Annotated Bibliography And Essay Example

Annotated Bibliography And Essay Example Annotated Bibliography And Essay â€" Essay Example > Current Approaches to the Successful Education of Children with Communication DisordersINTRODUCTION Communication impairments affect approximately 10% of childrenworldwide and have a very significant impact on education (seehttp: //www. cincinnatichildrens. org/health/info/speech/diagnose/communication tm). In recent years, researchers and educators have made great strides in determining the causes of communication impairment and effective interventions and educational approaches that may maximise communication skills. Among these approaches are inclusive classrooms that utilize novel educational tools to mainstream many students with communication disorders to enhance their educational and social development. Types and Causes of Communication Impairment Communication disorders encompass a broad spectrum of impairments that may affect speech, hearing and language (Lue, 2001). Mild forms of impairment include stuttering and difficulties with speech articulation and pronunciation. M ore severe communication disorders include aphasia, the inability to speak as well as severe auditory impairment and neurological disorders that affect verbal Communication (Chakrabarti Fombonne, 2001) Among the documented causes of communication disorders are (Learning Disabilities Association of America, 2006): Mental retardation, from Cri-du-chat, Gilles du Tourette and others; Brain injury, including cerebral palsy; Mental retardation; Structural abnormalities of the mouth or face; Hearing loss or impairment; Psychiatric or emotional disorders, including schizophrenia and autism; Developmental disorders; Ischaemic injury such as stroke; Dementia; Excessive alcohol; Emotional or behavioural disorders. Neurological disorders. In many individual cases, however, the cause of communication disorders cannot be precisely identified. “The factors that cause children not to speak are extremely varied. They cannot be reduced to psychological conflict. Nor should we be content to seek an explanation in the neurological side effects of trauma or cognitive failures. All these play some part, but the surest way to bypass a real understanding is to seize upon a single kind of explanation to the exclusion of all others” (Danon-Boileau, 2001, p . 2). Disorders of speech The acquisition of speech involves developmental processes that occur in the early years of life, and require the coordinated use of musculature of the mouth, jaw, neck, chest and abdomen (Lue, 2001). It is estimated that, by the age of 5 years, 5% of children have speech disorders, usually of unknown aetiology (Danon-Boileau, 2001, p. 32). The more common disorders of speech include (Lue, 2001). Dysfluency, characterized by uneven or interrupted flow of speech. Stuttering is the most severe dysfluency that generally occurs during the process of speech development between 2 and 6 years and frequently, but not always, disappears after this developmental stage. The most common dysfluency of childhood i s disarticulation, which involves a failure to pronounce certain sounds appropriately. Disarticulations are a normal part of speech development; however, when they persist beyond the age of 4 or 5 years, intervention may be required. Symptoms of dysfluency include (Lue, 2001): Speech deficit such as stuttering, word repetitions, mumbling; Frustration and/or embarrassment in speaking. Symptoms of articulation deficiencies may include (Lue, 2001): Unintelligible speech (age 3 years)Mispronunciation of consonants or vowels (age 4 years)Distortions and abnormal or absent word patternsVoice disorders involve abnormalities of the pitch, loudness or cadence of speech. This may make communication very difficult, and is often associated with hearing Impairments. Voice sounds are produced by the flow of air from the lungs to vibrate the vocal cords. Voice disorders result from abnormalities in this process, which may result from vocal cord dysfunction.

Discuss Auteurist Theory in Relation to at Least Two Film Directors. - Free Essay Example

