Identifying Risk of Harm to Child

Identifying Risk of Harm to Child Child Protection Scenario What indicators of risk of harm can you identify in the scenario? Georgia appears rather agitated when her brother comes to pick her up Georgia pulls away when her eldest brother Peter goes to pick her up Staff members are noticing that Georgia is seeming withdrawn from activities lately Staff members have noticed that for the past two weeks Georgia has been regressing in toilet training has been wetting her bed every day When having a conversation with Georgia she tells you how she doesn’t like when Peter comes into her room at night when she’s asleep What would you say to Georgia in response to the above conversations? What action would you take based on the scenario? Talk to your director about what you have observed and conversations you have had with Georgia. Keep written documentation on everything you have observed kept in a locked cupboard in the child’s file. Access the Mandatory Reporters Guide and answer the questions and from there it will direct you on what to do next. Always follow the correct steps and remember that best interest of the child is paramount. Protecting a child’s wellbeing is a shared issue between a number of different organisations and individuals. (Council of Australian Governments, 2010) What are the key points to remember in responding to a child’s disclosure (verbal and non-verbal)? When responding to a child’s disclosure keep your facial expressions calm and don’t act shocked. Always listen very closely, getting down to eye level and thank the child for confiding with you. Let the child know that she/he isn’t the first person this has happened to and always talk age appropriately. (Child Wise, 2012). Never ask direct questions and wait for the child to come to you first. Ensure that you don’t pass any of your own personal judgement onto the child and respond in ways that make her feel safe and that you genuinely care about her. (Briggs and Buttrose, n.d, pp. 238-239) According to the policy, outline the steps you would take in response to the situation; The Make Believe Pre-School has a duty of care and obligation to defend the child’s rights to care and protection. The Pre-School must abide by all relevant Child Protection Legislation and must have procedures in place to ensure this and by promoting child protection awareness in the community through support of parents. There are various legislative requirements that the Make Believe Pre-School management committee can use to help them to develop a framework for the protection of children and also to ensure that staff know what needs to be done in relation to child protection. Their Child Protection Policy clearly states that; All staff have the responsibility to report to Department of Community Services (DoCS) for suspected Risk of Significant Harm (RoSH). Observe and document all signs of RoSH and keep in a locked file in the childs folder Report to the authorised supervisor Refer to the MRG to determine what process to follow Ensure children know that they never deserve to be harmed or abused What record keeping and documentation would be necessary in this situation? Take extreme care that all documentation for a child at risk of significant harm is kept confidential and in a locked file under the child’s name. Observe the child closely and document any further conversations always including a clear description, date and time. Any personal opinions or judgement should not be included in documentation. (Farrell and Sheringham, n.d, p. 186). If you have any telephone conversations with outside agencies be sure conversation is on speakerphone with another person present. Consult with your director on a regular basis on the situation of the child and print off any MRG decisions and keep in a confidential folder. Identify the potential ethical concerns. How might you respond to this concern? Who would you seek support from? There is clearly a cultural and family issue in this scenario. There is also a language barrier as an interpreter is needed for the mother. This has the potential for information to be misunderstood and the correct information not to be communicated successfully. The Early Years Learning Framework (EYLF) encourages diversity and respecting cultures. Georgia belongs to two different cultures, Australian and Chinese and as educators we need to respect the diversity of the child. (DEEWR, 2009, p. 13) We also need to understand the long term concerns for the child and the family, if it is found that Georgia is being abused. The (Early Childhood Australia, 2006) Code of Ethics encourages us to learn as much as we can about the culture, customs, lifestyle and language of our children. The school should express its concerns to the Department of Education’s Children’s Wellbeing Unit or a Family Referral Service (Farrell and Sheringham, n.d, p. 191). We should seek support from the local church which the family attend, other family members, other people in the community who know the family well and a Chinese language interpreter. We must ensure that all information regarding the child remains confidential and any information passed on is on a ‘need to know’ basis. What strategies would you put in place to protect the rights of the child and maintain your professional relationship and duty of care with Georgia and her family? As the (Australian Children’s Education and Care Quality Authority, 2012), expresses in Standard 2.3, Element 2.3.4, that â€Å"every educator, co-ordinator, family dare care educator assistant and staff member has legal and ethical obligation to act and protect any child who is at risk of abuse or neglect.