The Use of Force Against Afghanistan by the U.S

Definition and Examples of Determiners in English

Definition and Examples of Determiners in English In English  grammar, a determiner is a word or a group of words that specifies, identifies, or quantifies the noun  or noun phrase  that follows it. It is also known as a  prenominal modifier. Basically, determiners come at the start of a noun phrase and tell more about what comes after it (or them, in the case of a phrase that has more than one determiner before the noun). Determiners include articles  (a, an, the),  cardinal numbers (one, two, three...) and ordinal numbers (first, second, third...), demonstratives  (this, that, these, those),  partitives  (some of, piece of, and others),  quantifiers  (most, all, and others), difference words (other, another), and possessive determiners  (my, your, his, her, its, our,  their). Authors Martha Kolln and Robert Funk describe them this way: Determiners signal nouns in a variety of ways: They may define the relationship of the noun to the speaker or listener (or reader); they may identify the noun as  specific  or  general; they may  quantify  it specifically or refer to quantity in general. (Understanding English Grammar,  5th ed. Allyn and Bacon, 1998) A Slippery Grammatical Label Determiners are functional elements of structure and not formal  word classes, because the group of words contains some items that are nouns, some that are pronouns, and some that are adjectives. Authors Sylvia Chalker and Edmund Weiner explain: Determiners  are sometimes called  limiting adjectives  in  traditional grammar. However, they not only differ from the class of  adjectives  by  meaning,  but also must normally precede ordinary adjectives in  noun phrase  structure. Further, among determiners  themselves  there are co-occurrence restrictions and fairly strict rules of  word order. (Oxford Dictionary of English Grammar. Oxford University Press, 1994) Rules on Multiple Determiners English has rules on word order, such as when there are multiple adjectives in a row modifying the same noun (quantity before age, before color, for example). The same goes for when you use multiple determiners in a row.   When there is more than one determiner, follow these useful rules:a) Place all and both in front of other determiners.E.g. We ate all the food. Both my sons are at college.b) Place what and such in front of a and an in exclamations.E.g. What an awful day! Ive never seen such a crowd!c) Place many, much, more, most, few, little after other determiners.E.g. His many successes made him famous. They have no more food. What little money I have is yours.​   (Geoffrey N. Leech, Benita Cruickshank, and Roz IvaniÄ , An A-Z of English Grammar Usage, 2nd ed. Longman, 2001) Count and Noncount Nouns Some determiners work with count nouns, and some dont. For example,  many  attaches  to count nouns, such as The child had  many  marbles. In contrast, you would not use  much  to attach to count nouns such as  marbles  but noncount nouns such as  work,  for example in, The college student had  much  work to finish before finals week. Other determiners work with either one, such as all: The child had  all  the marbles and The college student had  all the  work to finish before finals week.

Strategic management Essay Example | Topics and Well Written Essays - 500 words - 6

Strategic management - Essay Example partake periodically in personal development plans in order to ensure that they remain relevant to the organization and hence support its changing/ advanced goals and mission. To begin with, the personal development plan will focus on bridging the gap between the current skills of a leader and the leadership development requirements identified in the skills audit (Mackey and Livsey, 2006). Therefore, constructing the personal development plan entails devising a methodology for empowering the leader with skills, knowledge or competencies that he/ she does not presently posses but they have been identified as necessary in the skills audit. This can be achieved by undertaking various modes of learning but since it is a personal development plan, the most appropriate method of learning is self-learning whereby the leader will undertake self-training by either relying on written materials, watching tutorial videos, or working under a mentor who will train him or her on certain set of skills (Tobin, 2000). Besides self-learning method, the leader can as well undertake traditional training by attending classes at reputable learning institutions. According to Irby and Brown (2000), the personal development plan has to be specific in regards to the skills it intends to improve or instill on the leader. Secondly, the plan has to be measurable in the sense that one is able to gauge whether the objectives of the plan have been achieved or not. Thirdly, the plan has to receive consent from relevantd stakeholders i.e. it should not create any controversy. Fourthly, it should be realistic as well as time-bound. As stated in the previous section, the personal development plan should be measurable and one practical method of assessing the outcome against personal work objectives is by assessing the speed and accuracy at which the leader achieves personal work objectives. For example, if the personal development plan was aimed at improving the negotiating skills of a leader then

Under non-ideal conditions, it is necessary to trade off between Essay

Under non-ideal conditions, it is necessary to trade off between relevance and reliability when estimating future cash flows. Critically appraise this statement - Essay Example In this regard, the reliability of accounting information as an apparatus for forecasting future cash flows require accreditation from the actual source to ascertain its relevance to the study of future trends concerning cash flows (Gandevani 74). For accounting information to be relevant in the estimation of future cash flows, it must be in accord with the established international accounting principle. Financial analysts argue that accounting transactions that are not supported by the reality in contextual market are defective and misleading, and their reliability is irrelevant in predicting future cash flows (Gandevani 73). In fact, failure to incorporate both reliability and relevance in decision making will always lead to unprofitable returns. For instance, unreliable information might lead to overestimation or underestimation of future cash flows, and this may result in poor planning of activities. It is important to recognize that accounting conservatisms is pro relevance at the expense of reliability which means that relevance of accounting figures and transaction is a vital tool for estimation of future cash flows. In summary, both reliability and relevance must be put into consideration when estimating future cash f lows for an