Sample details Pages: 8 Words: 2254 Downloads: 1 Date added: 2017/06/26 Category Cinematographic Art Essay Type Analytical essay Level High school Did you like this example? This essay will define and explore the inception and development of auteurist approaches to cinema the conceit that a film may be said to have an individual author in the manner of a book or a stage play, and that such authorship should be ascribed to the films director. Two directors will be used as case studies to illustrate the points being made: Martin Scorsese, and Stephen Frears. Scorseses work will be analysed to better understand how auteur status might be aligned with a director, as well as probing the possible limitations of such an approach, and Frears will be invoked as a significant British film director who has worked extensively in both UK and Hollywood cinema, who is critically and commercially successful, yet refutes the concept of auteurism. Don’t waste time! Our writers will create an original "Discuss Auteurist Theory in Relation to at Least Two Film Directors." essay for you Create order Authorship became an intellectual consideration initially with the politique des auteurs developed by French film critics in the immediate post-Second World War years. It developed largely in the pages of the influential film periodical Cahiers du Cinema. The politique, less a fully-conceived theory of popular film than a concordance of critical opinion, sought to position film in line with literature, theatre and classical music by identifying with an essentially literary and Romantic conception of the artist as the central, even the sole source of meaning in a text, as Stoddart (1995, p. 39) indicates. Theorist Alexandre Astrucs 1948 article The birth of a new avant-garde: la camera-stylo outlined, as Stoddart (1995, p. 39) goes on to summarise, three important considerations for the approach: First, that cinema has obtained an equivalence to literature, or any other art form of profundity or meaning. Second, that it is constituted through a new and unique language; and, third, that this situation affords directors a means of personal expression. FranÃÆ' §ois Truffaut developed this in his 1948 Cahiers article Une certain Tendence du Cinema Francais. Truffaut here identified the main problems he saw with French film. Dismissing it as le cinema de papa, and of pursuing a tradition de la qualite, he accused it of being script-led, redolent of safe psychology, lacking in social realism and of being produced by the same old scriptwriters and film-makers whose time was up, as Hayward (1996, p. 14) indicates. The politique advocated a refocus onto mise-en-scene, the visual aspects of cinema, rather than the verbal aspects privileged to date. Following this approach, it would be possible to make both aesthetic judgments about the film, and assign to directors an authorial signature. The politique drew a distinction between auteurs, directors who demonstrated their own creativity and personal stylistic and thematic voice, particularly within the constraints of the Hollywood production system, and those who functioned only as competent practitioners of the technical and organisational aspects of film direction, dubbed metteurs-en-scene. These latter directors, as Stoddart (1995, p. 40) shows were seen as craftsmen rather than artists, (William Wyler and Fred Zinneman are cited). Recognised auteurs included the likes of Alfred Hitchcock, Howard Hawks, John Ford and Sam Fuller (Hayward, 1996, p. 15). Among American film directors, Martin Scorsese may be seen as one who is auteurist. Phillips (2007) deconstructs the 1977 Scorsese-directed New York, New York as a case study of the applicability of a range of theoretical approaches to cinema. For Phillips (2007, p. 17), the Scorsese auteur structure is assembled deductively from the films Martin Scorsese has directed; in other words, generalities across a career are deduced, then applied retrospectively back to the individual film text. Scorsese has collaborated extensively with leading actor Robert de Niro, who is the male lead of New York, New York. S corseses movies typically deal with Italian-American experience and with New York as a setting; elements that are reflected in this text. Many Scorsese-directed films are inflected with crime and gangster genre elements (other Scorsese crime genre films include Mean Streets, Goodfellas, Casino, The Departed); though New York, New York is also generically a musical, there is this thematic subtext to the film too. Phillips (2007, p. 19) identifies a range of thematic concerns common to other Scorsese-directed films that appear in New York, New York, including: a strong focus on masculinity, on awkward male attitudes towards women, on Catholic guilt, on violence as a flawed solution to problems. Phillips (2007, p. 19) also notes the use of formal aspects of cinema that recur across Scorseses films: a quasi-documentary mode of representation, the use of mobile cameras, the interplay of popular music and visuals to create meaning and mood. These kinds of observations may be amplified by reference to biographical information concerning Martin Scorsese (Phillips, 2007, p. 19). These include his Catholic background provid[ing] useful corroborating evidence, and à ¢Ã¢â€š ¬Ã‚ ¦ personal statements such as that in which he says that as a boy he wished to be either a priest or a gangster (Phillips, 2007, pp. 19-20). By the early 1960s, the politique des auteurs had fallen out of cachet in France (partly a direct effect of former Cahiers writers like Truffaut, Claude Chabrol and Jean-Luc Godard having turned to direction themselves) , though it was continued in Anglo-American criticism, in British periodical Movie, and significantly, by American critic Andrew Sarris. Sarris developed the French position into what he termed an auteur theory. Sarris sought a meaningful coherence between directors as artists and their work (Stoddart, 1995, p. 42). Directorial ability was seen as being comprised of what Sarris saw, according to Mast, Cohen and Braudy (1992, p. 587) as t hree concentric circles: the outer circle as technique; the middle circle, personal style; and the inner circle, personal meaning. These corresponded to the director as technician, as stylist, and as artist respectively. Over time, a director could move through these circles, in either direction, and their status thus diagnosed. Sarris constructed a pantheon of great American directors, among which he listed John Ford, Orson Welles, D W Griffith and Howard Hawks. Auteurist theories as expressed above are significant in that they examined popular cultural forms with serious scrutiny, though this was done not to understand the popular but what Lapsley and Westlake (1988, p. 107) understand to attempt to elevate one small sectionà ¢Ã¢â€š ¬Ã‚ ¦to the status of high art. The consideration of mise-en-scene is important in that it laid the ground work for studies of the specifically cinematic. However, as Lapsley and Westlake (1988, p. 109) conclude, there is something perhaps trivial about auteurism, which is both faddish and elitist. There seems to be little engagement with social realities, any examination of cinemas engagement with the real world is replaced by questions of ranking and relative worth of directors. Questions of the collaborative nature of cinema, of the industrial aspects of commercial film production and exhibition are not dealt with. Similar omissions are made with regard to the role of the audience. At best, auteur theory here sees two types of spectator: the mass audience member who receives the directors