† Australia is a part of the United Nations Convention on the Rights of the Child and as signatories to this, we recognize that every child has the right to protection and never to be hurt by others, also to always have the best interests of the child first (The United Nations, 1989). To maintain a professional relationship and duty of care to Georgia we need to remember to never be judgemental and that Georgia knows she is respected and trusted in the Pre-School. The privacy of Georgia and her family is essential in any discussions regarding Georgia’s safety and wellbeing. If the child is deemed to be RoSH the family may not be informed of the process as it co uld cause risk to the child and it’s their interest which are a priority. As Georgia’s family has a. high status in the community there is potential for disbelief of the proposed sexual abuse. (Briggs and Buttrose, n.d, pp. 238-239). Staff are not allowed to become overly involved or emotional in this situation, follow the correct process, act when you need to and always keep information clearly documented. References Briggs, F. and Buttrose, I. (n.d). Child Protection: The Essential Guide for Teachers Other Professionals Whose Work Involves Children. Australia: JoJo Publishing. Child Wise (2012). Wise up to sexual abuse. Available at: http://childwise.blob.core.windows.net/assets/uploads/files/Online%20Publication/W iseUp_to_Sexual_Abuse_Booklet.pdf (Accessed: 26 March 2015) Council of Australian Governments (2010). Protecting children is Everyone’s Business. Available at : http://www.dss.gov.au/site/default/files/documents/pac_annual_rpt_0.pdf (Accessed: 30 March 2015) Department of Education, Employment and Workplace relations (DEEWR) (2009). Belonging, Being Becoming: The Early Years Learning Framework for Australia. Canberra: DEEWR Early Childhood Australia (2006). Code of Ethics. Available at http://www.earlychildhoodaustralia.org.au/wp-content/uploads/2014/07/code_of_ethics_-brochure_screenweb_2010.pdf (Accessed: 28 March 2015) Farrell, M. and Sheringham, M. (n.d). Protecting Children and Young People: Identify and Respond to Children and Young People at Risk. Australia: TAFE NSW Divisions Resource Distribution Centre. Australian Children’s Education and Care Quality Authority (ACECQA) (2012). Guide to the National Quality Standard. Sydney, N.S.W. The United Nations (1989). Convention on the Rights of the Child. Available at: http://www.ohchr.org/en/professionalinterest/pages/crc.aspx (Accessed: 28 March 2015) M Lyons1 of 5

Developments in the West End Musical Scene

Developments in the West End Musical Scene DISCUSS THE RECENT DEVELOPMENTS IN THE WEST END MUSICAL SCENE; THIS SHOULD INCLUDE AN ANALYSIS OF THE MEGA-MUSICAL MANIA, THE TREND TO CREATE NEW MUSICALS BASED ON EXISTING SONGS (SONG MIGRATION) AND STAGE TRANSFERS OF SUCCESSFUL FILMS. From Sophocles through William Shakespeare to Eminem, writers have sought to use the rhythms of language to accentuate the story they are seeking to share. The pre-Caxton[1] society relied on an oral tradition to deliver stories of fact and fiction. Cultures spanning the entire globe and all ages of civilization have instinctively adopted musical storytelling; it is prominent in various forms even now – be it around a camp fire, at a tribal ceremony, an inner city playground or on a West End stage. In todays world, language and music are at our fingertips. They are both instantaneous. And they can be married in a second. Technically, music is intricate. Most writers will say the same about language. But in an inspired moment they can conjoin and express something wonderful both sonically and linguistically. The act of constructing such a moment can be the end result of many less fruitful moments – but there is always the chance that it could just happen instantaneously. Our logistical minds tell us that it just is not possible; that we would never be able to express ourselves beautifully and eloquently in musical form. And yet the compulsion to try and do so has arrested most people, even if only for a quickly aborted solitary moment. So perhaps here lies the fascination with musicals. They show life as we know it happily residing in an alternate reality – where music and language are easy bed partners and everything goes to extremes. Or does it? The West End is one of Londons most popular tourist attractions. It has built its reputation, in tandem with New Yorks Broadway, as the commercial mecca of musical theatre. Las Vegas has the showgirls but Broadway and the West End share the showtunes. Indeed, while their identities are undeniably distinct, the relationship between them is close; same sex twins rather than identical ones. Each has their own nuances of behaviour – the younger twin Broadway hunts that bit more keenly for the next off-beat musical whirlwind; the older West End plays percentages but plays them with palpable success. The term West End was originally coined as a geographical short cut – a way of describing a part of London synonymous with theatre. Since its inception into London vernacular the phrase West End has mutated to describe something meta-geographical. While once upon a time it merely represented an actual place, now it also describes the gateway to an invented world of glitz, glamour and show. The West End may still be the home of theatre, but the kind of theatre that it houses has become very easily classifiable. The listings do not lie. And neither do they try to. The West End is a haven for small ideas done big; big names, big shows, big spectacles, big budgets, big risks. The social and artistic significance of theatre as an art form has not suffered in the time since the West End theatres were constructed. But the immediacy of rival entertainments, chiefly television and film, has undoubtedly provided so comfortable an alternative for the borderline theatregoing public that its popularity has. Ultimately, the publics relationship with theatre has somewhat inverted itself; once the entertainment of the people, theatre has become high-brow, elitist, exclusive even. Or so we are led to believe. Every year the people entrusted with running the countrys theatres are ensconced in attempts to make theatre more accessible. Nicholas Hytner at the National Theatre has incorporated a sponsorship deal with Travelex with the express purpose of enabling its shows to be available to people for as little as  £10 a ticket. Theatrical output is continuing to diversify in new directions. The National Theatre still produces