Property law Essay Example | Topics and Well Written Essays - 750 words

Property law - Essay Example Therefore, for purposes of this brief essay, this author will attempt to engage and analyze the level to which property rights play a defined and equitable part of our current society as well as seeking to define and comment on the issues associated with the recent problems regarding the understanding of â€Å"eminent domain†. The United States was founded upon a free market economy which has doubtless served to make it the wealthiest nation on earth. Whether or not one can completely agree with the way in which capitalism works, it is inarguable that the benefits of such a system have worked to raise a standard of living and overall economic power within the United States that is not represented elsewhere in the global system. Naturally, one of the prime determinants of this success is the strong belief in and adherence to the concept of â€Å"personal property†. After breaking away from the British Empire, the colonies sought to differentiate themselves from the exces ses that the British had visited upon them. One of the main reasons in the Declaration of Independence was the fact that the British Crown could commandeer and control any colonial asset in the name of the King for any reason at any time. This served as a very strong sore spot within the colonial shareholders and was no doubt a prime reason why the rebellion began as well as a prime reason that each of the states as well as the loosely confederated government above them sought to rigidly define property rights in terms that would be most beneficial to the owner. Fundamental changes to property rights began to be effected in and around the dawn of the 20th century as jurisdictions began to tax these properties as a way to generate revenue for the requisite entity in question. Although opposed by many, this form of tax became more or less standardized throughout the United States by the middle of the century. Although not all citizens appreciated this new trend, the taxes went to supp ort the economic development of an increasingly advanced society. To such an end, the revenues from taxable land have been primarily used for infrastructure improvement, support and development of key community services (to include fire, police and EMS), and providing useful shareholder investment into a region’s educational development. Some have argued that the existence of such a form of taxation necessarily reduces the overall level of ownership that the individual is able to enjoy. However, it is the belief of this author that taxation of land and other real investments, although taking a degree of ultimate ownership away from the individual, serves an extraordinarily important role in seeking to develop key infrastructure assets that necessarily add to the net value of the property in question. Lastly, the right of â€Å"eminent domain† is an issue that has dominated many news headlines of late. Broken down to its purest form, â€Å"eminent domain† refers to a subset of property laws that state that if requisition by a given public entity is in the best benefits of a broader group then such can be accomplished with or without the agreement of the ultimate property owner providing that notice is given (Blake 12). This is naturally a bit of a deviation from the original understanding and intention of personal property; however, such an interpretation is needed in extreme cases where infrastructure improvements hinge upon the sacrifices of a few key shareholders. Like any