intent without question, and the aware cineaste, who both perceives the intent, and relishes the ways it is conveyed cinematically. Sarris, for example, was criticised (Stoddart, 1995, p. 43) for constructing little more than a personal list of favourites, employing a quasi-rational system that made little objective sense. Hayward (1996) usefully breaks author-based theories into three phases. The first phase, as outlined above, concei ves the author-role as that of the director, and this as being central to the production of meaning. Haywards second phase is that of the interaction of auteur theories with structuralism in the 1960s. Hayward identifies a third phase, that of 1970s post-structuralism, which is discussed in the section below. Author-based theories were allied with French structuralism in the mid-1960s. As Hayward (1996, p. 16) points out, this impetus came not from within film, but from the attentions of semioticians and structuralists, and it was unquestionably their work that has legitimated film studies as a discipline. Theorists such as Christian Metz sought to invoke the rational approach of structuralism to counter the romantic subjectivity of auteur theory to this point. The grande syntagmatique that Metz set out in his Essais sur la signification au cinema attempted a totalizing structural theory of cinema. Using Saussure, Metz perceived cinema as a langue, and each individual film as par ole. Hayward (1996, p. 16) reminds us that such an all-encompassing theoretical perspective irreversibly overshadows the texts being examined. In addition, aspects outside the theory get ignored, such as the notion of pleasure and audience reception, and what occurs instead is a crushing of the aesthetic experience through the weight of the theoretical framework (Hayward, 1996, p. 16). As Cook (1985, pp. 61-2) reminds us, contemporary revisions in both Cahiers du Cinema and the British film periodical Movie sought to refocus the author as one of several structures to be considered in establishing the meaning of film, alongside stars, the industry, linguistic concerns, and social factors. Still unexamined, though, were questions of audience and of ideology. The third phase Hayward identifies, that of the influence of 1970s post-structuralist thought on the study of cinema, again demonstrates the extent that understanding of film is indebted to theorists from outside film using the medium to exemplify and examine their approaches. Key to this is Roland Barthes 1968 declaration of the death of the author. The text, Barthes declared, as King (2002, p. 110) quotes, is: not a line of words releasing a single theologial meaning (the message of the Author-God) but a multidimensional place in which a variety of writings, none of them original, blend and clash. The text is a tissue of quotations drawn from the innumerable centres of culture This definitive rebuttal of the romantic ideal of the director as author has been accompanied by a plurality of theories variously combining, according to the individual theorist. Lacanian psychoanalytic, semiotic, Althusserian Marxist, feminist and deconstructivist approaches have all been applied in combination to this end. As King (2000, p. 111) states, an implicit auteurism remains a convenience for journalism and other film writing and criticism [and] the name of the director remains a potentially useful marketing tool. Phillips (2007) examines Scorseses filmmaking through three main approaches; auteurist, genre and audience studies, concluding that, in order to most fully understand a film and a directors work, a range of tools need to be used: the critical approaches outlined here and applied to New York, New York need to be supplemented by others which explore the relationship between image, sound and their impact on the spectator at more micro levels. British director Stephen Frears is vocal on the subject of auteurism. Fraser (2010) notes how Frears is reticent to see himself as an auteur, preferring instead to have himself seen, as Fraser reports on BBC executive Alan Yentobs description of Frears as the ultimate hired gun. Fraser (2010) goes on to question if one may really speak of a coherent style or, indeed, vision, from the man who made, amid some disasters, successful films as various as The Grifters, Dangerous Liaisons, The Deal, and now Tamara Drewe? The interest for Frears is in the making of films presented to him, rather than exploring personal themes and finding or creating scripts that will permit that exploration. In a recent article (Leigh, 2015) in support of his latest film, the Lance Armstrong biography The Program, this is highlighted, not just by interviewer Danny Leigh, but by Frears as well: As a young film-maker in the 1960s, [Frears] was amused by the rise of the auteur theory, the idea of directors as visionaries. I never believed all that rubbish. I havent had a vision in my life. Auteurist film theories are useful in that they represent a first step towards a theoretical language for cinema, though by themselves they may offer little more than generalities or perhaps an expression of personal preference and taste. The origins of the approach in literature might give auteur theory some initial legitimacy, though it does a disservice to the necessarily collaborative nature of film and of the filmmakers involved in the multiple stages o f conceiving, financing, writing, producing editing and distributing a film to its multiple audiences. Though auteurist identifications may be made, and there may be some usefulness in marketing terms to such links, film is perhaps more complicated than this, and required more nuanced study. Bibliography Cook, P. (1985) The Cinema Book. London: British Film Institute. Fraser, N. (2010) Stephen Frears: Audiences arent fools à ¢Ã¢â€š ¬Ã¢â‚¬Å" their judgement is crucial. Available at: https://www.theguardian.com/film/2010/aug/15/stephen-frears-tamara-drewe-interview (Accessed: 4 October 2015). Dangerous Liaisons (1989) Directed by Stephen Frears [Film]. Warner Bros. The Grifters (1991) Directed by Stephen Frears [Film]. Miramax. The Deal (2003) Directed by Stephen Frears [Film]. Granada Productions. Tamara Drewe (2010) Directed by Stephen Frears [Film]. BBC Films. The Program (2015) Directed by Stephen Frears [Film]. Working Title. Hayward, S. (1996) Key Concepts in Cinema Studies. New York: Routledge. King, G. (2002) New Hollywood Cinema: An Introduction. London: I B Tauris Co. Lapsley, R. and Westlake, M. (1988) Thinking About Cinema: An Introduction to Contemporary Film Theory. Manchester, UK: St. Martins Press. Leigh, D. (2015) Interview: Stephen Fr ears. Available at: https://www.ft.com/cms/s/2/9a1e8f20-6762-11e5-a57f-21b88f7d973f.html (Accessed: 4 October 2015). Mast, G., Cohen, M. and Braudy, L. (eds.) (1992) Film Theory and Criticism: Introductory Readings. 4th edn. New York: Oxford University Press. Phillips, P. (2007) Genre, star and auteur critical approaches applied to Martin Scorseses New York, New York. Available at: https://cw.routledge.com/textbooks/9780415409285/resources/genrestar.pdf (Accessed: 4 October 2015). Mean Streets (1973) Directed by Martin Scorsese [Film]. Warner Bros. New York, New York (1977) Directed by Martin Scorsese [Film]. United Artists. Goodfellas (1990) Directed by Martin Scorsese [Film]. Warner Bros. Casino (1995) Directed by Martin Scorsese [Film]. Universal Pictures. The Departed (2006) Directed by Martin Scorsese [Film]. Warner Bros. Stoddart, H. (2000) Auteurism and film authorship theory, in Jancovich, M. and Hollows, J. (eds.) Film Studies: A Reader. New York: Ox ford University Press.