the time-honoured classics that will appease their traditional supporters. But they also invited outside companies including Theatre de Complicite, Improbable, Shunt and Kneehigh to co-develop their new work. Arts Council funding dictates a certain amount of programming for in-house producing theatres throughout the country. It is impossible to equate the artistic worth of a proposed project while it exists solely as an outline on a piece of paper. But it is easier to quantify the greater social import of the same project. Therefore the involvement in various local outreach initiatives including young peoples theatre and new writing programmes serves duplicate purposes. But in doing so it runs the risk of wrestling a certain amount of control from the artistic directors, or at least diluting the intent of their work. But the West End is not really concerned with any of this. The theatres are privately owned and have little social obligation. West End theatre is a notoriously unpredictable money market. Make a big success of yourself and you can eventually buy it up – which is exactly what Andrew Lloyd Webber and Cameron Mackintosh have ended up doing. Lloyd Webbers Really Useful Group are the proprietors of twelve of the capitals larger theatres. By January 2006 Delfont Mackintosh will control another seven, and will have begun constructing the Sondheim Theatre – the first theatre to be built on Shaftesbury Avenue since 1931. The long-term plan of Delfont Mackintosh is to refurbish and modernise theatreland. But one cannot help but think that their extreme makeover will be restricted to the facilities and layout – and that the entertainment will remain as traditional as ever. The musical-as-we-know-it grew out of the 19th Century tradition of music hall, which itself was the bastard son of drink and rowdiness. After removing the alcohol from drunken singalongs, and relocating from the pub to theatres, the 1860s saw the popularity of the newly-arrived music hall go from good idea to massively popular entertainment. The humbling beginnings of the musical cannot help but reveal the nucleus of the idea; it was born of accident – of people seeking to have pure, unadulterated entertainment. In that respect, it has no one form; no one philosophy; indeed no real sense of philosophy; no real sense of purpose other than fun, fun, fun! As the musical was developing it was the bastion of popular music of the time. Through Gilbert and Sullivan, Irving Berlin, Bertolt Brecht and Kurt Weill and Cole Porter, the men and women behind musical were the most revered song writers at work in the Western world. Ten years into the post-war era there was a marked shift. The musical standards that made dry, wry and witty observations about upper middle class were about to be trumped by rock and roll. And John Osbournes 1956 kitchen-sink-drama Look Back In Anger was going to have repercussions outside the world of the well-made play[2]. The birth of transmittable media was only going to swell the amount of music being produced. In the early days of the wireless radio, families gathered to listen to the songs of Ivor Novello or Noel Coward. By the mid-1960s many families had television sets in their front rooms; radio broadcasts were a competitive business; and air transport links had made the world traversable for all those who could afford it. Music was a commodity that could be sent from one side of the world to the other. And in the slipstream of the music were the musicians themselves. Through television and radio, songwriters and musicians had an identity. They became icons – the most celebrated people on the planet. And their music was nowhere near the West End stage. For the first time since their inception musicals were not using the popular music of the time. Rocknroll was being held in musical purgatory by traditionalists unhappy at its low-brow ideals. While cinema was running as fast and far as it could with the concept of the film musical, the stage was seeking to deliver variations on earlier themes. Elvis Presley made numerous musical films – as did The Beatles. In the 1960s the West End was awash with Broadway imports – the influence of Leonard Bernstein, Rodgers and Hammerstein, Lerner and Loewe and other transatlantic success stories was diluting the integrity of the West End as the older brother of the musical. But the psychedelic overtones of that time were to create musical anomalies; while some composers flirted with the conce pt of rock, others werent afraid to dive headlong into its bottomless pit. After its anti-Vietnam stance and inclusion of group nudity caused outrage on Broadway, Hair opened in the West End in 1968. From being the chosen playground of mild-mannered conservatives, the musical was being politicised – and modernised. Within five years, the Age of Aquarius[3] had been further capitalized upon by Godspell, Oh Calcutta and even Jesus Christ Superstar – which proved to be the foundation on which the new dawn of the musical would be built. Todays twin Godfathers of musical composition for Broadway and the West End carry the bright torch of yesteryear; Stephen Sondheim represents his forefathers fascination with the off-beat, with Andrew Lloyd Webber never straying from the musically conservative beat. There are various factors that dictate the recent successes and failures in West End theatre. But the starting point for every West End production is money – a fact beautifully demonstrated by the plot of one of the West Ends most popular current productions The Producers. Essentially, the capitalist dawn that swallowed up free love has made currency the new leading man in musical theatre. Producers need big ideas and big songs to legislate for big budgets. So instead of trying to predict what people may like and creating a musical story around it, the West End decided to reduce the risk and simply take the music that people already like and create a story around that. In some ways the origin of song migration is old revue style shows – popular hits belted out with no real desire to create an accompanying piece of