La creatividad

La creatividad Introduccion La creatividad es la llave que abre la puerta del desarrollo individual y colectivo, razà ³n por la cual las naciones que han alcanzado un alto grado de desarrollo tecnolà ³gico, industrial, econà ³mico y social invierten grandes cantidades de recursos para mantenerse a la vanguardia, ya que innovar constantemente les asegura, no sà ³lo el bienestar de sus habitantes, sino incluso la supervivencia misma. Esta necesidad de ofrecer alternativas nuevas, viables y oportunas a las distintas problemà ¡ticas que plantea nuestra sociedad globalizada, nos motiva a enfocar nuestro interà ©s de estudio en la creatividad, desde la perspectiva del individuo creativo e innovador, pues es el sujeto, el principal protagonista de estos cambios, quien utiliza esta herramienta interna para aportar los elementos que promueven el avance y crecimiento. En este sentido, el presente trabajo de grado se propone â€Å"dibujar† el perfil psicolà ³gico de personas creativas en Repà ºblica Dominicana, a partir de la descripcià ³n de sus rasgos de personalidad. Igualmente nos esforzamos en entregar un perfil social, tomando como marco de referencia el universo relacional de los individuos estudiados: familiar, social, educativo y econà ³mico; con la finalidad de encontrar en estas perspectivas externas los elementos o situaciones que facilitaron la manifestacià ³n concreta de su actividad creativa, asà ­ como aquellas circunstancias que representaron importantes obstà ¡culos en la consecucià ³n de sus metas. Esta investigacià ³n es el primer estudio de este gà ©nero realizado en nuestro paà ­s, hecho que le reviste de gran importancia ya que las conclusiones arribadas aportarà ¡n valiosos beneficios en diferentes à ¡reas. Este estudio abarca diversas zonas de nuestra geografà ­a nacional, donde nuestros sujetos de investigacià ³n han expuesto parte de sus talentos. Mediante pruebas psicomà ©tricas realizamos la exploracià ³n caracterolà ³gica, mientras que el perfil contextual es abordado a travà ©s del uso de cuestionarios y entrevistas semi II estructuradas. Indagamos asà ­ el ambiente que fue capaz de impulsar, aunque no de propiciar, el genio creativo de estos ciudadanos como mecanismo de adaptacià ³n y supervivencia a sus propias carencias. Iniciamos esta propuesta investigativa definiendo el concepto creatividad y sus antecedentes, exponiendo las teorà ­as planteadas por diferentes personalidades del haber cientà ­fico; quienes, a pesar de estudiarla desde diferentes aristas, coinciden en afirman que la creatividad es una capacidad integral de todos los seres humanos, incluso hay quienes la califican como una â€Å"actitud personal†; este potencial lo que requiere es ser fertilizado, a fin de broten sus frutos en todos los à ³rdenes. En el capà ­tulo uno, definimos las personas creativas desde la à ³ptica de diversos investigadores, a partir de una serie de caracterà ­sticas cognoscitivas, afectivas y volitivas especà ­ficas que poseen. De igual modo las perfilamos mediante su auto descripcià ³n. Es de nuestro interà ©s abordar la motivacià ³n tanto intrà ­nseca como extrà ­nseca que impulsan sus proyectos creativos, pues estas personalidades sobresalen mà ¡s por su deseo de dejar huellas en el mundo que por su puro poder intelectual. Sin dejar de lado el aspecto de la inteligencia, ya que hay autores que incluso la desvinculan del proceso creativo.. En el capitulo dos nos ocupamos del contexto creativo tratando de exponer el papel que juega el proceso de socializacion en el desarrollo y expresià ³n de la capacidad creativa. Los estudios de casos realizados nos permiten concluir que las caracterà ­sticas que definen los sujetos estudiados son las siguientes†¦ III II. PLANTEAMIENTO DEL PROBLEMA II.1 ENUNCIACIÓN DEL PROBLEMA De los individuos creativos depende el desarrollo y sostenimiento del progreso humano, gracias a la incorporacià ³n de sus ideas originales, innovadoras y eficaces. Por lo tanto, es imprescindible detectar y cultivar las cualidades de personalidad que los caracterizan. De ahà ­ la relevancia que alcanza la presente investigacià ³n, pues entregamos un perfil psicolà ³gico y social de personas creativas en Repà ºblica Dominicana, estudio pionero en su gà ©nero. La creatividad es considerada un bien social, pues el avance de la sociedad dependerà ¡ cada vez mà ¡s de la inventiva y de la capacidad de las jà ³venes generaciones1. En los à ºltimos 50 aà ±os, ha sido estudiada por muchos autores como elemento componente de la personalidad (Guilford, 1960; Sternberg, 1988; Mitjà ¡ns, 1995; Csikszentmihalyi, 1998; Goà ±i, 2003). El procedimiento utilizado consiste en identificar las personas creadoras a partir de sus realizaciones o utilizando criterios de jueces, datos autobiogr à ¡ficos, etc. y estudiar, generalmente mediante tests, los rasgos de personalidad, buscando relaciones que evidencien cuà ¡les caracterizan a las personas creadoras y las distinguen de las no creadoras.2 Tradicionalmente las investigaciones han sido enfocadas en poblaciones especà ­ficas: cientà ­ficos y artistas de todo gà ©nero; llegando incluso a considerar la creatividad como una propiedad cuasi exclusiva de estos grupos; sin embargo hay autores que la plantean como un atributo comà ºn a todos los seres humanos, distinguiendola como ordinaria, cuando el individuo la utiliza en su cotidianidad para adaptarse al medio y sobrevivir, y grandiosa cuando es responsable de los logros y progresos de la sociedad humana.3 En un principio el estudio de la creatividad se limitaba al contexto individual, posteriormente se han tenido en consideracià ³n tambià ©n otros factores de carà ¡cter 1 Saturnino De la Torre. Persona y proceso creativos. Creativitat, comunicacià ³ i mercat, 2000. http://tdd.elisava.net/coleccià ³n/17/de-la-torre-es. 2 Albertina Mitjans. Creatividad, personalidad y educacià ³n. Cuba, Editorial Pueblo y Educacià ³n. 1995, p.3 3 Federico De Tavira. Introduccià ³n al Psicoanà ¡lisis del Arte. Sobre la Fecundidad Psà ­quica. Mà ©xico. Plaza y Valdà ©s Editores. 