The Hall Best Supporting Actor And Edifice For Every...

Heorot Hall: Best Supporting Actor and Edifice For Every Endeavor Anglo-Saxon Brittan 1500 years ago was a harsh time, countless warrior tribes lived with the constant threat of attack. These tribes of Germanic, Scandinavian, and Danish decent relentlessly warred with each other in order to increase their tribe’s influence and wealth. Each tribe was led and cared for by a King. A King’s influence over its neighboring lands was determined by his military might, his wealth, his thanes, and his mead hall. Of these three, the mead hall was the most multifaceted and essential. The Swiss Army knife of buildings, the mead hall was a palace, a dining hall, a bar, and sleeping quarters—a truly essential communal property that was a beacon of light in an unforgiving dark world. It is for this reason Heorot hall, immortalized in the epic poem Beowulf, is the best supporting actor of the tale. Every King has a palace, and in Beowulf, Heorot Hall was King Rathgar’s As a palace, the mead hall would be adorned with carvings, and trophies from conquered or pillaged lands. This enabled the King to display his influence and his tribe’s accomplishments to those that gazed upon the mead hall. Inside, the King would meet with his thanes and honored guests to handle grievances, take vows of fealty, and govern. Fifty meters long, completely enclosed except for an entrance on either end of the hall, and tall, the mead hall offered a sizeable venue for addressing the masses he cared forShow MoreRelatedMarketing Mistakes and Successes175322 Words   |  702 Pagesthis 11th edition. Who would have thought that interest in mistakes would be so enduring? Many of you are past users, a few even for decades. I hope you will find this new edition a worthy successor to earlier editions. I think this may even be my best book. The new Google and Starbucks cases should arouse keen student interest, and may even inspire another generation of entrepreneurs. A fair number of the older cases have faced significant changes in the last few years, for better or for worse