drama or comedy. Coupled with the screen to stage success of musical films like The Lion King, a producer was now able to weigh up potential West End shows safe in the knowledge that a stable of worldwide smash hits could enable a musical to run for years, even with a bad review. Suddenly the sheer bankability of Lloyd Webber was looking like an outlandish risk alongside the music of Abba[4], Queen[5] or even (the critically lauded but never supergroup status) of Madness[6]. Negotiations are in process for the trend to continue, with Bob Marley, The Beatles and Elton John just some of the musical legends in line to have their songs shoe-horned into some money-spinning stage extravaganza that makes almost no sense at all. Not that the public really care. They want to go and sing-a-long like the pub dwellers of the 1840s that unknowi ngly helped begin the process of musical theatre. And who shall we choose to lead the sing-song? Well, preferably someone famous off the telly, of course. The West End is a remarkably lucrative place. For his unscheduled stint in the opening cast run of The Producers at the end of 2004, Nathan Lane was being paid  £42,000 a week for the lead role as Max Bialystock. It is a clear indication of the simple transaction between moneymen and talent; the star name guarantees the box office receipts. The West End has been flooded with stars – some of whom have no musical pedigree – because celebrity is deemed to have finally overridden talent. The good, bad and ugly (in no particular order) of recent years include David Hasselhoff[7], Martine McCutcheon[8] and Denise Van Outen[9]. And if you dont want to spend money on star names, then youd better be sure to have some seriously impressive stage gimmicks; Miss Saigon famously had a helicopter, Chitty Chitty Bang Bang got in to hot water when the eponymous flying car failed to take off in previews, and Phantom of the Opera has a plunging chandelier moment that will wake up anyone snoozing in the stalls. So with standard tickets averaging out at around  £40, the theatregoer demands a truly amazing experience. But amazing and original are poles apart – and thats why when the formula is right, all you need to do is repeat it. There are exceptions. The Bombitty of Errors was a rap interpretation of Shakespeares Comedy of Errors, and was a small but perfectly-formed global success. Stomp became a phenomenon through gradual word of mouth and because it is a different kind of spectacle. Jerry Springer: The Opera began life as an idea at a scratch night at the Battersea Arts Centre and grabbed the attention of every newspaper and fundamentalist Christian in the Western World. But such shows grow from humble beginnings and are swept away on public curiosity. As in any art form, there are people willing to take risks because they believe their work has a market. Bombay Dreams and The Far Pavilions identify a recently developed appreciation of Asian music and culture. The off-Broadway hit Batboy continues in the tradition of earlier pacesetters The Rocky Horror Picture Show and Hedwig and the Angry Inch for kitsch rock operas. But some of these are accidental intruders in the world of the West End. They werent sure if they were really invited but came anyway. One group that certainly were invited are blockbuster films; whether they have songs in them or not. Seemingly the films dont even have to have been that successful. The Witches of Eastwick had a successful run in the West End. But more than likely, the film will have a readymade audience. The Full Monty was relocated to middle America from Sheffield to make it a Broadway success. Billy Elliott is well into previews, but the advance word is that it will be a significant hit. Or better still, just take a film with songs already in them – you dont stand to make as much money, but the guarantee of an audience is that much stronger. Mary Poppins has been well-received by most, and Chitty Chitty Bang Bang is in its third year. There are currently 36 theatres in the West End of Londons theatreland[10]. As of Monday 2 May 2005, 27 are currently housing a production. 17 of those are musicals. This ratio is fairly consistent – and shows no signs of relenting. Essentially a hit West End musical needs a hook; star name, hit songs, hit movie, famous composer, popular revival. Something that can be reduced to a two-word phrase. If you havent got any of those, then heaven help you. Because the West End public certainly wont. BIBLIOGRAPHY In-yer-face Theatre: British Drama TodayAleks Sierz Faber Faber2001 Scene Unseen: Londons West End TheatresBarson, Kendall, Longman, SmithEnglish Heritage Publications 2003 Brewers Theatre: Phrase Fable DictionaryCassell Market House Books1994 MusicalsKurt Ganzl Carlton Books2004 Time Out (London) Issue No. 1810 April 27-May 4 2005 Musicals 101.com 1 Footnotes [1] William Caxton, inventor of the printing press (1474), which enabled literature to be mass-produced and readily available to the public. [2] A term coined by Terrence Rattigan for the four-act structure of a play that had been the norm for successful playwrights in the first half of the Twentieth Century. [3] A term synonymous with late 60s flower power and liberal ideologies – derived from a song from the musical Hair. [4] Mamma Mia. [5] We Will Rock You. [6] Our House. [7] Chicago, Adelphi Theatre, 2004 [8] My Fair Lady, Theatre Royal Drury Lane, 2001 [9] Chicago, Adelphi, 2001, Tell Me On A Sunday, Gielgud, 2003 [10] They are the Adelphi, Albery, Aldwych, Apollo, Arts, Cambridge, Comedy, Criterion, Dominion, Theatre Royal Drury Lane, Duchess, Duke of Yorks, Fortune, Garrick, Gielgud, Haymarket, Her Majestys, London Palladium, Lyceum, Lyric, New Ambassadors, New London, Palace, Phoenix, Piccadilly, Playhouse, Prince Edward, Prince of Wales, Queens, Savoy, Shaftesbury, St Martins, Strand, Trafalgar Studios, Vaudeville, Wyndhams. Other central theatres not classified as West End include the Donmar Warehouse, National Theatre, Old Vic, Victoria Palace, Apollo Victoria, Lilian Baylis Saddlers Wells, Peacock, Almeida and the Royal Court.