2007, p. 46 IV social, que forman parte del escenario en el que se desenvuelve el individuo: la familia, la red social, el ambiente cultural y educativo, los adelantos tecnolà ³gicos de la à ©poca, etc. Anne Roe, una de las pioneras de la psicologà ­a moderna, considera que a veces las instituciones culturales y el ambiente reprimen el potencial creativo en vez de estimularlo. â€Å"El problema no es sà ³lo encontrar la gente que de algà ºn modo han logrado oponerse a estas presiones, sino tambià ©n el encontrar formas de cambiar la cultura†.4 II.2 FORMULACIÓN DEL PROBLEMA Estos à ¡ngulos de acercamiento y comprensià ³n de la creatividad en la relacià ³n individuo-entorno, nos llevan a formular las siguientes preguntas:  ¿Cuà ¡les carà ¡cterà ­sticas de personalidad predominan en las personas creativas?  ¿Cuà ¡les rasgos de carà ¡cter comparten los individuos estudiados?  ¿Cà ³mo se definen asà ­ mismos los creativos? (autoconcepto)  ¿Cuà ¡les factores de carà ¡cter interno y/o externo lo motivan a crear?  ¿En quà © ambiente familiar se desarrollà ³ como individuo?  ¿Cuà ¡l es la red social que le ha servido de apoyo en sus proyectos?  ¿Cuà ¡l es el nivel de escolaridad alcanzado?  ¿Cuà ¡les circunstancias econà ³micas han sido predominantes a lo largo de su vida?  ¿Proporciona nuestra sociedad (Repà ºblica Dominicana) el ambiente propicio para el desarrollo y exposicià ³n del potencial creativo en sus ciudadanos? 4 Alexandra Goà ±i. Desarrollo de la creatividad. Costa Rica. Editorial Universidad Estatal a Distancia (UENED). 2003, p. 94. V III. JUSTIFICACIÓN Identificar y describir a las personas creativas a partir de sus rasgos de personalidad, asà ­ como la relacià ³n que ha tenido el contexto familiar, social, econà ³mico y educacional con la expresià ³n y realizacià ³n creativa de los mismos, constituye un campo de investigacià ³n hasta ahora no explorado en Repà ºblica Dominicana, de ahà ­ se desprende la relevancia de este estudio, resultando à ©ste el primer abordaje de esta temà ¡tica en nuestro paà ­s. Las conclusiones arribadas reportan importantes beneficios en los siguientes tà ©rminos: Psicolà ³gicos: proporcionan un inventario caracterolà ³gico de los sujetos creativos estudiados, el cual se podrà ¡ utilizar para futuras investiga- ciones que amplà ­en el espectro de estudio de la creatividad y la influencia del ambiente en la produccià ³n creativa. De igual modo, motiva a los estudiosos del comportamiento a fijar su interà ©s en las potencialidades humanas, cà ³mo descubrirlas y fomentarlas, mà ¡s que en las patologà ­as manifiestas en la conducta. Educativos: el manejo de esta informacià ³n nos permite rediseà ±ar la enseà ±anza, a fin de que à ©sta promueva y fomente dichas cualidades de personalidad en las futuras generaciones. Gracias a esta reorientacià ³n podremos contar con individuos capaces de generar nuevas propuestas y de producir los cambios que necesita nuestra sociedad para asegurar la ruta hacia el desarrollo sostenido, rompiendo el esquema de que los estudiantes sean simples acumuladores y repetidores de informacià ³n que otros han aportado. Esta revolucià ³n educativa convertirà ¡ los salones de clase en verdaderos centros de formacià ³n de là ­deres emprendedores, al permitirseles la expresià ³n de su libre pensamiento y la concrecià ³n de sus ideas. VI Sociales: evaluar el contexto familiar, social y econà ³mico nos permite inferir cuà ¡les circunstancias externas han sido proveedoras de està ­mulos y cuà ¡les han sido inhibidoras del talento creativo. Este es uno de los aspectos mà ¡s importartes a considerar, ya que el individuo, como ente biopsicosocial, trae una dotacià ³n biolà ³gica que le antepone y supone la expresià ³n de sus cualidades, sin embargo no escapa a la externalidad: es en el ambiente que lo circunda donde ha de expresar estas virtudes, siempre y cuando este entorno le sea favorable. Es una constante en esta investigacià ³n la reflexià ³n respecto a este punto. Culturales: Aunque somos considerados paà ­s â€Å"tercermundista†, pueblo en và ­a de un desarrollo que no acabamos de alcanzar, en nuestro territorio se han formado y expresado indviduos con alta capacidad creativa, aà ºn cuando las circunstancias les han sido adversas. Este ejemplo, enseà ±a a la presente y futura generacià ³n a cultivar l a autoconfianza y trascender las limitaciones que impone el espacio que nos rodea. Promovemos asà ­ la cultura de la autodeterminacià ³n de nuestra nacià ³n. Empresariales. En este à ¡mbito, el perfil caracterolà ³gico del creativo ayuda a identificar aquellos individuos con iniciativa, inventiva, capaces de generar las ideas innovadoras a mayor ritmo, asegurando el progreso y el desarrollo en tà ©rminos productivos. Incluso hay sociedades, como la japonesa, donde ser creativos es una verdadera obligacià ³n del empleado. Esta investigacià ³n es viable pues se dispone de los recursos necesarios para su realizacià ³n. VII IV. ALCANCE Y Là MITES DE LA INVESTIGACIÓN Este estudio de caso se llevarà ¡ a cabo durante los meses agosto-octubre del aà ±o 2009; està ¡ limitado a estudiar seis personas dedicadas a diversas actividades, con diferentes niveles educativos, cuyas edades oscilan entre los 20 y 55 aà ±os de edad, las cuales està ¡n ubicadas en diversas localidades de nuestro paà ­s (Repà ºblica Dominicana). VIII V. OBJETIVOS V.1 GENERAL Describir el perfil psicosocial de personas creativas en Repà ºblica Dominicana, dedicadas a diversas ramas tà ©cnicas y artisticas, cuyas edades oscilas entre 20 y 55 aà ±os de edad. V.2 ESPECà FICOS Identificar los rasgos de personalidad de estas personas creativas Establecer un perfil caracterolà ³gico del creativo Exponer cà ³mo se describen a sà ­ mismos (autoconcepto) Establecer la relacià ³n del entorno social y familiar en el desarrollo y expresià ³n del talento creativo de estos personajes Exponer la formacià ³n acadà ©mica de los casos estudiados Identificar las circusntancias econà ³mica en las cuales se han desenvuelto Investigar las motivaciones intrà ­nsecas y extrà ­nsecas de sus creaciones IX VI. METODOLOGà A VI.1 TIPO DE INVESTIGACIÓN La presente investigacià ³n se define como un estudio de caso, enmarcado en el enfoque cualitativo, fundamentado en una perspectiva interpretativa de los datos recolectados. VI.2 TIPO DE ESTUDIO Realizamos un estudio descriptivo, debido a que nuestro objetivo principal es describir al individuo a partir de sus rasgos de personalidad, haciendo à ©nfasis en comprender la relacià ³n de su expresià ³n creativa con el ambiente que lo circunda, ya sea en tà ©rminos familiares, sociales, educacionales y econà ³micos. Es asà ­ mismo un estudio exploratorio, ya que esta temà ¡tica es planteada por vez primera en nuestro paà ­s como objeto de investigacià ³n, constituyà ©ndose asà ­ en un punto de partida para estudios posteriores. VI.3 MUESTRA La muestra estuvo conformada por seis personas, cuatro hombres y dos mujeres, dedicadas a distintas ramas u oficios, con diferentes niveles educativos, cuyas edades oscilan entre 20 y 50 aà ±os de edad. El criterio de seleccià ³n està ¡ basado en el conocimiento previo del aporte realizado y desarrollado por las personas en cuestià ³n. Los mismos està ¡n localizados en diferentes ciudades de nuestro paà ­s. (Aà ±adir el carà ¡cter sujetivo de la seleccià ³n, explicar esto.) X VI.4 TÉCNICA DE RECOLECCIÓN DE DATOS Para el logro del objetivo se utilizaron los siguientes instrumentos: a. El Test de 16 Factores de Personalidad de Raymond B. Catell (16 FP de Catell), el cual se basa en el anà ¡lisis factorial y mide 16 dimensiones de la personalidad. Cada uno de los factores posee un significado psicolà ³gico segà ºn el cual ha de interpretarse la calificacià ³n obtenida por el sujeto para su perfil de personalidad. b. Entrevistas semi-estructuradas mediante las cuales exploramos la relacià ³n persona-ambiente en sus diferentes vertientes: social, familiar, econà ³mica y educativa. VI.5 MEDIOS Y FUENTES DE INVESTIGACIÓN 1. Libros 2. Revistas electrà ³nicas 3. Internet 4. Perià ³dicos 5. Entrevistas XI VII. MARCO TEÓRICO La creatividad es la habilidad para dar existencia a algo. Francis Barron VII.1 ANTECEDENTES HISTÓRICOS DE LA INVESTIGACIÓN VII.1.1 LA CREATIVIDAD La creatividad està ¡ vinculada a todos los aspectos de la vida psicolà ³gica y social, cuyo abordaje requiere un tratamiento interdisciplinario. Es el tema central de investigacià ³n de cientà ­ficos, psicà ³logos, educadores, filà ³sofos, etc., ya que representa el factor competitivo mà ¡s determinante y sustentador de los grandes cambios que experimenta la sociedad del siglo XXI. VII.1.1.1 Definicià ³n Creatividad significa crear; implica dar vida o sentido a algo nuevo, construir, hacer crecer (en latà ­n crescere), desarrollar, aportar un sentido diferente en la solucià ³n de problemas, orientado a satisfacer los requerimientos de la sociedad en tà ©rminos constructivos. La creatividad no es sà ³lo un proceso personal de satisfaccià ³n de necesidades, sino tiene una dimensià ³n social, pues es en el contexto externo donde ha de tener repercusià ³n el resultado del proceso creativo: el producto creado. VII.1.1.2 Antecedes histà ³ricos del tà ©rmino En 1971 la Real Academia de la Lengua discutià ³ acerca de la incorporacià ³n de la palabra creatividad al diccionario de la lengua espaà ±ola, pues consideraban XII injustificable la utilizacià ³n de un anglicismo (â€Å"creativity†) cuyo significado, a juicio de los acadà ©micos de la à ©poca, era ambiguo y polisà ©mico, argumentando ademà ¡s que existà ­an otras palabras que tenà ­an significados similares. Esta anà ©cdota de carà ¡cter histà ³rico nos muestra el vertiginoso crecimiento que ha tenido un concepto que en sà ³lo tres dà ©cadas se ha transformado en una herramienta inseparable del desarrollo y de la actividad cientà ­fica, tecnolà ³gica, cultural y educativa de nuestros pueblos.5 El reconocimiento del tà ©rmino creatividad, como elemento activo en todo ser humano, ha recorrido un largo camino, en el que podemos seà ±alar las siguientes etapas: Edad Antigua: el artista no crea, sino que se limitaba a imitar la realidad; Edad Media y la Moderna Cristiana: el acto de crear era solamente atribuible a Dios. Siglo XIX: el tà ©rmino creador es sinà ³nimo de artista. 1950: este aà ±o marca el inicio de la investigacià ³n cientà ­fica de la creatividad como una capacidad intrà ­nseca humana. En esta à ºltima etapa se destaca el psicà ³logo Joy Paul Guilford, quien incorpora el tà ©rmino creatividad al vocabulario habitual de la psicologà ­a al pronunciar su conferencia Creativity ante la American Psychological Association en 1950, marcando con este hecho un antes y un despuà ©s en la investigacià ³n cientà ­fica sobre esta cuestià ³n. Aunque regularmente se considera a Francis Galton (1869), con su obra Hereditary genius, como el punto de partida al plantear el tema del carà ¡cter hereditario de los genios y creadores. Fue el primero en ocuparse de estudiar la personalidad creadora mediante un mà ©todo cientà ­fico, aunque hoy dà ­a no son sostenibles sus conclusiones. VII.1.1.3 Conceptos afines A partir del famoso discurso que pronunciara Guilford en 1950, comienza a relacionarse la creatividad con conceptos como la fluidez, la flexibilidad, la 5 Hugo Cerda. La creatividad en la ciencia y en la educacià ³n. Colombia. Edit. Magisterio. 2006, p.13 originalidad y el pensamiento divergente, pues anterior a ese momento histà ³rico se estudiaba bajo el tà ­tulo de imaginacià ³n, invencià ³n, ingenio, nià ±os dotados y superdotados o en su defecto se le consideraba un signo distintivo de la inteligencia general.6 De acuerdo a Guilford â€Å"los individuos muy creativos pueden generar ideas a un ritmo rà ¡pido (fluidez), romper lo establecido a fin de atacar los problemas desde una perspectiva nueva (flexibilidad) y generar ideas nuevas y genuinamente diferentes (originalidad)†7. OTRAS FUENTES REVISTAS ELECTRONICAS Altuve, Ubaldina. Educacià ³n y desarrollo de la creatividad. CONHISREMI, Revista Universitaria de Investigacià ³n y Dià ¡logo Acadà ©mico, Vol. 5, No. 1, 2009. http://www.iuttol.com.ve/varios/nuevos_articulos/ARTICULO_UAltuve.pdf. Consultado el 14/07/09 Chacà ³n, Yamileth. Una revisià ³n crà ­tica del concepto de creatividad. Revista Electrà ³nica â€Å"Actualidades Investigativas de Educacià ³n. Volumen 5, Nà ºmero 1. Aà ±o 2005. http://revista.inie.ucr.ac.cr/articulos/1-2005/articulos/creatividad.pdf. Esquivias Serrano, Marà ­a Teresa (2004). Creatividad: definiciones, antecedentes y aportaciones. Revista Digital Universitaria. 