Persian Wars Cause of the 499-404 B.C.E Free Essays

The Persian wars are often compared to the Trojan wars due to the effects they had on Greek history. Athenians who were cultural and politically superior to the Greek considered the wars against Persia as some of the defining and greatest moments in their history (McKay, Hill, Buckler, Buckley, Wiesner-Hanks, 2008a). Despite the defining effects that the Persian wars had on the history of the Athenian and the Greek, their beginning was nothing big. We will write a custom essay sample on Persian Wars: Cause of the 499-404 B.C.E or any similar topic only for you Order Now In mid sixth century BCE, Croesus who was the king of the Lydians took control of all Greek cities along the Asian Minor coast (McKay, Bennett, Beck, Crowston, Wiesner-Hanks, 2008a). When the Persians conquered the Lydians around 545 BCE all states that were under the Lydians came under the rule of the Persians (McKay, Bennett, Beck, Crowston, Wiesner-Hanks, 2008b). The Persian approach to leadership was defined by close control and they appointed officials who ruled states under a system that can only be defined as tyrannical. Citizens under the system implemented by the Persians were required to pay extremely high taxes and serve in the Persian army (McKay, Bennett, Buckler, 2003a). Many revolution in history have generally been caused by oppressions and system that are degenerate in terms of social development. The Persian approach to government bore all the classical signs of tyranny and close governance. Under such system the mechanism that will worst affect the weak are made as effective as possible and in the Persian case this was not different. Their most effective system was the tax collection system which collected taxes in a manner that had no bearing on the earning made by individuals and the failure to submit returns could even result in hanging (McKay, Bennett, Buckler, 2003b). The rulers were imposed on the Greeks, Lydians and Athenian and the kind of rule that such leaders used was oppressive. The rulers kept close contact with the events that happened on the ground which is a characteristic of an approach to leadership that is either oppressive or concerned with the welfare of its members; in this case the former was more relevant. The pressure placed by the Persian government led to underground revolution which were propagated by the opportunism of Aristagoras. Aristagoras sought help from the Spartans and Athenians (McKay, Hill, Buckler, Buckley, Wiesner-Hanks, 2008a). The later helped him in though by 495 BCE all rebellious Greek cities has been restored under the Persian government. This did not spell the end of war due to the attention than the Athenians had gotten from Persia for the role they played in the destruction of Ardis. The revenge mission and the expertise that the Athenians had in Hippias who had been a member of the Persian army led to what is referred to as the battle marathon (McKay, Hill, Buckler, Buckley, Wiesner-Hanks, 2008b). By the end of the marathon Greece began an ambitious navy building project due to the influence of Themistocles which propagated the war into a war for supremacy. In summary, the war started by the need for freedom and independence catalyzed by a leaders who was out to fulfill his personal agenda. By gaining support from other states the Persians were defeated due to their lack of commitment to the war. The marathon which served to propagate the Persian war was mainly out of the need for revenge by the Persians and its ‘marathon’ stature is resultant of the resistance the Persians got from the well prepared Athenians and Persians. Towards the end of the war the objective was more about gain of supremacy. In the end, the Athenians got all the glory though the role played by the Spartans in the Persian wars can never be underestimated. How to cite Persian Wars: Cause of the 499-404 B.C.E, Papers