The Nurse Managers Role In Phy Essay -- essays research papers

Collaboration  Ã‚  Ã‚  Ã‚  Ã‚  3 The nurse mangers role in creating a collaborative work environment The nurse manager is vital in creating an environment where nurse-physician collaboration can occur and is the expected norm. It is she, who clarifies the vision of collaboration, sets an example of and practices as a role model for collaboration. The nurse manager also supports and makes necessary changes in the environment to bring together all the elements that are necessary to facilitating effective nurse-physician collaboration. Many authors (Alpert, Goldman, Kilroy, & Pike, 1992; Baggs & Schmitt, 1997; Betts, 1994; Evans, 1994; Evans & Carlson, 1993; Keeman, Cooke, & Hillis, 1998; Jones, 1994) have indicated that nurse-physician collaboration is not widespread and a number of barriers exist. The following will discuss the necessary ingredients for creating a nursing unit that is conducive to nurse-physician collaboration and supported through transformational leadership.   Ã‚  Ã‚  Ã‚  Ã‚  The first important barrier according to (Keenan et al., (1998) is concerned with how nurses and physicians have not been socialized to collaborate with each other and do not believe they are expected to do so. Nurse and physicians have traditionally operated under the paradigm of physician dominance and the physician's viewpoint prevails on patient care issues. Collaboration, on the other hand, involves mutual respect for each other's opinions as well as possible contributions by the other party in optimizing patient care. Collaboration (Gray, 1989) requires that parties, who see different aspects of a problem, communicate together and constructively explore their differences in search of solutions that go beyond their own limited vision of what is possible. Many researchers have argued (Betts 1994; Evans & Carlson, 1993; Hansen et al., 1999; Watts et al., 1995)   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Collaboration  Ã‚  Ã‚  Ã‚  Ã‚  4 that nurses and physicians should collaborate to address patient care issues, because consideration of both the professions concerns is important to the... ...in Nursing & Health. 20(1), 71-80. Betts,V.T. (1994). Removing practice barriers. Health Systems Review. 27(3), 18-19.   Ã‚  Ã‚  Ã‚  Ã‚  Cassidy, V.R. & Kroll, C.J. (1994). Ethical aspects of transformational leadership. Holistic Nursing Practice. 9(1), 41-47. Corley, M.C. (1998). Ethical dimensions of nurse-physician relations in critical care. Nursing Clinics of North America. 33(2), 325-335. Evans, J.A. (1994). The role of the nurse manager in creating an environment for collaborative practice. Holistic Nursing Practice. 8(3), 22-31. Evans, S.A. & Carlson, R. (1993). Nurse-physician collaboration: solving the nursing shortage crisis. Journal of the American College of Cardiology. 20(7), 1669-73. Gray, B. (1989). Collaborating: finding common ground for multiparty problems. San Francisco: Jossey-Bass. Hansen, H.E., Biros, N.H., Delaney, N.M., & Schug, V.L. (1999). Research utilization and interdisciplinary collaboration in emergency care. Academic Emergency Medicine. 6(4), 271-279. Heide, B.A., Goldman, L.D., Kilroy, C.M., & Pike, A.W. (1992). Seven Gryzmish: toward an understanding of collaboration. Nursing Clinics of North America. 27(1), 47-59.

Figures of speech in The Fall of the House of Usher -- Essays Papers

Figures of speech in The Fall of the House of Usher Edgar Allen Poe’s short story, â€Å"The Fall of the House of Usher†, sets a tone that is dark, gloomy, and threatening. His inclusion of highly descriptive words and various forms of figurative language enhance the story’s evil nature, giving the house and its inhabitants eerie and â€Å"supernatural† qualities. Poe’s effective use of personification, symbolism, foreshadowing, and doubling create a morbid tale leading to, and ultimately causing, the fall of (the house of) Usher. Poe’s use of personification, the act of giving human characteristics to nonhuman things, assigns the house of Usher a powerful and evil presence. In the first paragraph of the story, the narrator describes the house as having â€Å"vacant eye-like windows†. He uses this description twice: first to show that the house has seen everything that has led to the fall of Usher, and again to emphasize the unidentified deception of the house. The narrator also describes his negative reaction to the house as a â€Å"hideous dropping off of the veil†. This statement describes what the house has revealed to the narrator, a disgusting and disappointing appearance. Poe also uses symbolism to compare the deterioration of the house to the fall of the Usher dynasty. In Roderick’s poem, â€Å"The Haunted Palace†, he describes the history of the house as it began as a strong and â€Å"radiant palace†, which over time became a decrepit, disease-ridden cage. The radiant palace repres...

COP 3530, Discrete Data Structures and Algorithms, Summer 1999, Homework 5 :: UFL Florida Computer Programming Homework

Class Notes: Data Structures and Algorithms Summer-C Semester 1999 - M WRF 2nd Period CSE/E119, Section 7344 Homework #5 -- Due Wed 30 June 1999 : 09.30am Revised Date In class, we discussed the breadth-first and depth-first search (BFS and DFS) algorithms for graph traversal. Using your class notes and the text (Chapter 12) as a guide, answer the following questions. Note: Answers are in blue typeface. * Question 1. Write pseudocode (not Java code) for the BFS algorithm we discussed in class. Beside each step, write the number of external I/O, memory I/O, incrementation, comparison, and other types of operations employed. Then, construct a work budget for each type of operation, together with a Big-Oh estimate of complexity. Answer: Psudeocode for BFS is given for a graph having n vertices and m edges, as follows: procedure: Breadth-first-search(w) { initialize list L0 to contin vertex w # 2 mem I/O i = 0 # 1 mem I/O while not(isEmpty(Li)) do # n-1 comps { create Li+1 = empty list # 1 mem I/O for each vertex v in Li do # n iterations max. { for each edge e incident on v do # m iter's max.