31 de enero de 2004. Volumen 5, nà ºmero 1. ISSN:1067-6079. http://www.revista.unam.mx/vol.5/num1/art4/portada.htm# Consultado 25/06/09 Getzels, Jacob M.; Csikszentmihalyi, Mihaly. Encontrar problemas y creatividad. Revista electrà ³nica Estudios de Psicologà ­a, ISSN 0210-9395, N º 18, 1984 , pags. 69-80. http://dialnet.unirioja.es/servlet/articulo?codigo=65910. Consultado el 02/07/09 Graà ±a, Nelly. La creatividad en la escuela. Aula, Montevideo, 2003. http://www.geocities.com/aulauy/creatividad.htm Consultado el 02/07/09 4 Martà ­nez-Otero, V. (2005). Rumbos y desafà ­os en Psicopedagogà ­a de la Creatividad. Revista Complutense de Educacià ³n, Vol. 16 Nà ºm. 1 (2005) 169 181, ISSN 1130-2496 http://revistas.ucm.es/edu/11302496/articulos/RCED0505120169A.PDF Mitjans martinez, Albertina.  ¿Como evaluar la creatividad?. Rev. cuba. psicol. [online]. 1993, vol.10, no.2-3, p.104-121. http://pepsic.bvspsi. org.br/scielo.php?script= sci_arttextpid=S0257- 43221993000200003lng=ptnrm=iso. ISSN 0257-4322. Consultado 02/07/09. Penagos, Julio Cà ©sar; Aluni, Rafael. Creatividad, una aproximacià ³n. Revista Psicologà ­a (online). Ed. Especial aà ±o 2000. http://homepage.mac.com/penagoscorzo/creatividad_2000/creatividad6.html Consultado 02/07/09. Sà ¡nchez Manzano, Esteban. Imaginacià ³n creativa y personalidad: estudio experimental sobre las relaciones de la creatividad y la introversià ³nextraversià ³n. Revista Complutense de Educacià ³n Vol. 1 (1)- 121-135. Edil. Univ. Complutense. Madrid. 1990. http://revistas.ucm.es/edu/11302496/articulos/RCED9090130121A.PDF. Consultado 02/07/09. Sternberg, R.; OHara, Linda. Creatividad e Inteligencia. Cuadernos de Informacià ³n y Comunicacià ³n. 2005. revistas.ucm.es/inf/11357991/articulos/CIYC0505110113A.PDF. Consultado el 05/08/09 Velasco Tapia, Lucà ­a. Desarrollo del Pensamiento Creativo. Universidad de Londres. Papeles del Psicà ³logo, 2006. Vol. 27(1), pp. 3-8. Enero-abril, 2006. http://www.cop.es/papeles. consultado el 12/05/09 Velasco Barvieri, Patricia. Psicologà ­a y Creatividad: Una revisià ³n histà ³rica. (Desde los autorretratos de los genior del siglo XIX hasta las teorà ­as implà ­citas del siglo XX). http://books.google.com/books?id=rDfiEDyWjAYCpg=PA60dq=teoria+gestaltica+ de+la+creatividadei=dQhoSoKSOovgyQSx37i0BAclient=safari. Consultado el 14/07/09 Ziegler, M. (2000). Creatividad, aula y arte. Revista de Educacià ³n, 15. http://educar.jalisco.gob.mx/15/15Ziegle.html, Consultado 27/06/09 5 INTERNET Breve Historia de La Creatividad. http://www.scribd.com/doc/14237127/Breve- Historia-de-La-Creatividad, Consultado 10/05/09 Castillo Balcazar, Dania R. Creatividad y uso de desechos como material educativo en la educacià ³n universitaria. Lima, Perà º 2007. http://www.cybertesis.edu.pe/sisbib/2007/castillo_bd/pdf/castillo_bd.pdf Consultado el 11/07/09 De la Torre, Saturnino. Persona y proceso creativos. Creativitat, comunicacià ³ i mercat, 2000. http://tdd.elisava.net/coleccià ³n/17/de-la-torre-es. Consultado el 29/06/09 Garcà ­a Tenorio, Marà ­a Josà ©. Definicià ³n empà ­rica de los factores de fluidez ideativa, originalidad y creatividad: relaciones con la personalidad. http://www.ucm.es/BUCM/tesis/psi/ucm-t25704.pdf. Madrid, 2002. Consultado 10/05/09 Gardner, Howard. Un retrato del creador Ideal. Revista Psicologà ­a (online). Edicià ³n Especial aà ±o 2000. http://homepage.mac.com/penagoscorzo/creatividad_2000/creatividad3.html. Consultado 02/07/09. http://apuntes.rincondelvago.com/psicologia-de-la-creatividad.html. Consultado 02/07/09. http://ineedfile.com/download_file_i.php?qq=psicologiafile=2010997desc=Aprendi zaje+Y+Creatividad+-+Psicologia+Cognitiva+.doc Huidobro Salas, Teresa. Una definicià ³n de la creatividad a travà ©s del estudio de 24 autores seleccionados. Universidad complutense de Madrid. Facultad de psicologà ­a. http://www.ucm.es/BUCM/tesis/psi/ucm-t25705.pdf. Madrid, 2002. Consultado 10/05/09 Là ³pez Pà ©rez, Ricardo. Diccionario de Creatividad. Conceptos y Expresiones Habituales de los Estudios sobre Creatividad. http://www.scribd.com/doc/6733423/Diccionario-de-Creatividad. Consultado 10/05/09 Là ³pez Pà ©rez, Ricardo. Prontuario de la Creatividad. http://www.scribd.com/doc/6562037/Prontuario-de-La-Creatividad. Consultado 10/05/09 Quià ±ones Rodrà ­guez, Maria Aracelly. Creatividad y resiliencia. Anà ¡lisis de 13 casos colombianos. Universidad Autà ³noma de Madrid. Madrid, 2006. Consultado 10/05/09. http://digitool-uam.greendata.es:1801/view/action/singleViewer.do? dvs=1242032832751~67locale=es_DOframeId=1usePid1=trueusePid2=true Rogers, Carl R. Hacia una teorà ­a de la creatividad. UNIDAD 3 Teorà ­as del proceso creativo. http://www.angelfire.com/ego/cedelacultura/unidad3.htm. Consultado el 15/05/09 Rom Rodrà ­guez, Josep; Sabatà © Là ³pez, Joan. La creatividad antes de Guilford. Universitat Ramon Llull. http://congressos.blanquerna.url.edu/spucp/Pdfs/Rom_MaqCong05.pdf. Consultado el 04/06/09 Yentzen, Eduardo Teorà ­a General de la Creatividad. http://www.scribd.com/doc/6952795/Yentzen-Eduardo-Teoria-General-de-la- Creatividad, Consultado 10/05/09 www.gestiopolis.com/canales8/rrhh/psicometria-como-ciencia-del-comportamientoy- los-recursos-humanos.htm DICCIONARIO Diccionario de la Real Academia Espaà ±ola (Online). Vigà ©sima segunda edicià ³n http://www.rae.es/rae.html ENTREVISTA Entrevista a Robert Sternberg realizada por Eduardo Punset. http://www.rtve.es/tve/b/redes/anteriores.htm 1 Robert Sternberg. Inteligencia creativa. http://www.rtve.es/tve/b/redes2007/semanal/prg217/frcontenido.htm

