizational Chart ( Georgia State Patrol ) ( Georgia State Patrol )Commissioner Col. Mark McDonnough Special Investigations Angie Holt Legal Services Melissa Rogers Deputy Commissioner Lt. Col. Russell Powell Aviation Billy Smith Comptroller Peter Ad ams Field Ops Maj Ed Grier Motor Ops Lt Gene DavisCapitol Police Lt Ron RhodesHeadquarters Maj Hank FieldHuman Resource Lisa Maier A crucial section of the Department of Public Safety is Human Resources. Lisa Maier is the Supervising individual that reviews applicants who apply via State of Georgia Merit Systems.The State of Georgia funnels from the pool of applicants specifying in their respective generic State form the State Trooper or Trooper Cadet Job position. The Trooper candidate must pass a Georgia Merit System written examination before Lisa Maier reviews the application. The State of Georgia does not have an Assessment/Training Center, consequently other than thorough background and credit history, polygraph examinations, and psychological examinations may be contracted to an outside agency. These assessments are not required.