Language and Gender in Adolescence Essay

In the reading, I agree with Penelope Eckert that adolescents are leaders of linguistic change. According to the World Wide Web, linguistic change is a phenomenon whereby phonetic, morphological, semantic, syntactic, and other features of language vary over time. Adolescents also known as teenagers or youth play a significant role in deteriorating or accelerating the kind of linguistic system in a particular place or community. If to be analyzed, this can be equated to the strong, active and consistent participation of the youth in voicing out their opinions, getting into social issues and trends, and in creating an environment that is suitable and almost ideal to their generation. In my opinion, there are three reasons which support the claim that adolescents are leaders of linguistic change in today’s age. These are peer pressure, media and the Internet. Peer Pressure A primary concern for teens during adolescence is the issue of ‘fitting in’ and ‘belongingness’. Since adolescence is an adjustment period where children suddenly leap to a stage where he or she would start in creating an image of themselves or a self-concept, there is a tendency for them to be lost and confused to who and what they really should be due to the numerous options in front of them. Often said than not, adolescents are more easily swayed rather than adults. It is easier to teach a youngster that is less matured and still in the process of knowing his or herself than an adult who already has a formed principle and beliefs. For example, if there is a new trend, let’s say in fashion or music, an adolescent would normally be swayed to what is ‘in’ and hit’ to most of the people around him or her so that he or she may be accepted in the circle he or she wanted to belong to. This also goes with his or her choice of words and language. Adolescents tend to speak the way people around them speak. They tend to become the persons their environment and peers dictate them to be in order to be socially accepted and relevant. When it comes to choice of words and language, youth can be easily influenced with what vernacular or words to use since in the stage of puberty serves as their training ground and preparation phase of how and who they’ll be in the future. Moreover, due to peer pressure, adolescents are assigned to groups or pacts which can influence another group of adolescents that make the widening of a certain trend expand faster. For example, in the Philippines there is this particular way or style of speaking called the ‘conyo’. In this manner, the person tends to combine his or her vernacular with American English when speaking in public or to certain persons. Most youth embraced this kind of manner since it is what is ‘in’ and famous among adolescents of their generation. Now, if a group speaks that way then heard by another person or group of persons and then that certain persons adopt the manner of speaking, there is a domino effect of the ‘conyo’ style that changes the linguistic system existing in that certain place or community. Media and the Internet Media and Internet are two powerful tools in linguistic change. This can be viewed in two ways: first, media and internet as tools in changing and influencing the minds and behavior of the people, and second, these tools as used by the people to change and influence their environment. Since most media and internet users are composed of the young population, those of which belong to the teen’s age and young adulthood, it can be concluded that the adolescents compromise this population. Now, how do the media and the Internet serve as tools in influencing their users? The media is changing and along the likes of TV programs that are hit to their viewers, people especially teenagers are going along with the change. Since media is a daily part of one’s life, it can easily influence its viewers on how they should be. For example, most teens mimic their favorite artists with their fashion, choice of stuffs and even with their manner of talking and handling things. Aside from the media, the Internet constitutes a great deal in linguistic change. The trends being delivered by Internet services like instant messaging, blogging and social networking influences the culture of its users when it comes to their linguistic style and system. Instant messaging taught us the short-style of sending messages (i. e. â€Å"Who R U? †, BRB, LOL, and the like). Through media and Internet, adolescents are also exposed to different styles of language. They are exposed to the kind of words they see in web pages, newspapers, magazines and different publications, and hear in TV and radios or in podcasts that sooner or later they’ll adopt. On the other hand, these tools are also used by the people to change and influence their environment and co-individuals. Through these, the youth became more empowered when connecting with their co-youth and when sharing their ideals that affect a great deal of people. They became more heard, powerful and capable of changing the linguistic system they live with. They were able to take control of the system through media, internet, and their characteristics as youth and population. To summarize, I believe that adolescents are the leaders of linguistic change. Primarily, the interconnectedness of peer pressure, media and the internet attributed to the power of the youth to be the catalyst of change in their linguistic system due to their own ways and styles of dealing with their environment and in their process of finding and knowing them