One Day In The Life Of Ivan Denisovich - Analytical Essay

Russia, has a lowest ever temperature of –44 ºC, and an average of 104 days a year above 0 ºC and a yearly average of 261 days below 0  ºC. It is the second coldest continent in the world only behind Antarctica, it snows on average 111 days of the year. It is dark, gloomy, freezing and miserable in the winter, and in the summer, cold, dark, and gloomy. Camps for political prisoners seemed even colder, especially with no real heating and limited clothes to wear on these wintriness days. The camp which was the bases of Aleksandr Solzhenitsyn’s novel A Day In The Life Of Ivan Denisovich was initiated by Stalin, leader of the Soviet Union from 1953 until 1956. Stalin, which means â€Å"man of steel†, constructed one of the tightest and toughest communisms in history. He is such a dominant figure in Russian history, even though he will always be remembered to heavily contributing to bringing Russia down. This was no general camp, but a so called â€Å"special† camp for long term prisoners. Shukhov was a political prisoner, in fact not one of these prisoners were common criminals. Stalin had established many camps like this, full of spies, prisoners of war, and those who rebelled against his system of government. The camps were in poor condition, the government spent as little on them as possible, all the repairs and erections of new buildings was all done by it’s inhabitants. The primary theme in this nobel prize winning novel is the endurance of humanity and fight for survival. Survival is a fight every human must take part in, although ones fight is much easier than anothers. The fight for survival is tough in the camp especially under the severe conditions, the cold and the brutality of the guards and camp life. The author has paid special and close attention to the weather, the bitter cold, it is not made an extremity, but the facts. A prisoner had 1 grubby blanket, covering his mattress, which incidentally was made of sawdust, this blanket was supposed to help them keep warm through those winter nights. â€Å"No one ever took his wadded trousers off at night- you’d grow numb with cold unless you wore them under your blanket.† The amount of work the prisoners were required to do was enough to keep them going, but then to have to worry about the cold, and completing the task to the captains expectations, man life for prisoners was tough. Although prisoners maintain the... ...as all over other parts of the camp. The camp has no real source of heating, and if you are lucky a bit of heat may be thrown your way. The work was labor intensive, with all of it one by hand. The days where a lot of work was done, when it was warm, when the team worked together were the good days, they were the easy days where the stolen time didn’t seem so bad. However the days when it was miserable cold and the jobs weren’t completed to satisfaction were the long days, the hard days to survive. Although at the end of each day, there was dinner, a time where each prison had a few scared minutes to himself, and was only concerned for himself. The significance of a piece of bread and a bit of kasha was extraordinary. This novel is living proof of the struggle of survival for prisoners in communist countries. It illustrates problems we all face in our everyday lives, especially cultural and religious conflict. It was published to awaken the world to the horrendous conditions Stalin put these prisoners in, and shows what kind of man he really was. The novel consists of cold hard facts about Stalin’s prisoner camps, and a story of courage and hope despite the conditions and odds.

A Reflection Paper of Mumbaki film Essay

The film Mumbaki is about the conflict of modern and folk beliefs being faced by an Igorot named Joseph (played by Reymart Santiago). He was given the opportunity to study Medicine in Manila. The problem here is caused by the different socialization or culture that occurs in the Philippines. There came the time that the lead character has to choose between his dream to work in other country together with his girlfriend, Nancy (played by Rachel Alejandro), or fulfill his duties as a member of his tribe. It is clearly seen in the film, the opposite socialization that occurs in the Philippines. The simplest manifestation of this is the type of clothing worn by characters in the film: the city has grown to wear jeans, polo, t-shirt, etc. while in the mountains, they wear the traditional â€Å"bahag† or barely bold. Also the difference between the alcohol from the city and the once that came from the mountain is shown in the film. Furthermore, the use of modern and indigenous methods of treatment is also shown in the film. The methods of treatment studied in the city are using antibiotics to stop the spread of epidemic illness in the Igorots while the indigenous method is praying to their gods/baki or to their so called ‘mumbaki’. The last is, what is ought to be followed by the main character: the vengeance for his tribe or to use his knowledge in medicine. I agree on the decision that the main character applied to his problem. As one of the member of his tribe, he chose to fulfill his responsibilities to his tribe to take revenge to the opposing tribe yet he made it to sustain his profession by putting up a health center up the mountain to support the medical needs of the tribal people. Joining two different cultures is a big deal and it is hard for them to do that, yet the group still managed to help each other to resolve their problem and create a new different culture out of it†¦.

Dr. Randy Pausch Essay

Dr. Randy Pausch was an American professor of computer Science and human-computer interaction and design at Carnegie Mellon University in Pittsburgh, Pennsylvania. He learned that he had suffering from the pancreatic cancer in September 2006, and in August 2007 he was giving a terminal diagnosis:†3 to 6 months of good health left.† He gave an upbeat lecture titled â€Å"The Last Lecture: Really Achieving Your Childhood Dreams.† On September 18, 2007, at Camegie Mellon University. On the stage that day, Randy was youthful, energetic, handsome, often cheerfully, darkly funny. He seemed invincible. But this was a brief moment, as he himself acknowledged. If you knew you were going to die and you had one last lecture. What would you say to your students? For Dr. Randy Pausch, there’s an elephant in the room and the elephant in the room is that for him it wasn’t hypothetical. It has now come back after surgery, chemotherapy, and radiation and the doctor to ld him there’s nothing to do and he has months to live. These are his most recent CT scans. The pancreatic cancer has spread to his liver. They’re approximately a dozen tumors. Even though he don’t like this but he can’t do anything about the fact that he is going to die. The Last Lecture by Dr. Randy Pausch on Oprah was about childhood dreams. His childhood dreams were being in the National Football League. This is one of the childhood dreams he didn’t achieve and it’s very important to know that, if you don’t achieve your dreams, you can still get a lot by trying for it. Experience is what you get when you don’t get what you wanted. Dr. Randy Pausch’s second dream is to become a Walt Disney Imaginary. When he was eight, his family took the Pilgrimage to Disneyland in California and it was this incredible experience. The rides and the shows and the attractions and everything and he said, gosh, I’d like to make stuff like that when he get older. So he graduated from college and he tried to become an Imagineer. T hese are the people who make the magic. He got a lovely rejection letter and then he tried again after graduated school and he have kept all of these rejection letters over the years as an inspiration. But then the darndest thing happened. He worked hard and worked hard and he became a junior faculty member and he specialized in doing certain kinds of research. He developed a skill that was valuable to Disney and he got a chance to go there. Finally, he become a part of an Imagineering team and they worked on something called Aladdin’s Magic Carpet  Ride and it was incredibly cool however it took him over 15 years to do it and lots of tries. What he learned from that the brick walls that are in our way are there for a reason. They are not there to keep us out. They are there to give us a way to show how much we want it. Dr. Randy have a good relationship with his parents. His father is an incredible guy and he fought in World War II. He was clearly part of the greatest generation. Sadly, his father passed away a little over a year ago and when his mother was going through his thing that was when she discovered that in World War II, he was awarded the Bronze Star for valor. His mother was always there to keep him in check. Dr. Randy believed his parents encouraged him to cultivate his creative talents by letting him paint rockets on the walls of his house. When he got older and he bought his first car and he was so excited. According to Dr. Randy, people are more important than things. He just emptying a can of soda onto the back seat of his car when his sister was explains to his niece and nephew so they will not get his car dirty. He explain to her sister about it’s just a thing. Dr. Randy know he will dying soon so he choose to have fun today, tomorrow, and every other day he have left. If you want to achieve your dreams, you better work and play well with others. For him, a good apology has three parts, I’m sorry, it was my fault and how do I make it right? Most people skip that third part. Dr. Randy show his gratitude to the group of kids who helped him gets his dream job by brought them to Disney world. When people asked ‘How could you do it?’ and he said ‘How could I not do it?’ Gratitude is a very simple thing and it’s a very powerful thing. If you lead your life the right way, the karma will take care of itself. The dreams will come to you. If you live properly, the dreams will come to you.