Scanners Essays - Image Scanners, Records Management Technology

Scanners Scanners Over the years the prices of scanners have dropped drastically both in the home and office. With as little as $89.00 dollars anybody can own a scanner. Although a scanner that is purchased for $89.00 may not have all the features or functions that a $1000.00 scanner may have, for home use it will be more than sufficient. Unless you are a graphic artist or a photographer who having the added features and functions, could determine getting your job done, a cheaper scanner will do just fine. With a less expensive scanner you may only be able to scan documents and photographs, while with a more expensive scanner you will be able to scan transparencies, 35 mm film and slides.(http://findarticles.com) Also with a more expensive scanner the speed at which the scanner processes the scanned information is much faster than that of a less inexpensive scanner. Ultimately it is up to you the consumer to decide which scanner is best for you and how much money you are willing or able to spend. I visited a few web sites and look at an inexpensive scanner compared to an expensive scanner, here are the results. Although this next scanner is not your typical scanner I thought it was worth mentioning because it is new and quite unique. The IS-22 Scanner (color image cartridge) is manufactured by Canon. This scanner cartridge is currently priced at $90.77. It is not your typical scanner. When you think of a scanner the typical flatbed scanner or hand-held scanners is what the consumer thinks of in a scanner. This scanner cartridge works with a Canon BJC-4300 Series printers. You will receive a color image scanner cartridge which transforms your printer into a color sheetfed scanner. You can scan mostly everything that a normal inexpensive scanner will scan. It will scan in color, black and white photos, magazine articles, documents and more. This scanner cartridge will save you space and money. To operate the scanner software associated with the BJC-4300 Series printers is quite simple. After loading the scanner cartridge software you are ready to scan. You simply put whatever documents you want to scan in your printer and tell the scanning software what you want to scan. It is that simple. The UMAX PowerLook lll Professional Scanner is a flatbed scanner. The current price for this scanner is $1099.99, it is manufactured by UMAX Computer Corp. The quality of this scanner is impeccable. You will get very realistic images from this scanner. Besides scanning documents and photographs, it will also scan slides, transparencies, negatives, and reflective originals. You can also crop and scan up to 12, 35mm slides. You can scan 35 mm film and the largest document you can scan is 8.5 x 11.7. It also captures fine details in shadow areas. This type of scanner works similar to a copy machine. You simply place whatever information you want to scan onto the bed of the scanner, close the lid and chose to scan the image. Just as with any other type of scanner you can choose to print, save to file or disk, or both.(http://wwwjandr.com) With both scanners you want to make sure that you load the scanning software into your hard drive. A dialog screen will pop up that will help you with the installation of the software. Your scanning equipment will come with directions on how to operate your particular scanner. How to troubleshoot. Numbers to call if you should need technical support.