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Chapter 2 – Why Security is NeededTRUE/FALSE 1. Information security’s primary mission is to ensure that systems and their contents retain their confidentiality at all costs. ANS:FPTS:1 2. Information security safeguards the technology assets in use at the organization. ANS:TPTS:1 3. A firewall is a mechanism that keeps certain kinds of network traffic out of a private network. ANS:TPTS:1 4. An act of theft performed by a hacker falls into the category of â€Å"theft,† but is also often accompanied by defacement actions to delay discovery and thus may also be placed within the category of â€Å"forces of nature. ANS:FPTS:1 5. Two watchdog organizations that investigate allegations of software abuse: SIIA and NSA. ANS:FPTS:1 6. A number of technical mechanisms—digital watermarks and embedded code, copyright codes, and even the intentional placement of bad sectors on software media—have been used to enforce copyright laws. ANS:TPTS:1 7. A worm requires that another program is running before it can begin functioning. ANS:FPTS:1 8. A worm can deposit copies of itself onto all Web servers that the infected system can reach, so that users who subsequently visit those sites become infected. ANS:TPTS:1 9. Attacks conducted by scripts are usually unpredictable. ANS:FPTS:1 10. Expert hackers are extremely talented individuals who usually devote lots of time and energy to attempting to break into other people’s information systems. ANS:TPTS:1 11. With the removal of copyright protection, software can be easily distributed and installed. ANS:TPTS:1 12. Forces of nature, force majeure, or acts of God can present some of the most dangerous threats, because they are usually occur with very little warning and are beyond the control of people. ANS:TPTS:1 13.Much human error or failure can be prevented with training and ongoing awareness activities. ANS:TPTS:1 14. Compared to Web site defacement, vandalism within a network is less malicious in intent and more public. ANS:FPTS:1 15. With electronic information is stolen, the crime is readily apparent. ANS:FPTS:1 16. Organizations can use dictionaries to disallow passwords during the reset process and thus guard against easy-to-guess passwords. ANS:TPTS:1 17. DoS attacks cannot be launched against routers. ANS:FPTS:1 18. A mail bomb is a form of DoS. ANS:TPTS:1 19.A sniffer program shows all the data going by on a network segment including passwords, the data inside files—such as word-processing documents—and screens full of sensitive data from applications. ANS:TPTS:1 20. A timing attack involves the interception of cryptographic elements to determine keys and encryption algorithms. ANS:TPTS:1 MODIFIED TRUE/FALSE 1. Intellectual property is defined as â€Å"the ownership of ideas and control over the tangible or virtual representation of those ideas. † _________________________ ANS:TPTS:1 2. The macro virus infects the key operating system files located in a computer’s boot sector. ________________________ ANS:F, boot PTS:1 3. Once a(n) back door has infected a computer, it can redistribute itself to all e-mail addresses found on the infected system. _________________________ ANS:F virus worm PTS:1 4. A(n) polymorphic threat is one that over time changes the way it appears to antivirus software programs, making it undetectable by techniques that look for preconfigured signatures. _________________________ ANS:TPTS:1 5. When voltage levels surge (experience a momentary increase), the extra voltage can severely damage or destroy equipment. ________________________ ANS:F, spike PTS:1 6. The shoulder looking technique is used in public or semipublic settings when individuals gather information they are not authorized to have by looking over another individual’s shoulder or viewing the information from a distance. _________________________ ANS:F, surfing PTS:1 7. Hackers are â€Å"people who use and create computer software to gain access to information illegally. † _________________________ ANS:TPTS:1 8. Packet kiddies use automated exploits to engage in distributed denial-of-service attacks. _________________________ ANS:F, monkeys PTS:1 9. The term phreaker is now commonly associated with an individual who cracks or removes software protection that is designed to prevent unauthorized duplication. _________________________ ANS:F, cracker PTS:1 10. Cyberterrorists hack systems to conduct terrorist activities via network or Internet pathways. _________________________ ANS:TPTS:1 11. The malicious code attack includes the execution of viruses, worms, Trojan horses, and active Web scripts with the intent to destroy or steal information. _________________________ ANS:TPTS:1 12.The application of computing and network resources to try every possible combination of options of a password is called a brute crack attack. _________________________ ANS:F, force PTS:1 13. One form of e-mail attack that is also a DoS is called a mail spoof, in which an attacker routes large quantities of e-mail to the target. _________________________ ANS:F, bomb PTS:1 14. Sniffers often work on TCP/IP networks, where they’re sometimes called packet sniffers. _________________________ ANS:TPTS:1 15. A(n) cookie can allow an attacker to collect information on how to access password-protected sites. ________________________ ANS:TPTS:1 MULTIPLE CHOICE 1. Which of the following functions does information security perform for an organization?a. Protecting the organization’s ability to function.b. Enabling the safe operation of applications implemented on the organization’s IT systems.c. Protecting the data the organization collects and uses.d. All of the above.ANS:DPTS:1 2. ____ is an integrated system of software, encryption methodologies, and legal agreements that can be used to support the entire information infrastructure of an organization.a. SSLb. PKIc. PKCd. SISANS:BPTS:1 3. ____ are software programs that hide their true nature, and reveal their designed behavior only when activated.a. Virusesb. Wormsc. Spamd. Trojan horsesANS:DPTS:1 4. Which of the following is an example of a Trojan horse program?a. Netskyb. MyDoomc. Klezd. Happy99. exeANS:DPTS:1 5. As frustrating as viruses and worms are, perhaps more time and money is spent on resolving virus ____.a. false alarmsb. power faultsc. hoaxesd. urban legendsANS:CPTS:1 6. Web hosting services are usually arranged with an agreement providing minimum service levels known as a(n) ____.a. SSLb. SLAc. MSLd. MINANS:BPTS:1 7. Complete loss of power for a moment is known as a ____.a. sagb. faultc. brownoutd. blackoutANS:BPTS:1 8. Acts of ____ can lead to unauthorized real or virtual actions that enable information gatherers to enter premises or systems they have not been authorized to enter.a. bypassb. naturec. trespassd. securityANS:CPTS:1 9. There are generally two skill levels among hackers: expert and ____.a. noviceb. journeymanc. packet monkeyd. professionalANS:APTS:1 10.One form of online vandalism is ____ operations, which interfere with or disrupt systems to protest the operations, policies, or actions of an organization or government agency.a. hacktivistb. phvistc. hackcyberd. cyberhackANS:APTS:1 11. According to Mark Pollitt, ____ is the premeditated, politically motivated attacks against information, computer systems, computer programs, and data which result in violence against