Refuge From The Concrete Essays - Leash, Livestock, Park

Refuge From The Concrete Essays - Leash, Livestock, Park Refuge From The Concrete Travis Anderson English 101 Essay#2 After starting school recently, my life became overloaded with responsibility. A typical day starts at six thirty as a screaming alarm summons me from bed. I leave my house at seven o'clock. I will not be back home for another twelve hours. School and work have imposed a rather tight schedule on me. I have trouble making time for necessary relaxation and meditation. At times, I get overwhelmed with responsibility. This is when I throw a leash on my dog and head out in search of more spiritual surroundings. After my dog drags me down Coal then across University, I start to see the collage of treetops that would be my destination. I find it ironic that such a concentration of vegetation flourishes in this urban surrounding. With each block I traveled, I grew in anticipation. My eye's perception of the foliage grew clearer as I neared. I was close now and could read the generic wooden sign that reigned over most Albuquerque parks. Carved into the sign were the words "Roosevelt Park". Under the wooden sign, I found a list of the park's rules and regulations. I proceeded to ignore them and let my dog free from her leash. She took off immediately to join in with the rest of the dogs perusing the park. Roosevelt Park is situated below the level of the street. This gives it a more isolated feeling than other Albuquerque parks. The grass flows in waves over the many hills and knolls that are throughout the park. Some hilltops possess peculiar metal poles with chains dangling down from them. These function as holes for a frisbee golf course. There is a variety of different trees speckled through the park. Some of them tall and strong, shooting up three story's high. Some are young and fragile, reaching for my knees. Weaving in and out of the trees you can find various evergreen bushes and shrubbery. Roosevelt Park has an abundance of plant life to enjoy. The people are what I find to be most interesting. I spot a few couples making out on hillsides and ducking behind bushes. The park benches and tables are overrun with vagrants napping and families eating fast food. There is a variety of high school students sitting at the far end of the park suspiciously puffing a joint. Above them joggers are making their laps. Frisbee players are flinging their discs towards the metal poles. Meanwhile dog owners are observing the collection of dogs playing in the middle of the park. I find watching these people do their park activities can be as entertaining as television. Roosevelt Park is full of life and activity in the middle of a cold concrete community. When I am spiritually drained, I go to the park to escape from my asphalt surroundings. I am there every weekend for an hour of vacation. The park permits me the opportunity to clear my head and meditate. Something I do not have time for during the week. I leave the park refreshed with newfound peace of mind.

TNA - Navy Federal Credit Union Part II Essay Example | Topics and Well Written Essays - 1250 words

TNA - Navy Federal Credit Union Part II - Essay Example It was also identified that employees struggle with situations where they need to inform inquiring customers of information about the company that they least know about. This kind of unexpected performance can be associated with the lack of certain working techniques that are expected of employees servicing any financial institution. After research and extensive study, it was identified that an objective training program could instrumentally work towards generating desired worker qualifications at the federation. Allison Rossett and Lisa Schafer-2012 in Job Aids and Performance Support, cite objective training as a possible solution for under-performance of otherwise qualified employees (Rossett & Schafer, 2007). The actual performance of employees dictates the overall performance of a company. However, there is a set level of individual performance that is expected of employees at a company. This expected level of performance is rarely achieved. When the Actual performance is lower than the expected performance at whatever level of delivery, a performance Gap that is relatively more specific is normally created. This performance gap is a measure of the difference between the expected performance and the actual performance levels of a company. On an average scale, most of the tellers at Navy Union are giving in lesser input per day and this can be associated with customer relations and PR conditions at the company. The company’s Money’s and customer relations training program w ill work toward increasing the referrals of the tellers and generally raising their confidence levels when dealing with customers that creates an expected â€Å"good† name of the company (Blanchard& Thacker, 2010). After the identification of the performance gap and settling on training as a solution, the Navy Union could now provide its employees with a set of expected outcomes of the training so that when they go into the training program, they are aware

Descriptive Report Essay Example | Topics and Well Written Essays - 500 words

Descriptive Report - Essay Example Texas State Fair is a festive event that presents colors, forms, foods and many entertainments drawing people to visit the place, from children to adults. It is a busy place where everyone has somewhere else to go and something else to do, making people busy as they stay and enjoy the warmth and joy of the festivity. As people have different interests, the fair offers a wide variety of fascinating events to attract people from all walks of life. However, the greatest and perhaps the most-loved and most visited is the food offered in the fair. There are a lot of experimental victuals, unique, exquisite and creative although most of them are not healthy because of they are served with so much grease. Deep fried Oreo cookies, deep fried peanut butter, deep fried Twinkies, deep fried pork ribs, fried cheese cake and deep fried butter are just some among the cholesterol-filled foods available at the fair. The most recent introduced deep fried food is the deep fried beer by chef Mark Zable which attracted many curious spectators to try it, and it won the creator the ‘most creative’ award for the fair in 2010. This sort of tease keeps the people curious, wondering and expecting more from what is offered at the fair. As this year’s Texas State Fair nears, it is becoming a buzz and everyone is really getting excited to see the opening of the most awaited event in Dallas. Businessmen flock to this prestigious event and take part in sponsoring the affair and advertising their company and products. Competitors for the different categories surely have been busy preparing for the fair, expecting something good to come out from this year’s State Fair. One of the attractions that welcomes audiences to the fair is Big Tex, a tall cowboy mascot symbolizing the event, having a hinged jaw making him appear to be the one speaking as the activities are announced. He is clothed with the red, white and blue colors of the flag and has a single star