HR Project Food Technician Essay

HR Project Food Technician Essay HR Project Food Technician Essay Weiners For MIdgets HR Project Food Technician Job Description Mr. Ryan Anderson Mohammed Haj-Ahmed, Vinu Madhavan, Chinyere Kinika Contents Job Description for Wieners for Midgets 3 Summary of Duties: 3 Knowledge/ Skill Section 5 Specific abilities legally required by the job: 5 Working Conditions Section 6 Job Description uses: 6 HR Department Use: 6 Manager’s Use: 7 Chart of Hierarchy: 8 Approvals 9 Job Description for Wieners for Midgets Position Title: Food Technician Reports to: Food Quality Department Supervisor Department: Distribution Division: Mississauga, Ontario Job Description last reviewed: March 1st 2013 Summary of Duties: As a food technician in Wieners for Midgets, you are entailed to follow our Food Health and Safety Act to ensure you are providing exceptional food to the market that is superbly inspected with laboratory tests such as; checking for any bacteria, allergens, toxins, filth, pesticides residue and any other food analysis that impoverishes the quality of food. Additionally, you are forestalled to inspect all incoming and outgoing shipments to check all products are securely sealed, not expired, rotten, no damages to any boxes or products and the correct nutritional value information is assessed to its appropriate product. Last but not least, ensure a clean, sanitized working environment and maintain a positive working atmosphere that’s free from any sort of harassment, provocation and nuisance. Good leadership and communication skills are highly endorsed in this working environment. This is a brief general description of what is expected from you, however, the Job description belo w entails everything that you will be accountable for in this job. Food Technician Duties: 1. Standardized qualitative tests that assess external factors such as appearance size, shape, colour, gloss, consistency, texture, and flavour. Additionally you need to conduct quantitative tests that need the use of a laboratory that assess internal chemical, physical, microbial features of the product or food to ensure that the food or beverage products are acceptable, healthy, nutritious, and salubrious for any consumer. 2. Ensure the quality and functionality of manufactured goods by operating physical and chemical analysis. Some include but not limited to; pH, water content, loss on drying, density, neutralizing capacity, dimensions, disintegration, dissolution. 3. Perform visual inspections such as inspecting the carrier to verify suitability for the intended cargo cleanliness, dryness, ventilation, cargo separation. Moreover, to look for any damage, unsafe packaging, or hazardous materials that could potentially harm the food. 4. Review final products to ensure the quality specifications such as are met. For instance you can do a check on packing, marking and labeling, manufacture dates, batch numbers, expiry dates, shipping marks, packing lists, supplier certificates and labels 5. Use test equipment such as a. Food chemistry analysis, such as moisture, fat, protein, pH, salt, minerals, sugar, contaminants, and more. b. Food microbiology analysis, such as Lactobacillus, Salmonella, Pseudomonas, Listeria, E. coli, Staphylococcus aureus, yeast, mold etc. c. Food nutrition analysis, such as nutritional value, daily value% etc d. Food allergen analysis, such as peanut, egg, soy, and other allergens. e. Natural food toxin analysis, such as histamine and fumosin for safety and training purposes and moreover, to evaluate products to determine if they’re healthy, beneficial and nourishing. Food Quality Duties: 1. Monitoring the workplace to ensure no broken glass is neglected, shipments are inspected, food is placed in freezers or put in places according to the temperature required to sustain and keep the food healthy, no cross-contamination occurs, products are sealed and open products or broken ones are disposed away correctly, and lastly, to make sure the work place is sanitized frequently; every 30

List of the Ten Least Visited National Parks

List of the Ten Least Visited National Parks The United States is home to 58 different national parks and over 300 units or areas such as national monuments and national seashores that are protected by the National Park Service. The first national park to come into existence in the U.S. was Yellowstone (located in Idaho, Montana and Wyoming) on March 1, 1872. Today, it is one of the most visited parks in the country. Other popular parks in the U.S. include Yosemite in California, the Grand Canyon in Arizona and the Great Smoky Mountains in Tennessee and North Carolina.Each of these parks sees millions of visitors each year. There are many other national parks in the U.S. however that receive far fewer annual visitors. The following is a list of the ten least visited national parks through August 2009. The list is arranged by the number of visitors in that year and begins with the least visited park in the U.S. Information was obtained from the Los Angeles Times article, Americas Hidden Gems: The 20-Least Crowded National Parks in 2009.1) Kobuk Valley National ParkNumber of Visitors: 1,250Location: Alaska2) National Park of American SamoaNumber of Visitors: 2,412Location: American Samoa3) Lake Clark National Park and PreserveNumber of Visitors: 4,134Location: Alaska4) Katmai National Park and PreserveNumber of Visitors: 4,535Location: Alaska5) Gates of the Arctic National Park and PreserveNumber of Visitors: 9,257Location: Alaska6) Isle Royale National ParkNumber of Visitors: 12,691Location: Michigan7) North Cascades National ParkNumber of Visitors: 13,759Location: Washington8) Wrangell-St. Elias National Park and PreserveNumber of Visitors: 53,274Location: Alaska9) Great Basin National ParkNumber of Visitors: 60,248Location: Nevada10) Congaree National ParkNumber of Visitors: 63,068Location: South CarolinaTo learn more about national parks, visit the official website of the National Park Service. References Ramos, Kelsey. (n.d.). Americas Hidden Gems: The 20 Least Crowded National Parks in 2009. Los Angeles Times. Retrieved from: latimes.com/travel/la-tr-national-parks-least-visited-pg,0,1882660.photogallery