noncombatant targets by subnational groups or clandestine agents.a. infoterrorismb. cyberterrorismc. hackingd. crackingANS:BPTS:1 12. ___ is any technology that aids in gathering information about a person or organization without their knowledge.a. A botb. Spywarec. Trojand. WormANS:BPTS:1 13. The ____ data file contains the hashed representation of the user’s password.a. SLAb. SNMPc. FBId. SAMANS:DPTS:1 14. In a ____ attack, the attacker sends a large number of connection or information requests to a target.a. denial-of-serviceb. distributed denial-of-servicec. virusd. spamANS:APTS:1 15. A ____ is an attack in which a coordinated stream of requests is launched against a target from many locations at the same time.a. denial-of-serviceb. distributed denial-of-servicec. virusd. spamANS:BPTS:1 16. ____ are machines that are directed remotely (usually by a transmitted command) by the attacker to participate in an attack.a. Dronesb. Helpersc. Zombiesd. ServantsANS:CPTS:1 17. In the well-known ____ attack, an attacker monitors (or sniffs) packets from the network, modifies them, and inserts them back into the network.a. zombie-in-the-middleb. sniff-in-the-middlec. server-in-the-middled. man-in-the-middleANS:DPTS:1 18.The ____ hijacking attack uses IP spoofing to enable an attacker to impersonate another entity on the network.a. WWWb. TCPc. FTPd. HTTPANS:BPTS:1 19. â€Å"4-1-9† fraud is an example of a ____ attack.a. social engineeringb. virusc. wormd. spamANS:APTS:1 20. Microsoft acknowledged that if you type a res:// URL (a Microsoft-devised type of URL) which is longer than ____ characters in Internet Explorer 4. 0, the browser will crash.a. 64b. 128c. 256d. 512ANS:CPTS:1 COMPLETION 1. A(n) ____________________ is an object, person, or other entity that represents an ongoing danger to an asset. ANS:threat PTS:1 2. Duplication of software-based intellectual property is more commonly known as software ____________________. ANS:piracy PTS:1 3. A computer virus consists of segments of code that perform ____________________ actions. ANS:malicious PTS:1 4. A(n) ____________________ is a malicious program that replicates itself constantly, without requiring another program environment. ANS:worm PTS:1 5. A virus or worm can have a payload that installs a(n) ____________________ door or trap door component in a system, which allows the attacker to access the system at will with special privileges.ANS:back PTS:1 6. A momentary low voltage is called a(n) ____________________. ANS:sag PTS:1 7. Some information gathering techniques are quite legal, for example, using a Web browser to perform market research. These legal techniques are called, collectively, competitive ____________________. ANS:intelligence PTS:1 8. When information gatherers employ techniques that cross the threshold of what is legal or ethical, they are conducting industrial ____________________. ANS:espionage PTS:1 9. The expert hacker sometimes is called ____________________ hacker. ANS:elite PTS:1 10.Script ____________________ are hackers of limited skill who use expertly written software to attack a system. ANS:kiddies PTS:1 11. A(n) ____________________ hacks the public telephone network to make free calls or disrupt services. ANS:phreaker PTS:1 12. ESD means electrostatic ____________________. ANS:discharge PTS:1 13. A(n) ____________________ is an act that takes advantage of a vulnerability to compromise a controlled system. ANS:attack PTS:1 14. A(n) ____________________ is an identified weakness in a controlled system, where controls are not present or are no longer effective. ANS:vulnerability PTS:1 15. Attempting to reverse-calculate a password is called ____________________. ANS:cracking PTS:1 16. ____________________ is a technique used to gain unauthorized access to computers, wherein the intruder sends messages with a source IP address that has been forged to indicate that the messages are coming from a trusted host. ANS:Spoofing PTS:1 17. ____________________ is unsolicited commercial e-mail. ANS:Spam PTS:1 18. In the context of information security, ____________________ is the process of using social skills to convince people to reveal access credentials or other valuable information to the attacker.ANS:social engineering PTS:1 19. The timing attack explores the contents of a Web browser’s ____________________. ANS:cache PTS:1 20. A(n) ____________________ is an application error that occurs when more data is sent to a program buffer than it is designed to handle. ANS: buffer overrun buffer overflow PTS:1 ESSAY 1. List at least six general categories of threat. ANS: Compromises to intellectual property : piracy, copyright infringement Software attacks : viruses, worms macros, denial of service Deviations in quality of service : ISP, power, or wan service issues from service providers Espionage or trespass : unauthorized access and /or data collection Sabotage or vandalism : destruction of system or information Forces of nature Human error or failure Information extortion Missing, inadequate, or incomplete Missing, inadequate, or incomplete controls Theft Technical hardware failures or errors Technical software failures or errors Technological obsolescence PTS:1 2. Describe viruses and worms. ANS: A computer virus consists of segments of code that perform malicious actions. The code attaches itself to the existing program and takes control of that program’s access to the targeted computer. The virus-controlled target program then carries out the virus’s plan, by replicating itself into additional targeted systems. A worm is a malicious program that replicates itself constantly, without requiring another program to provide a safe environment for replication. Worms can continue replicating themselves until they completely fill available resources, such as memory, hard drive space, and network bandwidth. PTS:1 3. Describe the capabilities of a sniffer. ANS:A sniffer is a program or device that can monitor data traveling over a network. Sniffers can be used both for legitimate network management functions and for stealing information from a network. Unauthorized sniffers can be extremely dangerous to a network’s security, because they are virtually impossible to detect and can be inserted almost anywhere. Sniffers often work on TCP/IP networks, where they’re sometimes called packet sniffers. A sniffer program shows all the data going by, including passwords, the data inside files and screens full of sensitive data from applications. PTS:1